There's just something about Philip Anselmo that most metal fans don't get. In fact, I would go as far as to argue that even most of those hardcore Pantera fans don't fully understand the motives and direction that Anselmo takes half the time. More than just about any other musician in metal history, Anselmo is the single guy that has taken a lot of varied metal styles to the masses. Through his notoriety as a legend with Pantera, Anselmo has been able to introduce much more extreme types of metal to the majority of metalheads that would probably have never listened otherwise. Speaking only for myself, my first exposure to such varied music as Anal Cunt, Necrophagia, Christ Inversion, Arson Anthem and Superjoint Ritual all came SOLELY because of Anselmo's involvement with those projects. It has NOTHING to do with any music at all that I heard prior to picking up those releases. To be honest, I haven't liked all of it, but I don't think that's really what it's about for Anselmo anyway. To his credit, he lives and dies metal...all kinds of metal...and he is out to create as much of it as humanly possible.
About every two to three years, a band comes along that I have never heard of that absolutely overwhelms me. A few years ago, it was Volbeat that came out of nowhere and really struck a chord with me. Most recently, that Halestorm record just stays in my player and gets play several times a week. Following an impressive performance at ROCK ON THE RANGE as well as a very fun hang with them after their performance, a new band has jumped on my radar. That band is Scorpion Child. With interest, their self-titled release found it's way to me a week after ROCK ON THE RANGE, and it's been stuck in my player (and my head) ever since. As of today, July 9th, 2013, SCORPION CHILD is the metal album of the year in my eyes. A new band for me to follow religiously has been launched to the world.
More than most releases, I've taken a lot of extra time listening to Megadeth's SUPER COLLIDER, if for no other reason than to figure out just why I don't think it's very good. With Megadeth, it's always a scenario where the first few listens remind you of a lot of other stuff they have done. You have to give them more time though, as the Dave Mustaine sound has a way of either sticking with you when it's truly brilliant, or just sounding tired when it's not. Certainly, any metalhead knows the difference between an album like RUST IN PEACE and another like THE WORLD NEEDS A HERO. It's the same guy, and literally the same audio quality of performance, but that spark is completely different between the two albums. With KINGMAKER, Mustaine and company just fall flat, even though it's a well recorded album that's unmistakably Megadeth.
I've really given this album a lot of time and listens to sink in before writing anything about it. I did so because I wanted to be fair about it, and not judge it with the anger I, as a fan, have at the band for passing this off as a "reunion" without Bill Ward playing drums. I've read all the arguments online for this. I've had a hundred friends all tell me that they played this album UNTIL they liked it, and had it "grow on them." I've tried that myself, to be honest. A lot of people are all claiming that "as long as it has Iommi's riffs, then they will like it." That is obviously a lie, unless you are like me and love albums like HEADLESS CROSS, FORBIDDEN and TYR. In the end, 13 is a release that needs to be judged like all releases do - on it's own merits and what you hear when listening to it. To me, it's a fairly average offering.
Is this sad saga of one band splitting into two not just the saddest thing in recent memory when it comes to classic metal? Let's face it, if you followed Queensryche at all in the 80s or even through a lot of the bad times of the last two years, they were almost always a dignified bunch that seemed above the fray of the rest of the riff raff. Now, we have two bands. We have the Geoff Tate version of the band - an act powered largely by some sort of insanity that has overtaken the once dignified Tate and turned him into a babbling maniac who's more than willing to tell you about his black man's stereotypical penis than about his music. He's REALLY challenged people to even care about anything called Queensryche in recent months, and it's just sad to see happen. Then you have "the other guys". They've stayed largely silent about the split after the first few weeks, and aside from a lot of positive posts on their various social media sites, really haven't had much to say regarding the split and the new version of the band featuring vocalist Todd LaTorre. I guess they've decided to let the music do the talking.
RUBBER CITY MELTDOWN
There's something that's just plain cool about a throwback band like the LA Knights. I'm not sure what it is. I'm sure for a lot of people, they will just scoff at them as dated dudes stuck in the 80s that haven't "grown with the times". That's always a convenient cop out excuse to me, especially when you look at how the rock world has grown. If you ask most people to name 5 great bands from the 80s, within seconds you'll get five names thrown back at you (top of my head, Motley Crue, Skid Row, Guns N' Roses, Metallica, Dokken). It will literally take them a second. As the same question for five great bands from 2000-2010. The names don't come back quite so quickly, now do they? The reason is simple. The music was just better, or at a minimum more memorable universally. I'm the first guy that will admit that a LOT of the bands from the 80s were pretty embarrassing, but more times than not, they just weren't. At least musically, they were almost all solid. To do a throwback band now, you not only have to be excellent musically, but you also have to be thick skinned enough to not take the criticism to heart. Meet Akron, Ohio's LA Knights!