May 29, 2026

Various Artists - American Pie: Music From The Motion Picture (1999)

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Country: U.S.A.
Genre: Alternative Rock, Post Grunge, Pop Punk
Label Number: UD-53269
 
© 1999 Universal Records
American Pie was designed to bring Porky's into the '90s -- no mean feat, since Porky's was made in the '80s and set in the '50s. Since it followed There's Something About Mary, the filmmakers were allowed to take some vulgar liberties unimaginable in the '80s. Unlike Mary, the filmmakers didn't weave a distinct soundtrack into their movie. It's impossible to think of the Farrelly brothers' masterpiece without thinking of Jonathan Richman's running chorus or the positioning of Joe Jackson's "Is She Really Going Out with Him" or the closing "Build Me Up Buttercup" -- the songs were not only a soundtrack, they were a running commentary on the film itself. That's not the case with American Pie, which is a sleek, smooth-running corporate machine. Universal released both the film and its soundtrack, and quite a few Universal artists are featured on the record, including debut cuts from a number of new acts. If you're wondering why you don't recognize about half the names on the record, that's the reason why. That's not necessarily a bad thing, actually, since some of the debut cuts -- Shades Apart's "Stranger by the Day," Bachelor Number One's "Summertime," and Super TransAtlantic's "Super Down," in particular -- hold their own quite nicely, but the main problem is that all the songs on the album sound too damn similar. It's all radio-ready modern rock. Whether it's post-grunge pop or tempered ska-punk or lunkheaded neo-swing, it all shares the same clean production and a reliance on distorted guitars for sonic coloring; the two Bic Runga songs -- one her signature tune, "Sway," the other, "Good Morning Baby," a duet with "Dan Wilson of Semisonic" -- and arguably Bachelor Number One's tune are the only time the post-grunge bombast takes a breather. Taken individually, some of these tracks work and may sound good on the radio (for instance, Tonic's lead single, "You Wanted More," has more personality on the airwaves than it does here), but everything blends together too much to leave a lasting impression. That's too bad, because American Pie is a memorable teen movie. It deserves a soundtrack with more character. 
 
 tags: various artists, american pie, music from the motion picture, ost, soundtrack, 1999, flac,
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Various Artists - The Next Best Thing: Music From The Motion Picture (2000)

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Country: U.S.A.
Genre: Pop, Pop Rock, Electronic
Label Number: 9 47595-2
 
© 2000 Maverick
 Unlike so many of the various-artists samplers that masquerade as soundtrack albums, The Next Best Thing has a consistent sound: it's filled with bouncy dance music propelled by the latest in synthesized beats, and many of the vocals are either by the film's star Madonna or a virtual soundalike. The copycats include British artist Mandalay, singing "This Life," and Metisse with "Boom Boom Ba," though teen sensation Christina Aguilera, doing another par-for-the-course teen anthem called "Don't Make Me Love You," and Beth Orton on "Stars All Seem to Weep" also seem to be singing in Madonna's register. The star herself continues in the electronica-styled music of her most recent album, Ray of Light, once again enlisting producer William Orbit for her two tracks. Manhandled cover tunes seem to be inevitable in this sort of collection, and this one has two: an inoffensive but unimaginative remake of 10cc's 1975 hit "I'm Not in Love" by recent Maverick signee Olive, and Madonna's take on "American Pie." Once you get over the surprise of Madonna covering such a song (it's as strange an idea as Donna Summer singing "MacArthur Park"), you find that she has done exactly what you'd expect -- keyed off the opening verse's line "I could make those people dance" and dumped most of those pesky lyrics. The result is perhaps less ridiculous in the context of an album full of cut-up, mix-and-match sounds such as this than it will be to fans of the original recording hearing it on the radio, but it's been almost 30 years since Don McLean took his version to number one, and probably most of Madonna's fans will be hearing the song for the first time. If it doesn't make any sense, so what? Most of them will be dancing too hard to notice. 
 
