Monday Mosh / The Misfits / “Dark Shadows”

  • Artist: The Misfits
  • Song: “Dark Shadows”
  • Album: Devil’s Rain
  • Genre: Horror punk

The new Misfits album is a generic turd, an exercise in mediocrity.  This is one of the few tracks I kind of enjoy off of it, but the album as a whole is for completists only who haven’t completely abandoned the group yet.  Just go listen to Danzig’s latest album again instead, because it’s actually really good.  Head on over to Parcbench to read my review of the record, as well as my final thoughts on Lou Reed & Metallica’s Lulu.

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Monday Mosh / The Misfits / “Halloween”

Happy Halloween!  This cut of this classic Misfits tune is off of the rare, unreleased 12 Hits From Hell album, which was recorded back in 1980.  The cancellation of its planned release in 2001 was one of the few things Glenn Danzig and Jerry Only could agree on post-breakup.  It’s a shame, because it’s one of the few well-produced Danzig-era Misfits records out there, featuring a handful of their classics with crisp, clean sound (for some reason, Danzig retroactively insisted on having his Misfits records sound like shit).  It’s also the only Misfits album to feature two guitarists, as both Bobby Steele and Doyle Frankenstein play on this one.  Shame it’ll probably never see the light of day, but it’s all over the internet, so it’s their loss, monetarily speaking.

Monday Mosh / Dream Theater / “Breaking All Illusions”

This here’s my favorite cut off of the new Dream Theater record (which I reviewed a few weeks back).  The departure of virtuoso skinsman Mike Portnoy was cause for alarm, but as this song shows, Mike Mangini gels with the band nicely.  Glad to see they haven’t missed a beat.

Monday Mosh / Lamb of God / “Omerta”

It’s going to be a Lamb of God sort of week.  Randy Blythe has the most metal voice in music, the man sounds possessed.  I met their drummer, Chris Adler, at the Drum Shop here in Memphis before the played Minglewood a couple years back, and he was nice as could be.  I’ve seen them live twice, and I can’t wait to see them again.

Monday Mosh / Lou Reed and Metallica / “The View”

  • Artist: Lou Reed & Metallica
  • Song: “The View”
  • Album: Lulu
  • Genre: WTF

I got really excited when I heard Lou Reed and Metallica were going to do an album together.  Reed has proven to be absolutely fearless as an artist over his long career, and Metallica is a solid band that needs a shot in the arm.  I had high hopes for this record, as this seemed like an inspired collaboration. 

Then, last week, a sample was released of a song off the album called “The View”.  My excitement quickly turned to dread.  One can’t properly judge a song based on a snippet, but what I heard wasn’t encouraging.  Then they released the entire song (which they should’ve done in the first place), and guess what?  It’s amazing!  It changes the face of metal as we know it, Lou Reed has chisled his face into the Mount Rushmore of Metal with the help of the Four Horsemen.  Astounding stuff.

I’m kidding, it still blows rhino ass.  Listen below and judge for yourself. 

Belated Mosh / Anthrax / “The Devil You Know”

Things are running late this week, I took an impromptu road trip over the Labor Day holiday and inevitably fell behind schedule.  HomeVideodrome is up over at Parcbench, I’m waiting for it to go up at Big Hollywood to do a post but you can follow the link if you want your fix right now.

This tune is the latest single from Anthrax, off of their long-awaited, much-anticipated album Worship Music, which hits shelves next week.  This is ‘thrax’s first album with Joey Belladonna since 1992’s Persistence of Time, and it honestly sounds like he never left.  His voice is what made Anthrax stand out from the other thrash metal acts of their day (Metallica, Slayer, et al), the band seemed to lose their sense of humor after he was booted in the early nineties.

Being an Anthrax fan has been a bit irritating over the years with their inability to keep a steady line-up.  Worship Music was originally recorded with a brand new singer, Dan Nelson, who came in to replace John Bush.  For whatever reason unbeknownst to us, Nelson was fired and Joey was brought in to re-record the vocal tracks and is back as a full-time member of the band.  So somewhere out there, on some hard drive in Charlie Benante’s office, is a copy of this album with a different singer.  I wouldn’t replace Joey for anyone, but color me curious.  Leak baby, LEAK!

Monday Mosh / Alice Cooper / “I’ll Bite Your Face Off”

I’m of two minds about Alice Cooper’s upcoming album, Welcome 2 My Nightmare, a “sequel” to his classic solo debut album that harkens back to his earlier sound.  Let me say the positive stuff first: I’m glad Alice is getting away from the industrial Rob Zombie Jr. sound that’s dominated his output lately.  Like a lot of great artists, Alice helped define a genre of music with an original sound and a bold live act, however once the genre moved on, he started chasing the trends like everyone else in an effort to stay relevant.  That’s not to say he sucks or anything negative like that, it’s a trap indisputably great musicians have fallen into, just take a look at the career of The Rolling Stones.  Granted, he does do a track with Ke$ha (gawd I hate hitting the “$” when typing her name) on this new record, but at least he’s not trying to sound like the younger talent he’s inspired, doing a song with Ke$ha seems less predictable than what he’s been doing in the past two decades.  It’s also good to see he’s paired up with producer Bob Ezrin again, the two have made some incredible records over the years.

But here’s the thing, it always strikes me as creatively bankrupt to retreat to the territory of whatever it is that made you so successful in the first place, and it’s even more bankrupt to put a fucking number 2 in lieu of the word “to.”  Let’s put that stupid trend to bed, shall we?   Artists returning to their roots when their new stuff hasn’t been connecting with audiences always seems like they’re playing it safe.  The difference here is that Alice gets a pass because he’s been at it for so long, and he’s earned his status as one of the most beloved figures in metal.  This is going to be his twenty-sixth studio record, so if he wants to do a throwback, he’s earned it, I don’t expect him to redefine himself at this stage in his career.  But doing a play on one of his greatest records seems cheap, and “I’ll Bite Your Face Off” sounds like one of the more generic tunes off an old Alice record, but I guess it beats sounding like one of the more generic tunes off a new Alice record like Along Came a Spider.  We’ll see how it turns out.

I should also note that this cover makes me sad

Tuesday? Mosh / In Flames / “Goliaths Disarm Their Davids”

I’m seeing In Flames as part of the line-up at MayhemFest in Dallas, TX tomorrow (yeah, I’m on vacation, hence the belated TUESDAY in the title of this post).  I’ll also be seeing bands like Megadeth, Suicide Silence, Machine Head, and more…so it should be a pretty metal day, provided I stay hydrated and the heat doesn’t get me!

This right here is one of my favorite In Flames tracks.  It’s off the Black-Ash Inheritance EP, but you can also get it on the current version of their classic album, The Jester Race.

Monday Mosh / Faith No More / “Last Cup of Sorrow”

Faith No More wasn’t quite the same without Big Jim Martin on guitar, but this single off their final record, Album of the Year, proves that Jon Hudson was no slouch when it came to churning out a mean & memorable riff.

The music video for this song is a hilariously dead-on parody/homage to Hitchcock’s Vertigo (I’m a fan, did the theme of this site give it away?).  Vocalist Mike Patton stands in for Jimmy Stewart, while actress Jennifer Jason Leigh fills the shoes of Kim Novak.  The bit where she wakes up to find Patton awkwardly hiding a porno mag is a hilarious observation on the perversions of Hitchcock’s characters, something Brian De Palma unironically ran with in movies like Dressed to Kill and Body Double.