Grammys not showing their "metal"

Awards show gets it wrong ... again
By Peter Lindblad

AC/DC gave a commanding
performance at this year's Grammys

For just a second, let's forget about Kanye West and his weird obsession with getting Beyonce a Grammy. Can we talk about the Grammys and their "heavy metal problem?"

Why can't they ever seem to get metal right? Smartly, the Grammys kicked off their soul-sucking awards show with AC/DC doing "Rock Or Bust" and then following it up with a galvanizing performance of "Highway to Hell."

Katy Perry – yes, that Katy Perry – had plastic devil horns on her pretty little head and was flashing signs. Lady Gaga was losing her mind over it. Everybody was on their feet, from clueless industry executives to Dave Grohl, celebrating the survival of battle-scarred veterans rocked by a founding member's debilitating health problems and another's bizarre legal battles.

Oh, Grammys ... we knew you cared. This was a magnanimous gesture, one that would surely lead to peace between an institution that either had no clue about metal or was intentionally dismissive.

Metallica's ... And Justice for All
lost the Grammy to Jethro Tull

And then came the award for Best Metal Performance. The National Association of Recording Arts and Sciences first recognized metal in 1989 with a category known as Best Hard Rock/Metal Performance Vocal or Instrumental. A lot of people forget that "Best Hard Rock" part, because that year, the Grammy inexplicably went to Jethro Tull's Crest of a Knave. over Metallica's ... And Justice For All.

The metal community has never forgiven the Grammys for that disaster. Still, there is that nagging feeling that at least they were taking into consideration the "Best Hard Rock" part of the equation in making the decision. Still, hardly anybody mentions Crest of a Knave anymore, except when people want to talk about how out to lunch the Grammys are when it comes to heavy metal.

Over the years, the title of the category has changed, and Metallica has ended up with their fair share of Grammys. Controversy has dogged this area, with Soundgarden's Chris Cornell wondering why Dokken was nominated in the heavy metal category a year later. Many, including yours truly, had a beef with Soundgarden winning a Grammy for "Spoonman" in 1995.

Here's the rest of the entrants that year: Rollins Band's "Liar"; Pantera's "I'm Broken"; Megadeth's "99 Ways to Die"; and Anthrax's groundbreaking collaboration with Public Enemy on "Bring the Noise." Little did Cornell know that he'd be living in a newly furnished glass house five years later when he made his remarks about Dokken.

Anyway, the point is, there have been good choices and not-so-good picks in the past 15 years, but surprisingly, the Grammys had generally avoided making complete fools of themselves in that time. That is until last year, when the show cut off a performance from Queens of the Stone Age, Trent Reznor, Dave Grohl and Fleetwood Mac's Lindsey Buckingham before it was finished – a sort of musical coitus interruptus, if you will.

Reznor declared a self-imposed exile from the event forever. They were insulted, and it stands to reason that aside from Grohl, who always seems to want to play peacemaker, none of them will ever do the Grammys again. Black Sabbath's win aside, this was not a good moment for the Grammys and metal. This was Vladimir Putin defecating in Obama's corn flakes. And that doesn't even take into the Grammys' In Memoriam snub to Slayer's Jeff Hanneman, repeated again this year with its overlooking Gwar's Dave Brockie.

So, we come to this Sunday's event, filled with the usual ridiculous drama and lame thrown-together collaborations it's always had and awards handed out to the undeserving – Beyonce, I'm looking at you!

But here comes Best Metal Performance. In this category are Anthrax's "Neon Knights," Mastodon's "High Road," Motorhead's "Heartbreaker" and Slipknot's "The Negative One" – all worthy candidates. But, when that envelope was opened, the award somehow went to ... Tenacious D's remake of Dio's "The Last in Line."

Okay, Tenacious D are great at what they do, and Jack Black and Kyle Gass came up with an amazing version of "Last in Line," doing Ronnie James Dio proud. But choosing a slap-sticky acoustic comedy duo over four incredible bands like that? It's a, pardon the pun, joke ... and it smacks of the Grammys consciously and with malice of forethought again spitting on metal. What it comes down to is this: whatever you think of the Grammys, at the very least, they are supposed to recognize sublime artistry in music. By that yardstick, it's hard to even fathom why Tenacious D was nominated in the first place.

And lest you believe this is rampant paranoia or an oversensitivity as to how metal specifically is mistreated by the Grammys, do you think for a moment they'd ever choose somebody like Tenacious D over their precious Taylor Swift or Sam Smith in any other category? Not in this lifetime. This was a decision made carelessly and deliberately so, and because of that, it's a slap in metal's corpse-painted face.