 tags: various artists, the next best thing, music from the motion picture, ost, soundtrack, 2000, flac,
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Various Artists - American Pie 2 (Music From The Motion Picture) (2001)

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Country: U.S.A.
Genre: Alternative Rock, Post Grunge, Pop Punk
Label Number: 440 014 494-2
 
© 2001 UMG Soundtracks/Republic Records
The charitable would call the American Pie 2 soundtrack consistent and focussed. The more hard-eyed would spot it for the cookie-cutter, formula-milking creature that it is -- full of the kind of second-generation punk-pop that goes in one ear and out the other faster than one can look up the meaning of "derivative" in the dictionary. Ironically then, it is the unknowns who stand out in the modern-rock-by-numbers assault. Far and away the best songs on the set are Jettingham's "Cheating" ("If I'm leaving with a broken heart, you're leaving with a broken nose") and Fenix*TX's sprightly power pop ode "Phoebe Cates." Also impressive: the mock-aggro hip-hop of Uncle Kracker's "(I'm Gonna) Split This Room in Half." As for the big guns, there's Blink 182 making a return appearance (they were on the first soundtrack as well) and Green Day, both of whom turn in competent, if ordinary, tracks. On the other hand, the best thing that can be said about Alien Ant Farm's "Good (For a Woman)" is that it's not as wretched as their allegedly funny cover of Michael Jackson's "Smooth Criminal" (which featured on the film but is absent from the album). Throw in a couple of tracks for the ladies -- the smoky, post-Spice Girls dance-pop of Angela Ammons' "Always Getting Over You" and "Halo" by Oleander -- and there is a soundtrack that's entirely predictable and largely one-dimensional, but sporadically enjoyable all the same. 
 
 tags: various artists, american pie 2, music from the motion picture, ost, soundtrack, 2001, flac,
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Various Artists - Resident Evil: Extinction (Original Motion Picture Soundtrack) (Special Edition) (2007)

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*This is the European special edition. 
This pressing contains 22 tracks total.
 
Country: U.S.A.
Genre: Film Score, Industrial, Death Metal, Hardcore, Groove Metal
Label Number: 0180365BDM
 
© 2007 Superb/Lakeshore/Bodog Music
The soundtrack to the third installment of the RESIDENT EVIL horror/action film series features typically heavy tracks by metal/hardcore acts. Highlights of the EXTINCTION collection include Shadows Fall's propulsive "Stupid Crazy," a trip-hop-tinged remix of "I'm So Sick" by Flyleaf, and the raucous, Ministry-like "My World" by Emigrate, a side-project of Rammstein guitarist Richard Z. Kruspe.
 
tags: various artists, resident evil extinction, original motion picture soundtrack, ost, special edition, 2007, flac,
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May 28, 2026

Angry Anderson - Blood From Stone (1990)

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Country: Australia
Genre: Hard Rock
Label Number: D 30252
 
© 1990 Mushroom
*No professional reviews are available for this release. 
 
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Harem Scarem - Harem Scarem (2010 Reissue)

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*Reissued in 2010 by Wounded Bird Records. 
This pressing contains 13 tracks total.
Country: Canada
Language: English 
Genre: Hard Rock
Label Number: WOU 1177
 
© 1991-2010 Wounded Bird Records
 I was doing my Bonfire reviews this week and I just thought to myself, “What’s another good melodic hard rock band that is worthy of an archive?” and at the same time I noticed that Harem Scarem have a new album coming out in the not too distant future so I thought, “Hey why not do them?” and put on their debut self titled release and decided to give it a shot. Harem Scarem have gone through many stylistic changes throughout the course of their career, from their 80’s inspired balladesque hard rock found on their debut, to pop leanings with Big Bang Theory and to modern melodic rock with Weight of the World in 2002, one of this reviewers top fifteen albums of that year as well.

