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18 minutes ago, Thatguy said:

?

I will check this out but fiddles<banjo<bag-fucking-pipes rate in my instrument I don't want to hear catalogue. Not violin per se mind, but fiddles...

Just listened to a bit. Yep, it's fiddles. Fuck 'em, not my thing at all.

Fair enough.  I find the guitars have massive crunch despite the fiddles and keyboards, unlike modern folk metal bands that drown the guitars out.  Though of course it would as the main song writer/guitarist is Steve Ramsay who was previously in riffy bands ala Satan and Pariah.

 

Megadeth - Youthanasia 

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12 minutes ago, Thatguy said:

?

I will check this out but fiddles<banjo<bag-fucking-pipes rate in my instrument I don't want to hear catalogue. Not violin per se mind, but fiddles...

Just listened to a bit. Yep, it's fiddles. Fuck 'em, not my thing at all.

And this coming from a confirmed saxophone player haha. I agree though, these instruments have their place in the world but I'd prefer them be kept away from my metal. I've never really been aware of this band Skyclad though on any level so I suppose it'll be OK for them to keep fiddlin' away.

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27 minutes ago, GoatmasterGeneral said:

And this coming from a confirmed saxophone player haha. I agree though, these instruments have their place in the world but I'd prefer them be kept away from my metal. I've never really been aware of this band Skyclad though on any level so I suppose it'll be OK for them to keep fiddlin' away.

99% of the time I would agree.  Skyclad is my exception.

 

Skyclad started off as a thrash metal band with Steve Ramsay and Graham English (both ex-Satan, Pariah) and Martin Walkyier (Sabbat).

 

First four albums up to and including Prince Of Poverty Line are varying levels of good to decent, assuming you like thrash with folky fiddles and other progressive touches.  Wheels start to seriously come off in a major way after Prince of Poverty Line..

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Motorhead/Live Another Day-The oddball zinger in the Motorhead cannon so I've discovered. The year, 1983, I was sucking breath on the planet earth for my 18th year. Motorhead original pioneering guitarist, Eddie Clark, left the band and Lemmy raised eyebrows when he hired Brian Robertson best known for his work with Thin Lizzy.

From linter notes and reviews, "Robo" did not fit in well with the band turning his nose at the leather and denim image wearing headbands, leg warmers and some kind of satin shorts or something that gives me a distinct Richard Simmons vibe. He stated in my liner notes that he didn't even like Motorhead but respected what they were doing. The album was not terribly well received and Lemmy described the recording process as being torturous. By all accounts, Robbo spent hours working out his guitar parts.  

Turns out,  the dude was classical trained and brought a cleaner, fluid almost improvisational feel to the tracks with a myriad of intricate playing. On virtually every track after 2 or 3 listens, I  notice the complexity of his licks often packing multiple musical ideas within a short few minutes of time. 

My sense in the passing years, Live Another Day has earned a spot amongst many in the cannon. Lemmy, as we all know was famous for saying, "not metal, Motorhead is a British Rock and Roll band" and concedes in the liner notes on my copy that Robo was a great musician and good at playing rock and roll, but didn't fit in and left after this one album.

I'm vibing off the near classic hard rock sensibilities of this track albeit with that 80's "thing". It's Motorhead  but with a cleaner sheen than I'm  used  to, but no one is going to confuse this track with Motley Crue..I dig the descending notes of a short repeating riff that reminds me a bit of Zeppelin's Cashmire. Perhaps they were going for commercial success.  They didn't get the G'N'R riches in the end :

 

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51 minutes ago, markm said:

Motorhead/Live Another Day-The oddball zinger in the Motorhead cannon so I've discovered. The year, 1983, I was sucking breath on the planet earth for my 18th year. Motorhead original pioneering guitarist, Eddie Clark, left the band and Lemmy raised eyebrows when he hired Brian Robertson best known for his work with Thin Lizzy.

From linter notes and reviews, "Robo" did not fit in well with the band turning his nose at the leather and denim image wearing headbands, leg warmers and some kind of satin shorts or something that gives me a distinct Richard Simmons vibe. He stated in my liner notes that he didn't even like Motorhead but respected what they were doing. The album was not terribly well received and Lemmy described the recording process as being torturous. By all accounts, Robbo spent hours working out his guitar parts.  

Turns out,  the dude was classical trained and brought a cleaner, fluid almost improvisational feel to the tracks with a myriad of intricate playing. On virtually every track after 2 or 3 listens, I  notice the complexity of his licks often packing multiple musical ideas within a short few minutes of time. 