I don't buy the notion that the Grammys are simply lorded over by old geezers who somehow just don't get metal and make decisions based on a lack of awareness. That argument didn't hold water then and it doesn't now. They've had all this time since the Jethro Tull debacle to figure out how to give metal the respect it deserves. And time and time again, they prove they just don't give a shit about it. This is the Grammys saying, "Hey, I've seen those guys in the movies. Forget all the rest of those clowns. Let's give it to them. I liked 'The Pick of Destiny.' Hell, 'Nacho Libre' was a work of cinematic genius!"

And if the Grammys really and truly were paying attention to metal, wouldn't they stop trotting out the same old acts to reward retroactively for sins of the past? Wouldn't they include newer acts in the Best Metal Performance category, like Revocation, Periphery, Animals As Leaders, etc., etc.?

Trashing the Grammys is dumb. It's like a vegan trying to get McDonalds to give up beef for tofu. They'll never change. I hate talking about them. And yet, here we are. Damn it, Grammys ... you've won again. Visit http://www.grammy.com/ and tell 'em what you think. At least Brann Dailor got to show off that cool suit.

"I am the Swiss!": 'That Metal Show' returns

A list of my five favorite moments in the show's glorious history
By Peter Lindblad

The hosts of 'That Metal Show' Jim
Florentine, Eddie Trunk and
Don Jamieson

It was one of those magical, unscripted moments of television.

During a segment of "Stump The Trunk" on VH1 Classic's "That Metal Show," this lovably goofy metal fan in a flag of Switzerland t-shirt enthusiastically declared, "I am the Swiss!" when asked by host Jim Florentine where he was from.

Everybody chuckled. I still do every time I think of of my favorite Swiss.

And when news today broke of "That Metal Show" returning to the air in February for its 14th season, having started in 2008, memories of episodes past came flooding back.

The new season starts Saturday, Feb. 21, with a new broadcast time of 9 p.m. Eastern Time. It'll be repeated at 11 ET. There will 12 episodes, all of them shot at Metropolis Studios in New York City on Tuesday nights for broadcast the following Saturday.

To be part of the audience, tickets are available through Gotham Casting at http://gothamcasting.com/gothamrsvp/. So far, nothing has been announced regarding guests. That'll come in due time. Meanwhile, how about a look back at some of my favorite moments in TMS history?

Marilyn Manson makes everyone blush: Ostensibly there to share his love of absinthe and talk about his sexual exploits, shock-rocker Marilyn Manson seemed bombed out of his gourd when stating that he'd been "clean and sober ... for the last five minutes." While sipping from his own stash, a product he called Mansinthe, Manson discussed among other things – in a conversation that can only be described as "rambling" – reverse erectile dysfunction, embracing deviance, and a threesome he once had, and everybody had a good nervous laugh about it. It smelled like this wasn't exactly a show for children, and it was uncomfortable. Then Manson went on "Talking Dead" and did it all over again.

Brian Johnson tastes "Lemmy's plums": Was there ever a funnier guest on TMS than the AC/DC singer? The three hosts almost did a collective spit take when, in critiquing new wines from the Motorhead vineyard, Johnson was questioned about whether he could detect notes of plum or other such flavors and responded by saying, in a deadpan voice with perfect timing, "I can taste Lemmy's plums." Then there was that lurid tale of some masked intruder with a rubber glove going around tour buses sticking his finger where the sun never, ever shines and then, in dramatic fashion, saying, "You know you love it!" And we all shook with jolly laughter all night long.

"Ego ramp": Full confession ... I never knew they called that long, slim stage extension that runs straight into the middle of a concert crowd – perfect for rock-star posing – an "ego ramp" until Heart appeared on TMS. Ann Wilson came off a little catty towards Def Leppard, didn't she, talking about the pop-metal band's extravagant stage show? The implication being that Def Leppard was, perhaps, a little shallow and desperate for audience validation. And then there was the little jibe about Leppard's backstage "health room with cigarettes and full bar." Evidently, Wilson made similar disparaging comments in the book "Kicking and Screaming: A Story of Heart, Soul and Rock and Roll." Vivian Campbell was not amused, expressing his disappointment on the Def Leppard website in the aftermath. And there was poor Lita Ford, coming on later with Heart and trying ever so hard to smooth the waters just a bit. It was textbook rock 'n' roll diplomacy.

"I am the Swiss": Eddie Trunk may hate it, but the "Stump The Trunk" segment is absolute comic gold – unpredictable, sometimes embarrassing and one of these days, I swear Trunk's head is literally going to explode on air. The " ... Swiss" guy is my favorite. And what about Gregg Guiffria's twin brother? Oh, those flowing locks of long, white hair. Somewhere there's a unicorn missing its mane. Remember when Clutch's Neil Fallon was on, and that woman got Trunk on some obscure question – who cares what the answer was – and she stuck her hand into the "Box of Junk" and pulled out Clutch's Earth Rocker album? The forlorn look on her face was priceless, and a bemused Fallon, being Fallon, remarked, "She looks over the moon." Zing! That Fallon is one droll bastard.