Listening to Harem Scarem it is hard to see almost how far the band would come in the future. Looking at the quote this is in by no means a bad affair, but compared to what the band will become this is quite a humbling shock. The whole album has a soft feel to it with only about two out and out rocking tracks the rest being slow ballads or slow to midtempo balladesque songs. This is a good disc to put on while wanting to mellow out or just to have some nice music to listen to without too much of a hassle. There are several songs on here that the band still plays live today which is a testament to the strength of the songs here. One of them, the opener and the fastest, Hard to Love, is a classic song for the band in every sense of the word. A great vocal delivery and a nice keyboard beat in the background with some great guitar licks by Pete Lesperance, this is a definite killer. After that strong opener the rest of the album is pretty much a collection of ballads and this surprisingly didn’t disappoint me. Since the album is comprised of mostly ballads the band had to actually write some good well structured ballads instead of some bands that put out ballads seemingly to fill out their cd. The best ones are the slow, piano driven Honestly and the guitar led How Long. With ballads you pretty much know what type of lyrical content that you’re gonna get and as you guessed it, Harem Scarem sing a lot about relationships, both the positive end of things and the negative. Honestly is a lamenting song of lost love that is very emotional. How Long takes the prize of being my personal favorite track off the album however as after a slow intro it kicks into a great verse / chorus pattern, incredibly simple yet incredibly effective. Harry Hess sings tremendously here, as if the events in the song actually happened and this is a cathartic release for him. Speaking of the lyrics, I love them, this band writes songs that you can relate to very easily. Perhaps that is why I love Melodic Hard Rock so much, especially at my age where the things that these types of bands sing about actually happen. While I really enjoy bands such as Rhapsody I know I’ll never run into Aresius on his trip to Hankar to slay the mighty demon wizard with the emerald sword. HAIL!!! You know what I mean? Whereas Rhapsody and the ilk can write lyrics that are good for escapism and fantasy I can’t really sit down and go, “Yea I totally understand where he’s coming from,” but bands like Harem Scarem and Bonfire, when they write songs you can sit down and listen to them or read the lyrics and actually go, “Yea that reminds me of so and so.” All Over Again is one of those songs that makes reminds you of someone or something. It has a more rockish feel to it than the other ballad’s and like I said, is pretty personal, not in the sense that it means so much to me but in the sense that a person can relate to it very easily. None of the songs on Harem Scarem will blow you away with technicality or speed or majestic double harmony solos, instead they are good solid hard rock songs and ballads that you can relate to and sometimes that’s all you need for a great album.

If you are a hardcore Power Metal fan and demand fast double kicks, soaring high vocals and songs about fighting for honor, (hey I’m one of those people too yet I love this kind of music) and that’s all you listen to you most likely won’t like this album. If you like midtempo or balladesque songs that deal with human relationships and matters then give Harem Scarem a shot. Another crowd this would appeal to is the ones that never gave up the 80’s. Like I said earlier this album has a strong 80’s feel to it and that’s part of its charm. A very good solid album that glimpses of what is to come. Maybe in the future I’ll review their masterpiece Mood Swings album. 
 
tags: harem scarem, harem scarem album, reissue, 1991, 2010, flac,
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May 24, 2026

Fates Warning - Perfect Symmetry (1989) ☠

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*U.K. first pressing.
Contains 8 tracks total.
Country: U.S.A.
Genre: Progressive Metal
Label Number: CDMZORRO 73
 
☠: Selected by Buccaneer
© 1989 Metal Blade/Music For Nations
This was the recording that established Fates Warning as a progressive band. Their metal influences still dominate the group's overall sound; however, Mark Zonder's unique approach to drumming adds another level of depth and credibility to the music. His double bass, odd-time introduction to "Part of the Machine" is the session's defining moment, "Through Different Eyes" is a catchy song that provides insight into the band's future pop/metal direction, and "Static Acts" still stands as one of the most aggressive songs the band ever recorded. Ray Alder's aggressive singing has a genuine quality which allows him to legitimately convey his anger and pain without sounding clichéd. "A World Apart" is one of the weaker songs here; however, there is some impressive odd-metered drumming from Zonder. "At Fates Hands" has become one of the band's classic songs, and for good reason. The incorporation of the violin and piano provide a refreshing change from the overall metallic sound. While Alder and Zonder prove here that the band is capable of achieving many different moods and sounds, the instrumental section of the song reveals that both Jim Matheos and Frank Aresti are still dependent on their metal guitar style. The most powerful song in terms of lyrics, singing, and playing is "Nothing Left to Say," which stands as the band's high-water mark. An historic recording in the progressive metal genre. 
 