My sense in the passing years, Live Another Day has earned a spot amongst many in the cannon. Lemmy, as we all know was famous for saying, "not metal, Motorhead is a British Rock and Roll band" and concedes in the liner notes on my copy that Robo was a great musician and good at playing rock and roll, but didn't fit in and left after this one album.

I'm vibing off the near classic hard rock sensibilities of this track albeit with that 80's "thing". It's Motorhead  but with a cleaner sheen than I'm  used  to, but no one is going to confuse this track with Motley Crue..I dig the descending notes of a short repeating riff that reminds me a bit of Zeppelin's Cashmire. Perhaps they were going for commercial success.  They didn't get the G'N'R riches in the end .

 

image.jpeg.33f4dc2e6727c2601052a9af75bc9a67.jpegNo Life Til Metal - CD Gallery - Motorhead

 

Lemmy said in an interview once that he wasn't going to die broke, but he certainly wasn't rich either. I remember reading he was worth about $10 million when he died which is far less than Hetfield's $300 million or Axl Rose's $200 million, but still that's a lot more than most of us can say. And he did it all on his own terms which is also something most of us can't say.  By all accounts I'd say he did alright for himself in every way that matters.

True that Robo didn't fit in with the band as well as they'd hoped, but even as an outlier with a "different" sound than what they were known for Another Perfect Day is a good solid album with some really great tracks. I'm not a huge fan of the opener Back at the Funny Farm, or the closer Turn You Round Again, but pretty much everything in between is gold. I consider it better than quite a few of their other albums.

 

Motörhead - Another Perfect Day

 

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15 hours ago, Dead1 said:

Overkill - Horrorscope - their last great album IMO.

 

I remember when that one came out in the fall of 1991, my daughter had just turned 1 year old. The record blew us away, they really went all out writing for that one, it was so much better (imo) than the two albums that immediately preceeded it which did help mitigate some of the bitterness we felt when we learned that Bobby G. had been ousted from the band. We played that thing on repeat for months, even though it only came out 2/3 of the way through the year in September it had to be our most played album of 1991 and the first half of '92. I'd even go so far as to say it's the best post-1990 American thrash album. But then I am an Overkill fanboi.

I have to disagree with you though about it being their last great album. They have not been able to surpass it, but they did release a couple more great albums after that in 2000 & 2003 imho. And their last one from 2019 is honestly pretty damn good too. Horrorscope is unquestionably one of Overkill's very best albums though, only surpassed in my mind (arguably) by 1987's Taking Over.

 

Overkill - Horrorscope

 

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3 hours ago, GoatmasterGeneral said:

 

Lemmy said in an interview once that he wasn't going to die broke, but he certainly wasn't rich either. I remember reading he was worth about $10 million when he died which is far less than Hetfield's $300 million or Axl Rose's $200 million, but still that's a lot more than most of us can say. And he did it all on his own terms which is also something most of us can't say.  By all accounts I'd say he did alright for himself in every way that matters.

True that Robo didn't fit in with the band as well as they'd hoped, but even as an outlier with a "different" sound than what they were known for Another Perfect Day is a good solid album with some really great tracks. I'm not a huge fan of the opener Back at the Funny Farm, or the closer Turn You Round Again, but pretty much everything in between is gold. I consider it better than quite a few of their other albums.

Yeah, man I think it's pretty damn good and with context really enjoy Robo's "musical " style as the band described it. I was curious what you thought of this album and was thinking it was probably too clean sounding for you. Definitely worth owning for fans. Even though they had a very specific sound Lemmy stuck to, there's still quite a range within their sound from album to album. I mean, given all the albums generally thought as good, I don't feel like they really ran out of ideas and the songs are generally memorable and distinctive. 

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2 hours ago, GoatmasterGeneral said:

I have to disagree with you though about it being their last great album. They have not been able to surpass it, but they did release a couple more great albums after that in 2000 & 2003 imho. And their last one from 2019 is honestly pretty damn good too. Horrorscope is unquestionably one of Overkill's very best albums though, only surpassed in my mind (arguably) by 1987's Taking Over.

 

 

I agree they've done some decent stuff since Horrorscope and there's usually something decent on each one.  But none are are hard hitting or memorable (Ironbound pick of litter for post Horrorscope).  I even like stuff off albums ala Necroshine.  Only album I find unlistenable is W.F.O. due to horrid production.

I will admit I have not heard The Wings of War.  Electric Age and Grinding Wheel were so derivative and sounded so much like they were on autopilot, I didn't bother.

 

Dark Tranquility - The Mind's I

 

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