METAL ICON KAI HANSEN ANNOUNCES NEW SOLO ALBUM BORN WITH A HAMMER. ARRIVES SEPTEMBER 18 VIA EARMUSIC
Kai Hansen is one of the defining figures in heavy metal.
As co-founder of Helloween and founder of Gamma Ray, he shaped power metal into a global force and created a sound that continues to drive the genre today.
Now, Hansen returns with Born With A Hammer, his first solo album since Kai Hansen & Friends’ XXX – Three Decades In Metal, is set for release on September 18 on earMUSIC.
Raw, energetic, rebellious and unmistakably personal, Born With A Hammer brings together every side of Hansen’s musical identity. Across 10 songs, the album moves between powerful heavy metal, punk attitude, hard rock drive, melodic hooks, and pure guitar-driven energy, carried by the songwriting instincts, guitar work, and unmistakable voice that have made Kai Hansen one of metal’s most distinctive artists. Written without compromise and fueled by pure passion for heavy music, Born With A Hammer captures Hansen at full creative force: Direct, alive and unmistakably metal.
The album was produced by Eike Freese and recorded with a band that brings both firepower and history to the project. Alongside Freese on guitar, the lineup features Alexander Dietz (Heaven Shall Burn) on guitar and Dan Wilding (Carcass) on drums, who already stood alongside Hansen on XXX – Three Decades In Metal, plus Tim Hansen (Induction) on guitar.
Released today alongside the album announcement, “Feeding The Beast” is the first single and opening track from Born With A Hammer, accompanied by an official music video. Driven by razor-sharp riffs, anthemic melodies, and relentless energy, the song delivers a direct and powerful first taste of the album.
Following the global success of Helloween’s recent reunion era and world tours, Born With A Hammer opens a new chapter for Kai Hansen as a solo artist, bringing that energy into a record that stands firmly on its own.
FEEDING THE BEAST TRACK LISTING: “Feeding The Beast” “Welcome To Life” “Don’t Care” “Wait And See” “Born With A Hammer” “I.D.G.A.F.” “End Of The Road” “Triple Trouble” “Invaders” “Wonderland”
FORMATS: CD Digipak Black LP Gatefold (180g) Limited Picture Disc LP (180g)
Canadian rockers LOCKART are set to release their debut album! The band consisting of Devon Kerr, Jason Junop, and Fabio Alasandrini, play a classic 80s style high energy AOR/Metal, but with the synths up front. If you like that 80s AOR sound, you’ll want to check out City Pulse, which comes out in various formats through High Roller Records. I spoke with frontman Devon Kerr a few weeks back, where we discussed the band and the new album, as well as talked music in general, record collecting, favorite bands, etc… Check it out. *Also check out the videos (included), and the links below…..
You guys had an EP out in 2022…
Yes.
What led up to getting a full album out in that time?
So up until that point, 2022, we only had those three songs written. I had no idea how the reception was going to be at the time. The songs were 10 years old, even in 2022 or ‘23.
We started writing those in like 2014. They came out and just kind of feeling it out. And people seem to really take to it, considering we don’t have any marketing. We don’t have any. We got nothing at that time. We just put songs out to the world and saw what happened.
And the support and the number of people that actually enjoyed was overly positive. So it made sense to hit back into the studio and start writing some new songs and making an album. And so that’s basically how it happened.
It was done by us, but because of the reception from the EP from fans.
There seems to be a lot of a bit of an uptake or whatever in 80s AOR and hard rock influenced and inspired bands. Some of them are a little more satirical in that. I don’t know how you got on to that direction and how deliberate and serious it is as opposed to, like, say, Steel Panther.
I’ve always loved this music.
Same with Jay, same with Fabio. It’s definitely not a joke. I mean, this music from the 70s all the way through into the 90s is just top quality music, in my opinion.
The songwriting that goes into bands from the 70s, like Journey and Boston into the 90s, like what Mark Free was doing at that time. It speaks to me. It always has.
So we wanted to do that for real. I know that there’s a resurgence of this type of music or maybe even just a continuation, in Europe. But it seems like, Canadian listeners might understand this and, it seems to be like out on the other continents that a lot of AOR music is like their Nickelback, you know, they’re just kind of generic rock music.
It’s they just fall on to it falls into AOR, where here we got that kind of like country, infused, you know – butt rock stuff. I’m talking about like, it’s kind of like whatever grunge turned into. So we’re trying to stay away from that ‘music by numbers’, generic AOR that’s all digital, nothing’s recorded with amps, none of the artwork’s done by artists – It’s just computers.