 tags: fates warning, perfect symmetry, 1989, flac,
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Fates Warning - Parallels (1991) ☠

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*U.S. first pressing. 
Contains 8 tracks total.
Country: U.S.A.
Genre: Progressive Metal
Label Number: 9 26698-2
  
☠: Selected by Buccaneer
© 1991 Metal Blade/Reprise
Possibly Fates Warning's biggest commercial if not artistic success, 1991's Parallels was ironically also the closest the Connecticut natives ever came to sounding like their nemesis, the wildly popular Queensrÿche. Of course, most old-school fans were none too pleased about the group's increasingly concise and restrained songwriting style, but this change actually represented an important sign of maturity (if in a reverse kind of way), as it proved that the band was learning to appreciate the merits of forgoing wild showmanship in the best interest of a seamless, well-constructed song. As such, excellent singles "Eye to Eye" and "Point of View," along with beautiful power ballad "We Only Say Goodbye," brought the band more radio and MTV exposure than ever before, or after. And in keeping with tradition, the band still whipped out a few extended compositions ("The Eleventh Hour," "Life in Still Water") more in tune with its progressive metal past (and future). While definitely not the most representative album of Fates Warning's classic sound, Parallels remains an ideal first purchase for fans of traditional '80s metal. [In 2010 Metal Blade reissued the album in a Deluxe Edition with a bonus CD featuring six live tracks from the Hollywood Palace in 1992 and six more pre-production demos of album tracks. In addition, there is a bonus DVD that includes a documentary on the making of Parallels, videos for "Point of View" and "Eye to Eye," and an entire live show from New Haven, CT, in February of 1992.] 
 
 tags: fates warning, parallels, 1991, flac,
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May 21, 2026

Pudgee Tha Phat Bastard - King of New York (2017 Limited Edition)

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*Originally recorded and slated for release in 1995, this album was ultimately shelved. 
It was officially released in 2017 by Back 2 Da Source Records. 
This pressing contains a total of 18 tracks.
 
Country: U.S.A.
Genre: Hip-Hop
Label Number: 001CDB2DS
 
© 1995-2017 Back 2 Da Source Records
*No professional reviews are available for this release.
 
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 tags: pudgee tha phat bastard, king of new york, 1995, 2017, limited edition, flac,
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King Missile - King Missile (1994)

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Country: U.S.A.
Genre: Alternative Rock, Experimental Rock
Label Number: 82589-2
 
© 1994 Atlantic
The eponymous final release by the second version of King Missile features the same witty and hilarious John S. Hall lyrical and spoken word moments alongside the lackluster pop filler that padded out their previous five albums. Two highlights include "Love Is ...," the "Detachable Penis" of this album, and "Socks," an over-the-top parody of grunge, with Hall screaming, "Why do I have so many socks?" as if all of his cathartic rage hinged upon this conundrum. The most convincing genre exercises on the album are grunge-inflected "Lies" and the throwaway jingles "The Commercial" and "Happy Note." Misfires include "Delores" and "The Dishwasher," which are both performed with an artsy lack of conviction. In the end, King Missile proves to be a tuneful, yet hardly earth-shattering affair. 