In Living Colour: There was hardly anybody in the audience for Living Colour's appearance, and yet, up into the stands went Corey Glover, handing out high fives to everybody within reach as Vernon Reid grabbed him down so they could get on with the rest of the show. The day of the taping a huge snowstorm brought New York City and basically the entire East Coast to a standstill. Some girl drove all the way from Pennsylvania or some such place, and if memory serves, her car broke down or something and her boyfriend called TMS to make sure she was all right. God, if that isn't metal, I don't know what is. Anyway, Reid and Glover proceeded to bicker like an "old married couple" – their words, not mine – and hilarity ensued, but when Glover talked about seeing James Brown perform at the Apollo, everyone was riveted. I'm thinking of joining their cult of personality, or at least reading the literature.

CD Review: AC/DC – Rock or Bust

CD Review: AC/DC – Rock or Bust
Columbia Records
All Access Rating: A-

AC/DC - Rock or Bust 2014

The engine that's powered AC/DC for more than 40 years finally broke down. Sadly, there may be no fixing him, at least to the point where he can function musically at optimum strength.

Dementia, among other degenerative health problems, forced Malcolm Young, one of the greatest rhythm guitarists in rock history, to sit this one out. A terrible tragedy, Young's departure robs the veteran Aussie hard-rock institution of its most propulsive element. Always locked in, Young spit out tough, infectious riffs like a machine and tenaciously tightened the screws on the band's hard grooves.

And yet, while his contributions were absolutely crucial in honing the band's sound for all that time, AC/DC doesn't skip a beat on Rock or Bust, the band's latest workman-like effort of driving, rollicking rock 'n' roll fun – nowhere near as dangerous or debauched as anything from the Bon Scott era, but still full of benign mischief. Stevie Young, Malcolm's nephew, fills his rather large shoes admirably, doing a more-than-passable imitation in matching his rich, gleaming, serrated tone and relentless groove.

All of this is not to say that Rock or Bust is some monumental achievement. The days of Powerage and Back in Black are long gone. For a band that prides itself on lean, taut songs played with ruthless efficiency and no-nonsense economy, the mid-section of Rock or Bust is rather flabby – the generic riffs and dragging pace of "Dogs of War" and "Got Some Rock & Thunder" indicating that perhaps AC/DC has let itself go to seed. Nothing could be further from the truth.

That old nastiness and lascivious charm emerges in "Sweet Candy," all hairy, slow-burning machismo and piercing Angus Young guitar leads, and a triple play of an infectious "Play Ball," the celebratory "Rock The Blues Away" and the stomping, ballsy title track offer bullet-proof hooks, gripping melodies and life-affirming power. Rock or Bust is compact, bold, potent and irresistibly lovable, a sermon from the mount on forgetting petty problems, having a good time and living on one's own terms delivered by a preacher in Brian Johnson who still sings a razor line every time.

And then there's good old Angus, ripping through biting, stabbing solos that always draw blood, as a blue-collar rhythm section plies its trade, drummer Phil Rudd swinging his drum sticks like two sledgehammers and always managing to keep perfect time. Rock or Bust is chock full of party anthems for guys going through mid-life crises who can't afford Porsches, as the fist-pumping "Rock the House" thunders and the cyclonic "Miss Adventure" gathers strength. Producer Brendan O'Brien pumps new life into the tried-and-true sound of a band that knows the end is coming – perhaps even sooner than they imagined, given Rudd's legal troubles and increasingly weird behavior. For those about to rock, AC/DC salutes you again, although maybe it's time we all salute them back. http://www.columbiarecords.com/
– Peter Lindblad

Hatriot: New centurions of thrash

Steve "Zetro" Souza puts Exodus behind him, looks ahead with Hatriot

By Peter Lindblad

Steve "Zetro" Souza of Hatriot

Steve "Zetro" Souza was there at ground zero. The Bay Area thrash-metal scene was exploding in the early 1980s, and Souza was right in the middle of a fiery musical conflagration, singing like demon for Legacy, the band that evolved into Testament, and recording their first demo with them.

"We thought every city had a scene like ours," said Souza. "Looking back on it in hindsight it was magical."

Three years after Legacy was founded, Souza came to a crossroads in his career. He was offered the chance to become lead vocalist for another Bay Area thrash outfit. He couldn't turn it down, and in 1986, he joined Exodus.

