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This is a strong Black Sabbath album, although it shows the slow decline from the career peak of "Paranoid". This was their earliest which I did not hear until I started buying CDs instead of records and tapes.
The songs on "Vol. 4" are all over the place in quality. On the debut, there were multi-part song suites. On "Paranoid", a couple songs were given unnecessary double titles, like they were 2 distinct songs each. On this album there are some tracks which really are 2 songs jammed together. "Wheels of Confusion/The Straightener" is a good, heavy opener, the latter part a fast, driving instrumental. The excellent "Tomorrow's Dream" is a more radio-friendly tune, the heaviness alternating with a mellower, melodic sound. I've tried for years to like "Changes". I did, briefly, after hearing my brother's "We Sold Our Soul for Rock 'n' Roll", because of the novelty of a ballad from Sabbath. What's wrong with this song? It's not that it's a ballad, the band has done others which worked, including "Solitude" just the album before. Other metal groups have had good mellow tunes, they aren't poison to the genre. It's not Ozzy Osbourne's fault, he has sung ballads well. It's not the song itself. Check out Charles Bradley, "The Screaming Eagle of Soul" for what can be done with it. It's that annoying, indolent, insolent piano. Those notes seem to say, "Yes, as a matter of fact, this IS all that I am going to play!" Then comes "FX". I looked up the definition of "album filler" and it read, "'FX' by Black Sabbath." If all it takes is making strange noises, I would be a good guitarist. Things are going downhill; we need a superhero to save this album. How about a "Supernaut"? This awesome, heavy tune is a great deep track that casual fans might miss, like "Into the Void" from "Master of Reality". Then comes "Snowblind". This crushing, relentless song is among the band's 5 best. Guitarist Tony Iommi and drummer Bill Ward really shine on this track. This is no "Sweet Leaf Part 2". Yes, the band was using a lot of cocaine, even thanking "The COKE-Cola Company of Los Angeles" in the liner notes. This is no party song, but an acknowledgement of what the drug was doing to the user. "The sun no longer sets me free/I feel the snowflakes freezing me." "Cornucopia" is a heavy tune, running faster at times. Then comes "Laguna Sunrise", a beautiful instrumental. If only Tony had played acoustic guitar like this on "Changes". "St. Vitus Dance" is faster and not as heavy as most Sabbath songs. The lyrics are different for the band, being romance advice to a friend. "Under the Sun/Every Day Comes and Goes" is a good closer. The first is heavy, then speeding up for the "Every Day..." part, before returning to "Under the Sun".
Tony dominates this album. You have to listen to detect Geezer Butler's bass.
This has a lame title and crappy cover. It should be "Snowblind", with a glazed-goggled skier sprawled in a chaise lounge. But "Vol. 10" would be great for metal!

New England's debut is an excellent album which should have been much more successful. "Hello, Hello, Hello" is a good intro to the album and to the band's sound. Then comes the soaring "Don't Ever Wanna Lose Ya". This song should have gone all the way to #1, taking the group to stardom by itself. The vocals are good, but the guitar, synthesizer, bass and drums are perfect. It deserves to be on any list of the greatest rock songs ever. "P.U.N.K." is the most different from the others, with a New Wave sound more like a cross between the Vapors and the Cars. Many of the other songs have a similar style, strong on both keyboards and guitar. Band comparisons are always tricky, but I would say the closest match would be Styx. There is really no filler on the album, from the dreamy "Shall I Run Away", through the driving, upbeat, "Alone Tonight", to the grand epic "Nothing to Fear". "Shoot" rocks the hardest and fastest, while "Turn out the Lights" is powerful and elegant, with a guitar lead which cuts through in a way reminiscent of the earlier "Don't Ever Wanna Lose Ya". The Last Picture Show" is about the life of rock musicians, and almost lends a concept to the album, as if it represents the flow of the night of a concert. "Encore" sounds like E.L.O., with a hint of "A Day in the Life" thrown in.
I bought the cassette of this years ago, for "Don't Ever Wanna Lose Ya", and was pleased with the whole album. I even remember seeing a video of the song in the primordial days before MTV. It took me a long time to find it on cd, and I thought it was the only work the band ever put out. Now there have been more studio, live and collections released, so I see I have some treasure hunting to do....
I could throw favorable adjectives and adverbs at this album for quite a while, but in summary it is a lost gem full of melodic, enjoyable songs, and you should give it a spin.