We want to stay away from that. But we also want to stay away from any sort of idea that we’re joking around. I know that we’re crazy looking and we do everything to an extent that, some people might think “Are these guys for real?” But we’re just trying to be authentic. We’re trying to do it exactly the way that it’s always been done. It’s just people started getting self-conscious maybe in the ‘90s about the way they looked in bands. We’re trying to get rid of that. Let’s be crazy again, right!? More is more.
I’ve had criticism from family members, they’re like – “What the hell are you doing?” And “Dial it back maybe a little bit!?” And I go, “No, no, no. Turn it up!”
That’s the whole point of this. Let’s go nuts.
The rock star image seemed to have taken a beating over the years. But there’s obviously like watching the video. I mean, you guys get it with the dress and that. There’s a band in Sweden, are you familiar with called Nestor?
Yeah. I listen to them a lot.
And there’s a band from Brazil called Creatures.
Yeah. They’re also on High Roller.
I wonder if we can talk a bit about some of the songs. Do you guys all write or is it mainly you?
I don’t want to sound…I don’t know the word. But yes, it’s primarily my writing. Ninety nine percent.
Jason did write the song “Together As None.” That’s his work. And I just “LockHart-ized” it with keyboards and big vocal choirs and all that. But this project kind of emerged because of I’m feeling sort of in a corner with my other band Axxion. Vocally, I wanted to do something that really showcased what I could do as a singer. So I just went off on my own for this stuff, and this is this is what came of it. I’m still loving playing an Axxion, I’m still doing that. I just wanted to showcase my other abilities as an artist and bring in guys like Fabio and Jay to who are pros. And to leave their signature on it as well. I don’t control any of Jason’s writing or playing. And Fabio’s drum work is entirely him.
I just gave him the music and he, in studio recorded all the drum parts for whatever was in his head. And then we went from there. I never sent him back into the studio to change anything. We used exactly what he heard.
What sort of what sort of things do you influences or inspires your writing lyrically, musically, whatever, like songs like “City Pulse” or “Can’t Shake It”?
They all come from different either experiences or “Can’t Shake It” is just a story about young love. I’m sure almost everyone’s got something similar when they’re in their teens and they’re infatuated with somebody and that experience of either just meeting up, and the second verse, you end up, you’re actually driving around town in the car together, going to the beach. It’s kind of like seeing things come together.
And then we’ve got songs like “City Pulse”, which is finally going to make sense. I can’t tell you how many interviews I’ve done with international interviewers, but you’ll probably remember City Pulse – the news program in Toronto. That’s what we named the album after.
But the song was written about Robert Pickton, the guy out in Vancouver that was the serial killer. I didn’t write about Pickton, it’s about – there was a detective, Kim Rossmo, at the time, who kept being like, “It’s Pickton” to the Vancouver Police Department. And they kept being like, “It’s not Pickton, leave him alone.” And he just kept killing and killing, and it drove this detective, Kim, crazy to the point where he had to leave the police department. And that’s what “City Pulse” is about – Detective Kim Rossmo, my perceived frustration that he must have felt like trying to catch this guy. And in turn, City Pulse, a news program and a true crime story, they kind of come together. I wrote the music for that before the lyrics, I had no idea and I was listening to a podcast about Canadian true crime, and I thought, “This is an interesting story…. And it’s Canadian.”
So, finally, I get to talk about City Pulse – the news program, and someone knows what I’m talking about!
I’ve spent a lot of time on those YouTube channels watching true crime and cold cases.
I actually reached out to Detective Kim Rossmo. I found him on Facebook. He’s just a guy, he’s not famous or anything. And I sent him the song. I said, “I wrote a song that was kind of inspired by a podcast. I’m not a police enthusiast by any means; I just thought it was an interesting story…and maybe you’d be interested in hearing this and letting me know like, do the lyrics speak to you at all?” And he said that it made sense. He actually ended up buying the single – digitally, and I sent him the record. So somewhere out there in the world, this guy, I got a chance to speak with the detective behind the Picton case, which was interesting.
Another song that caught my attention was “You Wouldn’t Know Love”. It kind of reminds me of Heart in places.
Well, that’s a cover song. That’s the one cover we have on the album. You have to read into the liner notes. We didn’t make it obvious because, this record is here; it’s on High Roller Records. It’s not like we’re trying to sell and push the record on people, but this record is being presented to a crowd of metal fans. All three of us are metal guys that are playing AOR – ‘80s pop rock style music. I’m really trying not to use that word because it discourages people from listening, but that’s what it is. But it’s a Michael Bolton song. He wrote it; he did record it. It’s also featured on Cher’s Heart Of Stone album. We wanted to get a song that we thought was kind of groovy and heavy in there, that was by someone like Michael Bolton or Cher, which metalheads would never give a chance to.