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May 19, 2026

Paul Weller - Paul Weller (1992)

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Country: United Kingdom
Genre: Pop Rock
Label Number: 828 355-2
 
© 1992 Go! Discs
Arriving between the implosion of the Style Council and the commercial comeback of Wild Wood, Paul Weller’s eponymous 1992 debut is sometimes overlooked, but it’s one of his finest records, a smooth, soulful excursion pitched precisely between the sophisticated swing of the Style Council and the rustic rock of Wild Wood. In the wake of the disastrous unreleased house album from Style Council, Weller chose to dig into his roots, relying heavily on Curtis Mayfield records and a dash of Traffic’s jazz lilt, creating a cool groove of an album, one that warmed well to light elements of acid house, whether it’s the extended coda of “Kosmos” or the many remixes of the album’s singles (all collected on Universal’s 2009 double-disc deluxe edition). As pure sound, Paul Weller is seductive -- it’s supple and relaxed, easing into its vamps and rhythms, maintaining its tone through shifts of tempos -- but it sticks because its Weller’s best set of songs in years, anchored by the tight opening rocker “Uh-Huh Oh Yeh,” the soulful lament “I Didn’t Mean to Hurt You,” the insistent pulse of “Bull Rush,” the gorgeous shimmer of “Bitterness Rising,” and the revitalizing rush of “Into Tomorrow.” Every one of these songs bears traces of Weller’s decade-long immersion in soul, but what makes it a leap forward is that no matter how familiar some of this feels -- and there really is no mistaking the lasting impression of Mayfield -- it all plays not as recycled but synthesized, Weller creating something new and true from his inspiration. He would soon underscore the rock and folk elements, quite wonderfully so, on Wild Wood, but everything here laid the groundwork for the third act of Weller’s career and it remains compelling and alluring in its own right.

Generous as it may be, the deluxe edition doesn’t exactly deliver a lot of surprises for the hardcore Weller collector, but that’s only because this well has been tapped many times over, with all the stray tracks appearing as bonus discs in various territories, or as part of B-sides collections -- everything except an album-specific expansion, which this 2009 double-disc set is. Weller’s 1992 eponymous debut grows by 25 tracks here, with all the B-sides -- including “Fly on the Wall,” the lengthy jam “That Spiritual Feeling,” and a prescient cover of Traffic’s “Feelin’ Alright” that pointed the way toward Wild Wood -- spread over the two discs, along with a hefty dose of demos, alternate and acoustic versions, and the Lynch Mob beats remix of “Kosmos” that helped bolster his ties to Britain’s underground club scene. Again, none of this material is unreleased, but this may be the best way to hear it all, as it’s presented in historical context, and it’s sequenced in a smooth, entertaining sequence that enhances this already excellent album, turning it into a richer experience. 
 
tags: paul weller, paul weller album, 1992, flac,
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Paul Weller - Wild Wood (1993)

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Country: United Kingdom
Genre: Pop Rock
Label Number: 828 435 2
 
© 1993 Island Records
Paul Weller deservedly regained his status as the Modfather with his second solo album, Wild Wood. Actually, the album is only tangentially related to mod, since Weller picks up on the classicism of his debut, adding heavy elements of pastoral British folk and Traffic-styled trippiness. Add to that a yearning introspection and a clean production that nevertheless feels a little rustic, even homemade, and the result is his first true masterwork since ending the Jam. The great irony of the record is that many of the songs -- "Has My Fire Really Gone Out?," "Can You Heal Us (Holy Man)" -- question his motivation and, as is apparent in his spirited performances, he reawakened his music by writing these searching songs. Though this isn't as adventurous as the Style Council, it succeeds on its own terms, and winds up being a great testament from an artist entering middle age. And, it helped kick off the trad rock that dominated British music during the '90s. 
 