To his credit, Souza didn't just abandon his old Legacy mates. It was Souza who introduced them to his replacement, Chuck Billy. 

As for Souza, who's often been compared to AC/DC's Bon Scott, he was about to embark on an amazing thrill ride, with plenty of ups and downs. With Exodus, he sang on five records before the band disbanded, lending his uniquely evil, flesh-ripping caterwaul to 1987's Pleasures of the Flesh, 1989's Fabulous Disaster, 1990's Impact is Imminent, 1991's Good Friendly Violent Fun and 1992's Force of Habit. 

There have been other bands. Dublin Death Patrol, Tenet, AC/DZ – Souza's been with them all, teaming with Billy in Dublin Death Patrol. More than anything, though, Souza would like to see another project of his really take off, and that endeavor is the furious, all-consuming Hatriot, a band that includes his sons Cody (bass) and Nick (drums), and phenomenal young guitarist/composer Kosta "V,"  as well as second guitarist Miguel Esparza.

In April, Hatriot released its volcanic second album, the Massacre Records release Dawn of the Centurion, a burning slab of old-school thrash that sticks to the basics – made it fast, make it loud, make it devastatingly brutal and leave a beautiful melodic corpse. Hot riffs, charred black, hold hands with pummeling beats and crushing bass maneuvers, as scary, impassioned and crazed lyrics are recited in sinister fashion to those who cannot deny their dark thoughts. 

Recently, Souza talked about Hatriot's plans for world domination, the new record and his days with Exodus in this revealing interview. 

Hatriot - Dawn of the Centurion 2014

When you first formed Hatriot, what did you want to do with it and does Dawn of the New Centurion match that vision?

Steve "Zetro" Souza: I honestly wasn't looking to do a new band at my age, but I met Kosta Varvatakis and was so impressed with his guitar abilities that I felt this was something I needed to do. The world needs new guitar heroes and new rock stars, so I felt I needed to make another serious run in metal and help showcase this kid's talents. In that regard I'd say it definitely matches my vision. Dawn of The New Centurion has some of the best guitar playing in thrash metal, and what people need to know is all the music and arrangements come from Kosta. He is a f**king monster when it comes to thrash metal, and is the perfect writing partner for me. He creates the riffs, and I put words to them.

What do you like most about working with Kosta "V" and where does he rank with other guitarists you've worked with?

SZS: He is right up there with all the greats. I have been very fortunate to work with a lot of amazing guitarists in my career, and Kosta is right there with them. I think the biggest difference is back in the early days of thrash there were a lot less people doing it. In the early '80s when I was jamming with Legacy, I had Alex Skolnick and Eric Peterson on guitar, and they were f**king amazingly good.  Then in Exodus it was Gary (Holt) and Rick (Hunolt), who went down in history as a great thrash guitar tag team. Kosta is right there on their skill level, but now there's a shredder in every neighborhood in the world. It's not as big of a deal as it was in the early days. It's a lot more difficult to make a name for yourself. If it was still 1988, Kosta Varvatakis would be a household name in metal.  Hopefully he still will be in this day and age. He is certainly good enough.

Steve "Zetro" Souza, formerly of Exodus

In making this album, was there a point at which you thought, "This is really something special?"

SZS: I knew it was going to be special before we ever recorded the first note. The thing with Hatriot is we are constantly writing material and working on new stuff, so by the time we go in and record a record we have the material fully worked up and ready to go. At that point it's just a matter of executing it in the studio, and capturing the best vibe possible. I knew it was really special when we were doing the demo recordings and pre-production. 

Vocally, was this album different for you in any way?

SZS: For the most part it was business as usual for me. I have a signature sound that fans expect from me, so I don't try and stray from that too much, but there are some more brutal vocal parts at times on this record. We experimented with some gang shouts and death-metal vocals just to add dynamics.  Then, of course, I do a lot of screaming when the song calls for it. It's all about what the song needs to be effective.

"Superkillafragsadisticactsaresoatrocious" and "Silence in the House of the Lord" are really heavy, hard-charging songs, as is "World Funeral." That's probably my favorite section of the record. Is there a particular sequence of songs on Dawn of the New Centurion where they just seem to fit together really well for you?

SZS: I did all of the sequencing for the album, as I do on all the records. I just want the album to have a flow to it, with dynamics, so it keeps the listener on edge. Lots of albums these days are so predictable, and it makes it where the listener gets bored with the record after one or two listens. I like the Hatriot records to have those dynamics that made the early thrash records so great. I think we achieved that with this album.

Steve "Zetro" Souza with son Cody

Hatriot is a bit of a family affair. How do you make that work?