Not only that, but we got Nick from Municipal Waste and Vulture to play the guitar solo on it. We found the heaviest guitar player we knew; I asked him on his tour bus if he was interested in doing the solo on this particularly interesting song on the record. And he was all over it. So, that’s the story behind that one.
It’s interesting when you say like ‘metal’ because the songs are pretty synth keyboard led songs. And then you get the big solos. I don’t think there’s any big guitar riffs on the album as far as opening.
No, it’s like a ‘lead synth’ band, right!? The synth sits forward in the mix. The guitars are primarily rhythm guitars. I do dual guitar solos throughout the record there. And I mean, that’s something that you find in traditional heavy metal bands everywhere. There’s some guitar parts that I’m playing lightning fast, like the end of the solo in “Under Fire”, it’s some of the fastest playing that I was able to even pull off.
So, my solos are from metal, and the chord progressions that we use, a lot of them are classic metal chord progressions, but they’re flooded with analog and old FM synthesizers, and big vocal parts that take four singers to pull off.
It’s interesting when I think of like a keyboard led band that it has the more of the metal image and the guitar. The one band that comes to mind is Guffria with Greg Guffria.
Yeah, exactly. That’s a good comparison. We don’t sound like them, but I definitely appreciate what they did and how the keyboardist was actually at the forefront of that band.
In all the bands you’ve been in, aside from being a singer, are you usually on guitar or usually on keyboards?
I’m always just been a lead singer. Now, I play guitar as my first instrument; that’s what I learned how to play music on. But I almost exclusively write music on a piano and then bring guitars into it. I’m sure people hear that in Lockhart, because you listen to the beginning of “Just Can’t Wait”, and it’s a keyboard melody, and then the guitars come in and they’re just chugging along, supporting that keyboard riff. All the vocal parts are written on a keyboard or on a piano.
I’m not an amazing keyboardist, I’m not like Jens Johansson from Yngwie Malmsteen or anything like that, shredding the keyboards the way I do guitar, but I write on the keyboard and I create all the vocal parts. It’s definitely my most expressive instrument. I would say, though I’m a more proficient guitar player, playing keyboard is more like having two guitars in your hands because you’ve got 10 notes you can play.
I assume you guys are going to play live at some point!?
That’s the goal. We’re currently assembling a live band because at our core here we’re a rhythm section, a bass and a drum kit and a lead singer. So, we are currently working with a guitar player, Johnny Nesta, and we’re working with a keyboardist. There’s actually been a few guys who have reached out about getting involved with keyboards, which is good because those are hard to find. But really, everyone needs to be proficient singers. They all need to be able to be lead singers, essentially, in this band. That’s kind of the determining factor of who we’re going to end up going with. We’re going to need a five man band and three, at least, are going to have to be strong singers.
Is it harder in Ontario finding those live shows or are you looking at going elsewhere?
You’ve got to go to like Detroit or you got to go to Toronto, at least for me. I’m similar to you, I’m living in a city that’s kind of in the middle of nowhere. You’d think that London would have an independent (from the rest of the province) kind of music scene because there’s nothing around here. We’re not like attached to another city or anything like Oakville would be. But yeah, it seems that here it’s cover bands, tribute bands all the time. And it seems like anytime I want to see an original act, they’re always touring through Toronto or the Toronto bands that are able to hold enough people to justify a show with original music they have to play in a big city like that. So, me being right square between Toronto and Detroit, I just fluctuate between the two cities.
About the album cover. Who did that? And is there a little bit of a story behind it or anything?
It was a guy, I believe his name’s Julian Elias. (Sorry, Julian, if I screwed your name up,) but he was an artist I found, funny enough I was just looking for a screen saver on my phone, (something that was better than whatever comes with the phone) and I found this Vinnie Vincent Invasion fan artwork on Google. And I was like, man, whoever did that’s awesome. I clicked the image to save it, and it was actually an Instagram page. It took me to his artwork, and he’s an airbrush artist. So I reached out to him – “We’re recording an album. I’m looking for an artist, and I really like what you’re doing.” I sent him a few of his pieces that he’d already done, and said, “If you could do something like this, we’d be all over that.”
He worked with us for months, back and forth, putting different pictures of us together in the sky, finding the right set, finding where to put our logo and the city-scape and everything. And the most difficult part is he was from Argentina, so he spoke Spanish as his first language. And a lot of the things that I would say, I had to make sure I wasn’t using slang, or things that you and I would take for granted because he would take it literally. And then we’d get something that said ‘The City’, the album would be called ‘Night Pulse’. You know, the album is literally called ‘City Pulse’, if you’re supposed to draw a city. So, there was a few times where we would get kind of lost in translation. But yeah – awesome dude! We’re going to give him a shout out once the album is released, and people have actually seen the album cover, because the guy deserves some recognition.
Is the album coming out on vinyl as well?