This collection rounds up the tracks left off the 4-disc 1990 set. This may be presented as the least essential third of Led Zeppelin's repertoire, but for being "weaker" songs they sure do sound good.
"Baby Come on Home" was a previously unreleased rarity. This is a very good blues tune with great vocals from Robert Plant and organ playing by John Paul Jones. "I Can't Quit You Baby" is the original studio version from the debut album (the first collection had the live take from "Coda"). The opening "Good Times Bad Times" is the most obvious hit which was omitted from the prior set. Other highlights include "Living Loving Maid", "The Rover", "Tea for One", "The Lemon Song" "Four Sticks" and "Hot Dog".
The discs come in plastic jewel boxes with the same image tinted differently, the shadow of the tail of an airship on a barren field. The 50+ page "booklet" has a long essay about the band and these songs, many photos of the group and memorabilia, and notes on the tracks. This all fits in a stout cardboard box.
While it may not have as many of the band's most famous songs as the first collection, "Led Zeppelin Boxed Set 2" shows that the greatest rock group ever had a tremendous quantity of high-quality music.

The Power Station was an Anglo-American supergroup named for the New York studio they recorded in. Their self-titled debut is a masterpiece blending hard rock, New Wave and R&B. 2 of the unrelated Taylors from Duran Duran, Andy on guitar and John on bass, joined the sharply dressed veteran vocalist Robert Palmer and Chic's rhythm meister Tony Thompson. The core of the group was aided by backing vocalists, keyboardists, brass players and even the Taylors' "brother", drummer Roger (no, not that one) on percussion. The format was incorporated into the title of the release, so "The Power Station CD" replaced my original cassette and was among the first I bought. The album is ALL KILLER NO FILLER and an excellent example of 80's rock. While it may be anathema to the grim folks who advocate "challenging" music, The Power Station delivered great, catchy tunes. Pounding drums, smooth vocals, sharp guitar, sinuous bass, gleaming synths and polished brass make for a powerful soundscape. The band members work very well together, but there are certain songs where each stands out.
Tony's drums begin the excellent opening hit "Some Like it Hot". This urgent, pounding tune is one of the best 2. The thumping "Murderess" is a slower groove which employs studio tricks. The sensuous "Lonely Tonight" is mellower, but neither this nor any of the other tunes is bland. The insistent "Communication" was supposedly a single, but I never heard it on the radio. I always thought T Rex's "Get it on" was a great tune, but I like The Power Station's update even more. John really shines on this one. I enjoy the quirky lyrics on the horn heavy "Go to Zero": "I do this, and I do that/ And when it's cold I wear a hat/ It's mostly cold/ It pays to advertise they say/ I'll keep my hat on anyway." Andy's guitar is especially good on "Harvest for the World", and he alternates vocals with Robert. The beautiful closer "Still in Your Heart" is Robert's turn. Atmospheric keyboards support his romantic croon, while an excellent sax solo tops it off.
I never cared much for John's avant-garde cover concept, but I suppose it fits the vibe of the music.
I knew that Robert returned to his solo career shortly after this, and that he was replaced by Michael Des Barres. But now I am tempted to get their reunion album and the expanded version of this one, which includes Michael's only song with the band, from the Arnold Schwarzenegger movie "Commando".
"The Power Station" is an excellent blend of several genres of 80's music. Energize your collection and set all switches to full.

This is the last of the trio of essential albums from the Southern rock standard bearers, along with "Pronounced Leh-nerd Skin-nerd" and Second Helping". Skynyrd finally replaced departed Yankee guitarist Ed King with Okie guitarist/vocalist Steve Gaines. His playing and writing helped revitalize the band and provided the original incarnation with a strong last statement.
The cynical, tongue-in-cheek road story "What's Your Name" makes a great start, followed by one of their hardest rocking songs, "That Smell". Warnings about drink and drug excess were a recurring theme for the group, even if they often didn't follow their own advice. That's a powerful one-two punch after which comes the romance gone bad ballad "One More Time". Skynyrd kicks up the tempo again for the boogie tune "I Know a Little", and the high-energy "You Got That Right". Steve joins vocalist Ronnie Van Zant at the microphone for this track. I'm always in favor of bands with multiple singers using them as often as possible, it helps to keep the sound fresh and interesting. "I Never Dreamed" is a beautiful ballad about Ronnie's new-found appreciation for the importance of wife and family. Their cover of "Honky Tonk Night Time Man" is another great upbeat jam. Alas, even the best Skynyrd albums always have one clunker. The closing "Ain't No Good Life" is the only filler on this album. That's a shame for several reasons. It is the only song Steve sang solo, and it doesn't make a good finish to the album ("I Never Dreamed" would have been perfect for that). But it's also the last song heard before the plane crash that grounded the band for years.
My old LP has the censored cover that was made after the tragedy. The CD I own has the original image of the band surrounded by flaming buildings. Steve looks eerie standing in the center, eyes closed, with fire moving around his face and shoulders. Guests include once and future Skynyrd members Ed King, Rick Medlocke (credited as "Medlock") and Greg Walker. There are 5 bonus tracks which don't add much: alternate takes of "You Got That Right" and "I Never Dreamed"; "Georgia Peaches" and "Sweet Little Missy" which were dropped from the album, and "Jacksonville Kid", which takes the music from "Honky Tonk Night Time Man" and changes the lyrics to be more about Ronnie. He tells how when he returns to his hometown, he doesn't feel welcome and encounters nothing but disco and high-heeled boys. There are photos and an essay about the band and album.
"Street Survivors" is an excellent example of Southern rock. Lynyrd Skynyrd was playing at their peak and went out strong. It would be a long time before the free bird would fly again.