SZS: It's really not as complicated as people think. My sons grew up around the music business, so they have an idea as to how things work. I am dad when I need to be with them, but most of the time we are band mates and good friends, the same way any other band operates. Most dads would give anything to have a common interest with their kids, and the fact that I get to be in a band with two of mine makes it all worth it. The only downside is we don't really get a separation between business and family, but for the most part having them in the band is all positive. I'm really enjoying it.

Lyrically, what topics, including gun rights, did you want to address on Dawn of the New Centurion?

SZS: I have always been drawn to the darker side of life, and that's where my lyrics go every time. On this record I have songs about corrupt world leaders, a "cabin in the woods" killer, the end of the world, and the entire human race going insane. There's plenty more in there, too. It's a sick and twisted record, the same way our debut record was lyrically. It's a f**king heavy metal album!

What made the early Bay Area thrash scene so special, especially when you started with Legacy, and do you ever think something like that will happen again?

SZS: It will never happen again. People try to recreate that time, but if you weren't there you missed it.  It was a very special time in heavy metal history because it was a natural thing, and not fabricated. It was not manufactured by the record business and exploited at that point in time. The scene in the Bay Area at the beginning was a very tight knit one. All the bands would support each other, and there was something happening every night of the week. It wasn't just a weekend thing. You might go see Exodus do a show on a Tuesday night, and the Metallica guys would be there hanging out. That kind of thing happened all the time. So it was a very exciting era for thrash, even though we didn't realize it at the time.

Reflecting on your time in Exodus, was it a difficult decision to join the band?

SZS: To be honest, I really had to think on it for a few days when I was asked to join in 1986. I had so much time and energy invested in Legacy that I hated to throw that all away, but at the same time, Exodus was on another level in the eyes of the metal scene. They had a record out and people around the world knew of the band.So I knew it was a great opportunity for me, and I decided to go for it. The fans didn't embrace me at first, and it was a lot of work to win them over. It wasn't until the success of Fabulous Disaster that I really felt like Exodus was my baby. By that point the fans were on my side.

Artistically or career-wise, what was the most gratifying experience you had with Exodus?

SZS: I know it sounds cliche, but the whole ride was amazing, even the bad times. I wouldn't trade it for anything. For specifics I'd say the "Headbangers Ball" tour that we did with Anthrax and Helloween was a definite highlight. The tour we did with Black Sabbath was amazing because I became friends with Ronnie Dio. How fucking metal is that? The most gratifying overall would be the tour cycle for the Fabulous Disaster record. We were full-fledged rock stars at that point. Media hounded us and fans were rabid. It was a whirlwind, and we had amazing shows during that record cycle. That was definitely the peak of the Exodus success during the glory days of thrash.

In what ways have your experiences with Hatriot mirrored those you had with Exodus and in what ways are they totally different?

SZS: Similarities? For starters there is the youth factor. The ages of the band guys in Hatriot ranges from 19 to 25. You can add two of them together, and it doesn't even make one of me! So that's a similar thing to the early days in Exodus. We were young and hungry for it back then. Nobody was a lazy rock star at that point. We also had a cycle in Exodus that we use in Hatriot: make a record, then go on the road, then immediately do another record, then back on the road, etc. With that method we never lose momentum. The biggest differences between the two bands are big ones. First off, there's no real music industry anymore. Not like the big machine of the old days. Everything is independent now, which is a cool thing, but there's not a lot of resources like back in the day. There's no buying on tours and getting on MTV. It's not a huge thing like it was. Another big thing is the technology of today.  From recording albums to networking with fans on social media, technology has leveled the playing field. There's no half million dollar records now. We do records for ten grand. There's no passing out flyers outside a club. It's all done on Facebook. I hate a lot of that sh*t, but that's where we are today as a society. 

What are your hopes for Hatriot?

SZS: I hope to make this thing as big as it can be. My days in Exodus will always be wonderful memories for me, but I am hoping to add another chapter to the book with Hatriot. I don't want to just be known as the "former singer of Exodus." I want this to stand on its own. I'm 50 years old, but I have a lot more metal left in me.

Album Review: Cactus – Live in the U.S.A./Live in Japan

Album review: Cactus – Live in the U.S.A./Live in Japan

Rocker Records LLC

All Access Rating: A-

Cactus - Live in Japan 2013

Around for only a short while in the early '70s, Cactus never quite lived up to the expectations that come with being called the "American Led Zeppelin." Still, they left their mark with a greasy. blues-infused mix of hard-hitting proto-metal and full-throttle boogie-rock that served as an archetype for the likes of AC/DC, Aerosmith, the Black Crowes, Montrose and Van Halen to follow.

