Turn On Your Receiver

After putting themselves on the hard rock map with Razamanaz, Nazareth took their new, forceful style even further the next year on Loud & Proud. With Roger Glover once again at the controls, the group added even higher levels of distortion and energy to create one of the hardest rocking items in their catalog: "Go Down Fighting" starts the album with a sonic boom thanks to its blend of furious riffing with a breathless tempo, and the group's cover of "Teenage Nervous Breakdown" transforms this Little Feat into a runaway locomotive of hard rock riffing. However, the album's definitive moment of heaviness is their extended reworking of Bob Dylan's "The Ballad of Hollis Brown," which drenches the tune in ungodly levels of feedback to create an ominous, horror movie-style feel. Loud & Proud also produced another hit single for the group with a cover of Joni Mitchell's "This Flight Tonight," which transforms the wistful original into a throbbing rock song. The end result of this ultra-heavy approach is that the album lacks the accessibility and high level of experimentation that characterized Razamanaz. That said, the album does retain a few stylistic curve balls to keep listeners on their toes: "Turn on Your Receiver" is a mid-tempo slice of country rock (complete with an exaggerated Southern accent in the vocal) and "Child in the Sun," a stately ballad dominated by acoustic guitars. In the end, Loud & Proud lacks the crossover appeal of Razamanaz but remains a bracing collection of rockers that will entertain Nazareth fans and anyone else with a yen for 1970s hard rock.

Shall we kill something?

The true birth of thrash. On Kill 'Em All, Metallica fuses the intricate riffing of New Wave of British Heavy Metal bands like Judas Priest, Iron Maiden, and Diamond Head with the velocity of Motörhead and hardcore punk. James Hetfield's highly technical rhythm guitar style drives most of the album, setting new standards of power, precision, and stamina. But really, the rest of the band is just as dexterous, playing with tightly controlled fury even at the most ridiculously fast tempos. There are already several extended, multi-sectioned compositions foreshadowing the band's later progressive epics, though these are driven by adrenaline, not texture. A few tributes to heavy metal itself are a bit dated lyrically; like Diamond Head, the band's biggest influence, Kill 'Em All's most effective tone is one of supernatural malevolence — as pure sound, the record is already straight from the pits of hell. Ex-member Dave Mustaine co-wrote four of the original ten tracks, but the material all sounds of a piece. And actually, anyone who worked backward through the band's catalog might not fully appreciate the impact of Kill 'Em All when it first appeared — unlike later releases, there simply isn't much musical variation (apart from a lyrical bass solo from Cliff Burton). The band's musical ambition also grew rapidly, so today, Kill 'Em All sounds more like the foundation for greater things to come. But that doesn't take anything away from how fresh it sounded upon first release, and time hasn't dulled the giddy rush of excitement in these performances. Frightening, awe-inspiring, and absolutely relentless, Kill 'Em All is pure destructive power, executed with jaw-dropping levels of scientific precision. [An Elektra reissue added the cover songs "Blitzkrieg" and "Am I Evil?" from the European Creeping Death EP, which were later deleted and included on Garage, Inc.]

Musical discovery of the day

Formed by singer Dallas Taylor shortly after he was bounced from the long-running Christian metalcore act Underoath (rumor has it that the rest of the band considered Taylor's marriage proposal to his longtime girlfriend evidence of insufficient devotion to the Rock), Maylene and the Sons of Disaster are something of a stylistic change. Although they share Underoath's hardcore roots, there's an old-school vibe to Maylene and the Sons of Disaster's sound that suggests the generation of 1970s boogie rockers that the punks were supposed to have destroyed. Taylor's throaty bark of a voice is intimately connected to the post-hardcore and screamo scenes, but it meshes with Josh Cornutt and Scott Collum's swaggering guitar riffs and the looser than usual rhythm section of bassist Roman Havaland and drummer Lee Turner to create a mixture of vintage Southern rock boogie and punky aggression that at times sounds like a new-millennium version of Humble Pie or .38 Special. Named after the notorious 1930s bank robber Maylene "Ma" Barker and her murderous sons, whose local criminal reign is now fodder for tourists in Taylor's hometown of Ocala, FL -- a commentary on how even the most violent and amoral acts can eventually become light entertainment -- Taylor formed Maylene and the Sons of Disaster in Birmingham, AL, in 2004; signing with the Christian metal label Mono vs. Stereo, the group released their self-titled debut album the following year. Following a period of personnel uncertainty during which Taylor flirted with joining a new band with some former Underoath members and former From First to Last singer Phil Readon, Maylene and the Sons of Disaster announced that their second album, imaginatively titled Maylene and the Sons of Disaster, Vol. 2, was due in the spring of 2007. It then appeared that March.


Maylene and the Sons of Disaster - Step Up (I'm On It)


This is just my style.I love how they tied the Deliverance sequence in the video.One of my favorite movies.
Now 'cuse me while i go interweb huntin'.....

Alice in Chains - A Looking In View

This is probably my most anticipated lp of the year.
and if it is as good as i hear.
i will forgive the boys for using the AIC moniker
RAWK

Super groovy guitar machine....

If you like guitar rock ie. Hendrix,Vaughan,Clapton,Page,Hanyes,Trucks,etc,etc.
You will dig this.

Kiss M&M's

i sure do want me some Kiss M&M's....NOW



Blabbermouth has the lowdown on a piece of Kiss merchandising that’s actually tasty, rather than tasteless: Kiss M&M’s. The limited-edition chocolates are due in October, in time for Halloween — which the band will spend rocking New Orleans’ Voodoo Festival, as Rock Daily reported. Plus, the band’s new disc, which Paul Stanley promised “rocks big time!” should be ready pretty soon, according to our calculations.

Geoffrey Gurrumul Yunupingu

Geoffrey Gurrumul Yunupingu (born 1970) is an indigenous Australian musician, who sings in the Yolngu language.

He was born on Elcho Island, off the coast of Arnhem Land, Northern Australia about 350 miles from Darwin. He is from the Gumatj clan of the Yolngu and his mother from the Galpu nation. He was born blind, has never learned Braille and does not have a guide dog or use a cane. Yunupingu speaks only a few words of English, and is said to be acutely shy.

He plays drums, keyboards, guitar (a right hand-strung guitar left-handed) and didgeridoo, but it is the clarity of his singing voice that has attracted rave reviews. He sings stories of his land in both languages (Gälpu, Gumatj or Djambarrpuynu, all Yolŋu Matha) and English.Formerly with Yothu Yindi, he is now with Saltwater Band.







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