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Paul Weller - Stanley Road (1995)

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Country: United Kingdom
Genre: Pop Rock
Label Number: 828 619-2
 
© 1995 Go! Discs
In many ways, Stanley Road is Wild Wood, Pt. 2, a continuation of the laid-back, soul-inflected rock that dominated his previous albums. Named after the street where he grew up, Stanley Road could be seen as a return to Paul Weller's roots, yet his roots were in the Who and the Kinks, not in Traffic. (At this point, the sound of the Jam matters little in what this music sounds like.) Weller's music has always had R&B roots -- the major difference with both Wild Wood and Stanley Road is how much he and his band stretch out. Stanley Road in particular features more jamming than any of his previous work. That doesn't mean he has neglected his songwriting -- a handful of Weller classics are scattered throughout the album. Unfortunately, too much of it is spent on drawn-out grooves that are self-conscious about their own authenticity. Still, he has the good sense to revive Dr. John's "I Walk on Gilded Splinters" and invite his disciple Noel Gallagher (Oasis) along to jam. 
 
 tags: paul weller, stanley road, 1995, flac,
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Paul Weller - Heavy Soul (1997)

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Country: United Kingdom
Genre: Alternative Rock
Label Number: 314-524 277-2
 
© 1997 Island Records
Like Stanley Road before it, Heavy Soul is more about vibe than songs. There are a few sharply written tracks here and there, but what's important is the rootsy, stripped-down atmosphere. Paul Weller's soul and R&B influences reign supreme on Heavy Soul, yet they are filtered through late-'60s psychedelia, blues-rock and prog folk, as he takes songs into extended instrumental jams. The band sounds tight, but Weller has suffered a bit of a songwriting slump, which is evidenced by the handful of keepers that form the core of the album. "Up in Suze's Room" is a hazy, folky gem, the soulful apology "I Should Have Been There to Inspire You" is affecting, and "Peacock Suit" is a fine "Changing Man" rewrite, but too much of Heavy Soul is concerned with texture instead of content. That doesn't make it a difficult listen -- in fact, it's quite entertaining while it's playing -- but there isn't much to explore on repeated plays. 
 
tags: paul weller, heavy soul, 1997, flac,
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May 15, 2026

May May- The Introduction (1992)

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Country: U.S.A.
Genre: Hip-Hop
Label Number: 72392 75233-2
 
© 1992 Scotti Bros. Records
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tags: may may, the introduction, 1992, flac,
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May 13, 2026

Two Kings In a Cipher - From Pyramids To Projects (1991)

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Country: U.S.A.
Genre: Hip-Hop
Style: Afrocentric Rap 
Label Number: 3161-2-R
 
© 1991 Bahia Entertainment
In the early '90s, an abundance of Afrocentric rappers came from the Northeastern corridor -- the region of the U.S. that gave fans Brand Nubian, X-Clan, Professor X, Isis, Queen Mother Rage, and quite a few similar artists. These hip-hoppers showed no awareness of either the gangsta rap that was coming from the West Coast or the bass music and booty rhymes that were inescapable in the Deep South; instead of rapping about thug life or being sexually explicit, Afrocentric MCs were more likely to talk about African history or the Islamic faith. One of the lesser-known acts that came out of hip-hop's Afrocentric school was the East Coast duo Two Kings in a Cipher, whose debut album, From Pyramids to Projects, is competent but not remarkable. The rappers had an intriguing name and an interesting image -- D.O.P. dressed very b-boy and sported baseball caps, whereas the Noble Amen-Ra wore a fez and dressed like an Islamic scholar from Egypt or Morocco. But, unfortunately, the material isn't as interesting as the group's image. That isn't to say that From Pyramids to Projects is a bad album. D.O.P. and Amen-Ra are capable rappers, and their rhymes aren't weak -- but they aren't mind-blowing either. Most of the time, D.O.P. and Amen-Ra sound undeveloped; one hears their potential, but they settle for adequate instead of excelling. With the right guidance, support, and direction from a record company, perhaps Two Kings in a Cipher could have developed into a group that was exceptional instead of merely competent. But that's only speculation. The duo never recorded a second album, and this little-known CD is only a small footnote in the history of East Coast Afrocentric rap. 
 