Always a scintillating live act that attracted big crowds during their 1969-1972 run, despite the lack of a hit album or a smash single, Cactus was one of those bands that everybody figured called it quits too soon. And maybe they're right, considering the searing rock 'n' roll heat coming off two live releases – available separately as digital downloads from drummer Carmine Appice's new label, Rocker Records LLC – from a reunited Cactus that, sadly, did not include deceased singer Rusty Day.

Cactus - Live in the U.S.A. 2013

Revived in the mid-2000s, Cactus played B.B. King's in New York in 2006 – captured on Live in the U.S.A. – as a warm-up for their triumphant appearance at the Sweden Rock Festival. It being the first time Jim McCarty, Carmine Appice and Tim Bogert – with a new lead vocalist in tow – had performed as Cactus since 1972, Live in the U.S.A. documents their return in gloriously ragged fashion. 

It's a rough-and-tumble recording, lending a sense of closeness to a sweltering atmosphere that seems as hot and sticky as any down-South juke joint – one guy can even be heard yelling out, "I can die now." Cactus does not disappoint him. This is raw stuff, with some of the nastiest guitar licks McCarty has ever produced, as Cactus, propelled by the rhythmic rumblings of Bogert's bass and Appice's drums, struts like Mountain through "Muscle & Soul" and "Evil" with a rugged bluesy drawl that's also evident in the huffing and puffing they do in the harmonica-laced "Brother Bill." They kick out the jams with "Let Me Swim," this version sweating bullets and exploding like Zeppelin's "Rock and Roll." Expressed with the confident swagger of men who realize they have nothing left to prove to anybody, their gnarled, slowed-down readings of "Long Tall Sally" and "Rock and Roll Children" are tantalizing, allowing them to mop their brows before diving headlong into the frenzied, blustery boogie of Mose Allison's "Parchman Farms," where Cactus lets it all hang out.

Bogert had retired by the time Cactus played Japan in 2012. Pete Bremy, his replacement, fills in admirably on a Live in Japan set that has a cleaner, more professional sound, but is no less combustible. "Swim" is just as feverish here, and throughout the performance, Appice's drums are punishing, McCarty's guitars are blazing and Bogert thunders away on the bass. A little bluesier, as Cactus indulges in classy renderings of "Alaska" and Willie Dixon's "You Can't Judge a Book (By Looking at the Cover)," Live in Japan finds Cactus exploring stoner-metal moods and sounds on a particularly hazy "Electric Blue" and then gnawing on the bones of a simmering pot called "One Way or Another" that threatens to boil over but never does.

Two rollicking concerts, captured at different points in the Cactus reunification, Live in the U.S.A. and Live in Japan see this reinvigorated band, which once arose out of the ashes of Vanilla Fudge, scratching and crawling its way toward fully realizing what they set out to do. The journey isn't over.
– Peter Lindblad

CD Review: Anthrax – Anthems

CD Review: Anthrax – Anthems

Megaforce

All Access Review: B+

Anthrax - Anthems 2013

The usual mosh pit at an Anthrax show is ramping up its cyclonic fury in anticipation of the raging sonic back-alley brawls Scott Ian and company are about to start. Perhaps they’ll launch into “Madhouse” or “Indians” next or any of the other blazing thrash-metal classics they have at their disposal. And then, those crashing bodies in riotous motion come to a sudden and complete halt, the reason being that Anthrax has just launched into a Journey cover of all things.

Quizzical looks are directed at the stage, as Journey’s “Keep on Runnin’” flies out of their Marshall Stacks. Is that Joey Belladonna singing or Steve Perry? It could be either of them; it really could, as Belladonna’s wail climbs to heights few can reach. Those who’ve heard Anthems, the new Megaforce eight-song EP of classic-rock covers and two versions of the epic, slow-burning “Crawl,” off their sensational Worship Music album, would be prepared in case of such an event and not be thrown by it.

Like a raging bull that sees nothing but red, Worship Music bucked and contorted its massive, muscular bulk in such a way as to make it almost impossible to ride. Arguably the best metal album of this century, the last record from New York City’s most aggressive thrash-metal street gang was a relentless attack from beginning to end. The hurricane-like intensity, the dizzying dynamics, the simmering tension and high drama, not to mention the impassioned vocals of the prodigal son Belladonna – all of this nuclear energy was barely contained within the reactor known as Worship Music, until it melted down so spectacularly in 2011.

Considering how powerful and ferocious Worship Music was, and what unexpectedly strong melodies and what bold, high-impact production it had, Anthrax has earned the right to a fun indulgence like Anthems. Unexpectedly, Anthrax plays it straight on Anthems, with vigorous workouts of Rush’s “Anthem,” Thin Lizzy’s “Jailbreak” and a crawling prowl through AC/DC’s “T.N.T” not deviating much from the originals; yet, in typically enthusiastic fashion, they inject each with fresh energy and lively performances. And their playing is more impassioned on “Keep on Runnin’” and Boston’s “Smokin’” – which has a particularly rowdy atmosphere – than on any of the others, as the pulse of both covers absolutely races.