This is a fun album from New York's Blue Oyster Cult. It starts with one of their best, but less well-known songs, "Black Blade". This excellent hard-rocking track tells the story of a reluctant warrior and the magic sword which is taking control of him. The use of a vocoder adds to the otherworldly feel. Next up is another good and unusual song, "Monsters". This track goes back and forth from pounding rock to jazzy, experimental sections featuring saxophone from guest Mark Rivera. Another highlight is the clever "Marshall Plan". This is not about rebuilding a war-ravaged Europe, but about a young man using rock music to reconstruct his life. It includes a nod to "Smoke on the Water" and a cameo from record mogul/TV host Don Kirshner.
The other songs are enjoyable and vary from the energetic "Hungry Boys" to the madness of "Lips in the Hills" to the mellow, cool bass of "Deadline". "Unknown Tongue" is an atmospheric closer which mixes sensuality and the occult to create a mysterious, haunting finale to the album.
The freaky album cover painting and inside illustrations show the band's twisted humor. The captions for the illustrations are full of in-jokes for B.O.C. fans.
Listeners who enjoyed top Blue Oyster Cult albums like "Secret Treaties" and "Spectres", or who want to snag good tunes like "Black Blade" should unearth this fossil from the Analog Era. This dinosaur roars with power and eloquence.

I first heard this album paired with "Agents of Fortune" on a cassette. I long considered them to be of similar quality: a couple of hits and a lot of filler. But on listening to this album again, my opinion of it has risen. I don't agree that "Agents of Fortune" was a triumph and "Spectres" a disappointment. This album rivals "Secret Treaties" for consistent quality. The goofy "Searching for Celine" is the only filler, and even it features some good four and six-string work.
"Godzilla" is a big, monster track, about a big monster which leaves tracks across Japan. As loud and unstoppable as a kaiju on the rampage, it's one of B.O.C.'s 5 best songs. As for "I Love the Night" and "Goin' Through the Motions", these might have been hits in your neck of the woods, but I never heard them on the radio. But that does not take anything away from either one of them. "I Love the Night" is a relaxed, cool and beautiful track. "Goin Through the Motions" (later covered by Bonnie Tyler) had everything a hit single should need, like a catchy melody and great playing. Speaking of which, "Fireworks" certainly deserved to be a hit single for the same reason. "R.U. Ready to Rock" is a good Cult party tune, and "Golden Age of Leather" is enjoyable, especially the awesome bridge. "Celestial the Queen" is a good upbeat song, while "Death Valley Nights" is another spooky track ("the horror of space"). Ending the album, "Nosferatu", based on the German movie adaptation of the novel "Dracula", is even more ominous. ("Rats in the hold, my crew is dead, I fear the plague"). They are good examples of the horror and science fiction themes in many B.O.C. songs.
There are 4 bonus tracks on the CD: "Night Flyer", "Dial M for Murder", "Please Hold" and "Be My Baby" were all rightly left off the original release. The first 3 are generic rockers. With its pounding drums, The Ronettes "Be My Baby" is actually a sensible choice for a heavy metal or hard rock band to cover. Although it works better than KISS's attempt at "Then She Kissed Me", the original still rocked harder.
The insert has a few pictures and a brief essay on the album.
Listeners wanting to explore Blue Oyster cult more deeply should try either "Secret Treaties" for their earlier barroom boogie or "Spectres" for their later pop-metal period.