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tags: two kings in a cipher, from the pyramids to projects, 1991, flac,
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Cooley Live - Livewire (1992)

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Country: U.S.A.
Genre: Hip-Hop
Label Number: 07863 61035-2
 
© 1992 RCA
Back in the '60s and '70s, artist development was a high priority among A&R people at major labels -- if an A&R department really believed in an artist, a five-album contract was a possibility. But it was a very difficult ballgame in the '90s; one-album contracts were the norm at major labels, and if an artist's first album didn't sell, they were dropped. Cooly Live might have become well known if RCA had given him a chance to record a second or third album; instead, the New York rapper became one of hip-hop's one-album wonders of the '90s. And that's unfortunate, because Livewire is a decent, fairly promising debut. On this CD, Cooly demonstrates that he comes from the storyteller school of East Coast rap -- in other words, he would rather tell listeners some type of story than spend all of his time boasting about his rhyming skills and attacking "sucker MCs." Cooly doesn't stay away from boasting raps altogether, and he sometimes feels the need to let the "sucker MCs" know how "wack" he thinks they are. But when all is said and done, it is Cooly's storytelling that leaves listeners with a generally favorable impression of this CD. And the urban tales that Cooly provides deal with a variety of subject matter -- some of it serious, some of it more lighthearted. During the course of the album, Cooly raps about everything from inner-city violence to the "fly" women in his neighborhood. Overall, Cooly's outlook is positive; it's too bad that Livewire didn't enjoy more attention. 
 
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 tags: colley live, livewire, live wire, 1992, flac,
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May 11, 2026

Kausion - South Central Los Skanless (1995)

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Country: U.S.A.
Genre: Hip-Hop
Style: Gangsta Rap 
Label Number: Len 2002-2
 
© 1995 Lench Mob Records
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Doomtree - Doomtree (2008)

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Country: U.S.A.
Genre: Hip-Hop
Label Number: DTR-015
 
© 2008 Doomtree Records
*No professional reviews are available for this release.
 
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Blakroc - Blakroc (2009)

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Country: U.S.A.
Genre: Hip-Hop
Label Number: BR 001-2
 
© 2009 BlakRoc Records
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Purpose & Confidence - The Purpose of Confidence (2012)

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Country: U.S.A.
Genre: Hip-Hop
Label Number: IAR007
 
© 2012 Ill Adrenaline Records
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May 07, 2026

Uriah Heep - Demons & Wizards (1972)

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*German first pressing.
Contains 9 tracks total.
Country: United Kingdom
Genre: Hard Rock
Label Number: 260 137
 
© 1972-1987 Bronze
This is the album that solidified Uriah Heep's reputation as a master of gothic-inflected heavy metal. From short, sharp rock songs to lengthy, musically dense epics, Demons and Wizards finds Uriah Heep covering all the bases with style and power. The album's approach is set with its lead-off track, "The Wizard": it starts as a simple acoustic tune but soon builds into a stately rocker that surges forth on a Wall of Sound built from thick guitar riffs, churchy organ, and operatic vocal harmonies. Other highlights include "Traveller in Time," a fantasy-themed rocker built on thick wah-wah guitar riffs, and "Circle of Hands," a stately power ballad with a gospel-meets-heavy metal feel to it. Demons and Wizards also produced a notable radio hit for the band in "Easy Livin'," a punchy little rocker whose raging blend of fuzz guitar and swirling organ made it feel like a '70s update of classic '60s garage rockers like the Electric Prunes or Paul Revere & the Raiders. However, the top highlight of the album is the closing medley of "Paradise" and "The Spell": the first part of the medley starts in an acoustic folk mode and slowly adds layers of organ and electric guitar until it becomes a forceful, slow-tempo rocker, while the second half is a punchy, organ-led rocker that includes an instrumental midsection where choral-style harmonies fortify a killer, Pink Floyd-style guitar solo from Ken Hensley. All in all, Demons and Wizards works both as a showcase for Uriah Heep's instrumental firepower and an excellent display of their songwriting skills in a variety of hard rock styles. As a result, it is considered by many fans to be their finest hour and is definitely worth a spin for anyone with an interest in 1970s heavy metal. 
 
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