Clearly, they cherish these songs, and they’re so respectful of them that they don’t take any unnecessary chances in their handling of these treasures. It is surprising, though, how they treat these Anthems with kid gloves and avoid giving them a good thrashing. Ultimately, what Anthems proves is that, if they wanted, Anthrax could simply be a great no-frills hard-rock band, especially with Belladonna on the mic. His vocals are astonishingly clear and melodic, fitting the material like a glove. And if Geddy Lee ever chooses to relinquish his singing duties with Rush, Belladonna could step right in and the Canadians would not miss a beat, as evidenced by his piercing treatment of “Anthem” from 2112.

Why Anthrax chose to give the expansive, chugging epic “Crawl,” one of the heaviest songs off Worship Music, a makeover is anyone’s guess. Taking a stab at a remixed version, Anthrax fleshes out “Crawl” with strings, giving it a darker, moodier and more menacing character. Undoubtedly a labor of love for Anthrax, Anthems does no harm to the songs of their heroes, and the thicker, heavier groove they give to “Big Eyes” by Cheap Trick improves the original. Could they have made less obvious choices? Maybe, but then, this is what Anthrax wanted, and had they picked deeper cuts, that pure joy and unabashed eagerness that is so prevalent here might be tempered. And that would be a shame.
–   Peter Lindblad

CD Review: Saxon – Sacrifice

CD Review: Saxon  – Sacrifice

UDR/EMI

All Access Review: A-

Saxon - Sacrifice 2013

James Cameron’s “Titantic” had star power, amazing special effects and a budget that rivaled the gross national product of some small countries. “Made in Belfast,” Saxon’s blue-collar tribute to those who put their blood, sweat and tears into building the doomed luxury liner, was recorded for their rampaging new album Sacrifice with considerably less money and a leading man in Biff Byford who looks more like a motorcycle club president than Leonardo DiCaprio. And yet, it’s “Made in Belfast” that’s more deserving of an Oscar.

In comparison, Cameron’s interminably long film has nothing on the widescreen epic that serves as the awe-inspiring centerpiece of Sacrifice, Saxon’s third killer album in a row out now on the UDR label. As good a place to start with Sacrifice as any, “Made in Belfast” is an interesting anomaly for Saxon. Dramatic and devastatingly heavy at times, with a crushing, knee-buckling chorus as damaging as the iceberg that tore a gigantic hole into Titanic’s supposedly indestructible hull, “Made in Belfast” also sweeps across the Irish countryside on wheeling Celtic mandolin courtesy of Paul Quinn. And the aural landscape Saxon paints is breathtaking.

An experiment that works astonishingly well, against all odds, the contrast of punishing heavy-metal riffs, soaring twin-guitar helixes, and lovely folk accents is a refreshing change for Saxon, but don’t expect them to make a habit of it. Fascinated by history, just as Saxon was when they penned their own examination of the Kennedy assassination in “Dallas 1 p.m.” some thirty years ago, the New Wave of British Heavy Metal vanguards go old school and burn up the asphalt on “Warriors of the Road,” a fireball of delirious metal energy that’s a throwback to Saxon’s early ‘80s work. The bruising, hard-nosed contemplation of modern-day frustration that is “Standing in a Queue” is just as nostalgic, although it seems to pine just as much for the simple, but brutally effective, hooks of Bon Scott-era AC/DC as it does for their NWOBHM heyday.

Still hungry for new adventures, however, Saxon displays how enamored they are with the explosive, riotous sound of thrash on Sacrifice by raining down torrents of serrated guitar noise – designed by Quinn and his partner in crime Doug Scarratt – in the violent, feverish mosh pit of a title track. And they seethe with rage on the menacing “Wheels of Terror,” but Saxon hasn’t given up on melody, a crucial element of the classic Saxon sound found on “Guardians of the Tomb,” the bruising workingman anthem “Walk the Steel” and “Stand Up and Fight,” all of which feed on the raw fury and searing speed of Exodus or Testament.