I used to consider "Gimme Back My Bullets" to be Lynyrd Skynyrd's weakest album, with only the title track being a hit. But it really has more good album tracks and less filler than "Nuthin' Fancy". They were a sextet for this album, Yankee guitarist Ed King having become fed up with the chaos in the band and clashes with singer Ronnie Van Zant.
The hard rocking title track is the biggest highlight. Although the "bullets" are a reference to record sales charts, the band had to stop playing the song live because fans would throw ammunition onto the stage. "Every Mother's Son" is a laid-back song where Ronnie reflects on how success is fleeting for everyone. "Double Trouble" is a highlight where he admits that he can't stay on the straight and narrow. And it "seems to me" that Molly Hatchet was influenced by this song when they wrote "Bounty Hunter". Two good mid-paced songs are "Searching" and the cover of J.J. Cale's "Same Old Blues". "Cry for the Bad Man" is a dig at a former manager. "Roll Gypsy Roll' is the only song I would call filler, but I don't care much for "Trust". The music is alright, but the lyrics are paranoid and misanthropic. Even for a band which has songs about violence, alcohol and drug addiction, this song is DARK. It sounds like the late-night thoughts of a man with a bottle of whisky in one hand and a revolver in the other. But the album is closed out nicely by "All I Can Do is Write About it", which is about urban sprawl. Like Ten Years After's "I'd Love to Change the World", Ronnie admits that he can't solve the problem himself, he can only tell others about it. It's refreshing modesty in a time when celebrities routinely lecture experts, world leaders and the general public about what must be done on various issues.
A different group of back-up singers, The Honnicutts, performs on 2 songs. There are 2 bonus live tracks on the CD. The booklet has a few pictures and a brief essay about the album. Underneath the disc the back cover image is repeated, but there is a woman standing with bassist Leon Wilkeson, although she was airbrushed out of the original photo!
Although not Skynyrd's best, "Gimme Back My Bullets" contains plenty of good Southern rock. So pick it up and help the boys reload their album sales.

After the 70's heyday of Southern rock, most of the bands broke up or faded away. The exceptions, such as 38 Special and Tampa's The Outlaws, generally changed to a more mainstream rock sound.
"Los Hombres Malo" is an excellent album from the group's later period, when they were a quartet including Freddie Salem as one of the guitarists/vocalists. The blistering "Don't Stop" leads off. This was a minor hit and is probably their heaviest song. It certainly has the "rock", and "Foxtail Lily" has the "roll". While The Outlaws earlier hit "Riders in the Sky" sounded like a stampede of cavalry, this song makes you imagine an agile horse trotting and leaping about the countryside. Rock, then roll, then soaring melody: the trio of best songs is concluded by "Rebel Girl". While the original by Survivor was good, this is the definitive version, and had all the makings of a big hit. Have you seen her?
There are no weak tracks on the rest of the album. "Goodbye" is a cowboy story, and "Back from Eternity" is an epic in that vein. "Won't Come Out of the Rain" is mellower rock with female backing singers. "Running" is a mid-paced song with vocals full of sad longing. "Easy does it" is an upbeat jam. "All Roads" is a grand finish.
With a style like a cross between 38 Special and ZZ Top, "Los Hombres Malo" should appeal both to fans of Southern and 80's rock. These bad men make good music.

Jacksonville's Lynyrd Skynyrd cook up another serving of tasty Southern rock on one of their 3 essential albums. (The others being "Pronounced Leh-nerd Skin-nerd" and "Street Survivors").
"Free Bird" is not on the menu, but could I tempt you with some hot "Sweet Home Alabama"? Skynyrd's second-best song is a Southern anthem (co-written by Yankee guitarist Ed King). It was intended both as a thank you to the musicians at the Muscle Shoals studio and to answer Canadian Neil Young's criticism.
There are many other delicious courses. "Workin' for MCA" is a great, driving tune, and one of the best and funniest songs about the music industry. In a similar vein, on "Don't Ask Me No Questions" singer Ronnie Van Zant just wants to relax when he goes home from recording and touring. "The Ballad of Curtis Loew" is a tribute to the bluesmen who created the music which inspired the band and features some slide guitar from Ed. "Swamp Music" has a funky groove and fast picking. The hard rocking "The Needle and the Spoon" is another of the group's anti-drug warnings. The cover of "Call Me the Breeze" is a great workout for the guys, especially guitarist Gary Rossington and Skynyrd's secret weapon, Billy Powell. All the bandmembers, especially Ronnie and the guitarists, are rightly revered. Be he is the most underrated rock pianist, and possibly the finest musician in the band. The only bit of gristle that sticks in your teeth is "I Need You". This slow tune isn't too bad, but it really never goes anywhere, and takes too long not getting there.
There are 3 bonus songs on the CD I have. The somber "Was I Right or Wrong" has appeared on several collections, including "Skynyrd's First: The Complete Muscle Shoals Album". There is the single version of "Don't Ask Me No Questions" and "Take Your Time". This song was the B-side to both "Sweet Home Alabama" and "Don't Ask Me No Questions". (Not very kind to anyone buying 45's in 1974). There is an insert with a few pictures and some text about the band.
"Second Helping" is not re-warmed leftovers. It is a fine feast of Southern cuisine. Don't be late for dinner.