2007
Black Sabbath-Sabbath Bloody Sabbath-
If one were to ask what Black Sabbath's golden era was, most ivory-tower music historians and co-called "experts" would probably say it was the band's first four albums. If you were to ask anyone (critic, or fan) what was Sabbath's best offering, "Paranoid," (1970) or perhaps the self-titled debut, (1970) or even "Master of Reality" (1971) would be your answer. For this fan, however, I'm going to have to go with the band's fifth album "Sabbath Bloody Sabbath" (1974) as being my personal favorite album by the legendary British metal band. In terms of creativity, musicianship, and songwriting, the iron was still hot by the time Sabbath recorded "Sabbath Bloody Sabbath." Key elements that so defined the band's first four albums are still in place; blues-based, sluggish riffs, a gloomy outlook, and gothic trappings abound, but this time the band try to expand their sound by introducing synthesizers and orchestration into their formula (courtesy of Rick Wakeman of YES). Like any of the band's first six albums, Sabbath is as focused and tight as ever. In all honesty, the first six albums are all classics, all flawless; you could really argue any of the first six releases as being the band's best album. I tend to give the nod to "Sabbath Bloody Sabbath" because I think it showcases Iommi's best riffs and the added synths work really well encompassed into the band's bluesy/sluggish signature sound. On "Sabbath Bloody Sabbath," like any classic Sabbath or early Ozzy solo work, we see Ozzy in his prime. Long before Ozzy Osbourne became a parody of himself, being known to most as an oafish buffoon on a reality show as opposed to an icon, he really was genuinely chilling. Geezer Butler (bass) and Bill Ward's (drums) bone-crunching rhythm section are as intimidating and intense as ever. The opening title track "Sabbath Bloody Sabbath" stands as one of the band's greatest songs. From the second the needle hits the groove of the record, or you press play on your CD player, your senses are almost overwhelmed by a riff that is simultaneously intense, gripping and infectious. As the song grinds along, it goes from angry, lean and mean, to a melodic, almost bittersweet, to a full-throttle attack. After the overwhelming "Sabbath Bloody Sabbath," the listener is offered a reprieve with the laid-back yet fully captivating "A National Acrobat." The beautiful melancholy acoustic "Fluff" is perhaps Iommi's all-time greatest instrumental and serves as a sharp contrast to the rest of the album. The band's experimentation makes itself known with the hard-hitting "Sabbra Cadabra," as synthesizers and piano come out of left-field, throwing the listener a welcome curveball. One of the band's bleakest songs, "Killing Yourself" is kind of like a heavy-metal version of John Lennon's "Working Class Hero." The gloomy-as-could-be synth-heavy "Who are you" enters prog-rock country. The album offers another surprise with the pop-savvy "Looking for Today," and the epic closing "Spiral Architect," the latter adding orchestration. The orchestration works well in combination with Iommi's killer solos. When a band tries to expand their sound with experimentation it doesn't always work. This isn't the case at all, however, with "Sabbath Bloody Sabbath." This album is the perfect example of a band experimenting, growing, and maturing, without loosing its teeth or letting its ambitions run wild. "Sabbath Bloody Sabbath" stands as not only one of the band's best albums (or best) but is also one of the best rock albums from the 1970s.

June 2006
Rush- Moving Pictures
Just Buy It! I know I reviewed a Rush Album recently but My 3 year old Daughter is digging them so I am revisiting the Rush catalogue. She likes the "rock" . This is a classic album and if some of you music fans haven't hear "Moving pictures" It's a must listen. YYZ is one of the best rock instrumentals ever... Aspiring drummers must check out Neil Peart..

Buckethead April 2006
EnterThe Chicken
This guy is sick,,, Read the review below, I didn't write it. But I do enjoy me some Buckethead now and again!!
Buckethead is among the elite class of guitarists who can shred the competition to sad little bits without so much as dropping a pick. And he wears an upside-down bucket o' chicken over his willowy brown curls. Buckethead's creative and technical skills rival those of modern virtuosos like Joe Satriani, Steve Vai, and Adrian Belew. To be more specific, we're talkin' about a bucket of KFC chicken, although on this album cover he dons a colorful fashion bucket (in case that term catches on, I coined it) that reads "FUNERAL". Oh, and he also wears a creepy white mask -- somewhere between Jason and Mike Myers. But boy can he play. Enter the Chicken proves as much without a doubt. Yet Señor Bucket's 13th record in 16 years is different from anything he's done before. That And Friends appendage to his name is more than mere novelty -- Enter the Chicken is a collaboration album, in which our hero teams up with a small army of singers and songwriters from across the musical spectrum. First and foremost, the whole affair is produced (indeed, facilitated) by System of a Down's Serj Tankian, and released on his Sejical Strike label. Tankian also co-wrote and sings on three of the nine songs. The result is more rock album than guitar album. Buckethead's guitar god histrionics are downplayed in favor of integrating his wizardry into traditional songwriting structures. The record is also an opportunity for Tankian to experiment with different genres. Except for the blazing metal opener "We Are One", his co-writes are of a mellower, more melodic nature than typical System of a Down fare. "Coma" is an ethereal, almost ambient number voiced by Azam Ali of the world music troupe Vas. Tankian's got back-up moaning duties covered, and all Buckethead has to offer is a basic riff that runs through the whole thing unchanged. Six minutes of this. If you're lucky, you'll emerge from your coma just in time to hear the chorus of the next song, "Waiting Hare", which features a kickass hook from Buckethead and sharp, emotional singing from Tankian. If it weren't for its chorus, this quasi-ballad, with Shana Halligan on lead vocals, would unravel into another uninspired bore. Also singing and earning writing credits on Enter the Chicken are Saul Williams (poetry meets metal in "Three Fingers"); Efrem Shulz of Death By Stereo (metal meets more metal in "Botnus"); Maura Davis of Denali (the Evanescence-esque, yet rap-less "Running from the Light"); and about eight other folks. Told you it was a small army. Basically what we got here are a few decent low-key mood pieces sandwiched between some satisfactory metal and hard rock, with above-average lead guitar parts falling here and there amongst them. Axe-wise, the highlight is easily the instrumental closer "Nottingham Lace", in which Buckethead solos for four minutes over the chugging rhythm of a second guitar track. It's a memorable end to an uneven effort. But Buckethead fans have no right to be put off by Enter the Chicken; when you rock across almost two decades with a bucket atop your skull, you earn yourself a little leeway. May 2006

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