The limited deluxe edition of Sacrifice is paired with a bonus disc of extras that find Saxon re-imagining a handful of their most revered classic songs – among them, a majestically orchestrated version of “Crusader,” lush acoustic takes on “Requiem” and “Frozen Rainbow,” and a frenzied “Forever Free.” Still, it’s the hot, molten core of Sacrifice and its brazen “go for the throat” attitude that ought to send old fans and new converts alike into paroxysms of rock ‘n’ roll ecstasy. Saxon's not dead yet. In fact, they seem to found metal’s fountain of youth, as Sacrifice burns with a relentless intensity – no ballads were allowed here – that belies their age.
–    Peter Lindblad 

DVD Review: Santana - Greatest Hits: Live at Montreux 2011

DVD Review: Santana - Greatest Hits: Live at Montreux 2011
Eagle Rock
All Access Review: A-

From birth, the worldly Santana has been a band without borders, trying every musical style under the sun at least once in an attempt to concoct exotic genre blends that could appeal to a wide range of tastes. Woodstock organizers undoubtedly found common ground with Santana, both sharing an almost reckless sense of adventure and displaying little fear of the unknown. They must have thought highly of the San Francisco ensemble’s earthy, Latin-flavored fusion of jazz, rap, African music, blues and rock, because they decided to take a flyer on this unproven commodity and invited them to perform at an event they must have known, deep down, would make history.

It was just another in a series of risky steps that somehow worked out in the end for the rag-tag revolutionaries who, despite their “wing and a prayer” planning, managed to pull it off, as Woodstock, a festival that seemed on the verge of a major catastrophe every single day, maintained an admirable certain sense of civility and order. Even many of the initially suspicious townspeople came to respect the marauding invaders that just wanted to peacefully assemble, get high and listen to some of the most exciting music of the day. Certainly, Santana did its part to soothe the savages, this horde of hippies occupying a small town in upstate New York that just wanted to be left alone. It was the coming-out party to end all coming-out parties, as the scintillating Santana mesmerized the masses with a frenzied, euphoric performance that spoke multiple musical languages fluently.

Where Woodstock was a one-off event of extraordinary social significance, the long-running Montreux Jazz Festival has always been just about the music, and Santana has been a fixture at the event for years. It’s been the scene of some of their greatest concert triumphs, one of those being a vibrant, life-affirming 2011 spectacle of dazzling musicianship – not to mention showmanship – that was a colorful feast for the eyes, the ears and the soul. And the new two-disc, 204-minute DVD from Eagle Eye Media that captures the thrilling night on video is an all-you-can-eat buffet of Santana’s greatest hits and a few unexpected surprise

Take the joyous hip-hop version of AC/DC’s “Back in Black” that Santana segues into on Disc One after the melodious improvisation and red-hot firecracker beats of “Spark of the Divine” and the glorious Zappa-esque cacophony of horns, organ and crazed guitar squalls – conducted by a bemused Carlos – in “SOCC” dies down. The manic, incredibly busy instrumentation, always seemingly one step away from going completely off the rails, provides a graffiti-splattered backdrop for Santana’s searing guitar leads and sets the tone for a magical evening, one that sees Santana’s 11-member band cook up a wondrous mix of twilight moods and smoky atmospheres in “Singing Winds, Crying Beasts” that drift lazily into a spellbinding version of “Black Magic Woman.” Dancing his way into the summery “Oye Como Va,” Carlos, clearly enjoying himself, rips off one of the many effortless, mind-blowing guitar solos of his that seem to speak directly to God. Watching close-ups of his fluid, expressive playing here is an absolute pleasure. From there, the band’s reworking of Santana’s more recent hit “Maria Maria” – introduced by Carlos’s gorgeous Spanish guitar picking – is both achingly beautiful and an exuberant celebration of Hispanic pride and culture, while “Foo Foo” and “Corazon Espinado/Guajira,” which features wife Cindy Blackman Santana’s powerful, dynamic drumming, are sun-splashed block parties of hip-swaying Latino dance music.

And we’re not even on Disc Two yet, where Santana’s band navigates the tricky instrumental currents of “Evil Ways,” “A Love Supreme” and Cream’s “Sunshine of Your Love” in succession with wild abandon and passionate precision. Welcoming Susan Tedeschi and Derek Trucks to the stage, Santana and company give a tender, heartfelt reading to the bluesy “Make Somebody Happy” before launching into a full-on, righteous jam on “Right On Be Free” that gives all three guitars extensive room to solo brilliantly. Moving on, Santana slides into “Smooth,” and the crowd-pleasing Sangria of flowery pop hooks and sultry melodies leaves you thirsting for more.

The sound is spectacular, and the visuals, while not groundbreaking, are certainly vivid and professionally shot with an interesting variety of camera angles. But, it’s the personality, open-mindedness and skill of Carlos along with the unity and free-flowing instrumental voodoo of his band that wins the day. An inspiring interview with Carlos and a warmly engaging talk with Cindy are paired with enjoyable behind-the-scenes footage to give an intimate glimpse into the jet-setting world of Santana, while extensive liner notes tell of Santana’s historical and present genius fill out a package that is absorbing and intoxicating.

-            Peter Lindblad