Yeah, it comes out on black vinyl. And tt comes out on a splatter vinyl through High Roller Records and us. It comes out on a night sky sparkle version. So, it kind of looks like the night sky vinyl we’re currently sold out of that one already in the pre sale. And but that’s available through High Roller. And then it comes out on CD through High Roller and us directly. But we are the only ones who are selling the cassette tape.
The City Pulse cassette is available through our Bandcamp page.
Do you still buy a lot of vinyl?
I do. I buy records. I buy cassettes. I’ve got a whole hi-fi system set up inside. Well, yeah.
I’ve got a big collection, but I’m kind of a little more careful, cautious with what I buy nowadays, with the prices.
Well, now it’s a lot more expensive. Like, I started collecting records in 2008 or something like that. I could buy Malmsteen’s Odyssey for $1.75, and now I see the same record for $35. If I knew that I could invest in these records back then, I’d be a billionaire.
(I relay my story of picking up the entire Kansas catalogue at a flea market 30 years ago for $2 a piece).
What sort of stuff did you grow up on? As far as what do you listen to the most favorite albums and artists and stuff?
My favorite artist, my favorite band of all time is Survivor. Jim Peterik and Frankie Sullivan, I think they’re amazing songwriters. Jamison was an incredible singer…and Dave Bickler, I mean, the passion in his voice when he sings almost makes me emotional. But those guys from top to bottom, from their first record to their last is nothing but top quality stuff. So I’ve been listening to those guys for years and years to the point where I know everything inside and out. Kansas was a band I was really into growing up (that’s one you just mentioned). I got into Iron Maiden and Judas Priest and all exactly what you’d expect a young metal head to be into. And it kind of grew into like more of a Macauley-Schenker Group, where you’ve got the UFO guitar player, but playing in a hard rock/AOR style of band, where you still get that metal in there as well. It’s completely different than Survivor where it’s all AOR.
That’s kind of what I’ve grown up listening to. It started with your, like I said, Iron Maidens and Kansas and developed into stuff like Survivor within the last 15 years. And then I’ve just stayed there. So maybe it’s a slow change now than it used to be between the first 15 years of my life. But if someone can find me a band that can top Survivor, I’m waiting.
Have you heard the Cobra album Jimi Jameson did?
Yes, I have.
I’ve got that, and I’ve got the Target albums he did.
Oh, okay. I haven’t even heard those. I’ll have to check that out.
Any other newer Canadian bands that you listen to, or would recommend?
I would say, you should check out Cauldron, (I want to say check out Axxion, my other band); Manacle, from Toronto – they’re a new band. Amo, from Toronto – another metal band; Spell from out on the Westcoast. I haven’t heard of anything coming out of the Metalian side of things, but back when we were playing all the time, Metalian was a huge one. Right now there’s not as much going on as there used to be. Funny, when people ask me what my favorite Canadian guitar players are, I start by saying Bobby Orr, and then just start(lol) naming off random hockey players. But they can’t be Canadian, it’s got to be from some guy halfway across the world. Gordie Howe is my favorite keyboardist, I told someone once, because I couldn’t think of one. And they just go “Oh yeah…” But, for Canadian bands, I’m still waiting on some more AOR bands. But I would say, If you haven’t heard Cauldron – give them a listen. They’re one of my favorites. Goat Horn is the predecessor band to Cauldron, an amazing band; a little darker than Cauldron, doomy, more like growly vocals. Those are like our sister bands, Jay plays in Cauldron, and Ian – who did the guitar solo on “Can’t Shake It”, plays in Cauldron.
I’ve got the new Spell and new Crown Lands on order.
That new Spell video and single, “Lilac” is pretty sweet; I love it. The video is totally “Time Stand Still” – Rush, but the sound is very unique; kind of gothic, awesome keyboards…
What started out as me compiling a list of my TRIUMPH ‘top 10’ (or something like that) I quickley got off track, as I went back to revisit the band’s entire catalogue. The band really started taking off with 1979’s Just A Game album, which featured the US breakthrough hits “Hold On” and “Lay It On The Line”. Prior to that, Triumph, who formed in the mid 70s, and signed to Canadian label Attic Records released a single in ’75 with guitarist Fred Keeler, doubt this got much attention at the time, but the band soon changed guitarists, bringing in Rik Emmett. Their debut album was released in ’76, and this is what I’ve been listening to the last few days. Those first 2 Triumph albums may be very overlooked, by myself included, but here I am wondering why I never gave this one much more time, and why I never hear anything from it on radio (we still occasionally hear the band’s cover of “Rocky Mountain Way” from the 2nd album).
From the opening acoustics of “24 Hours A Day”, which kicks in to a rocker, til the closing near 9 minute epic “Blinding Light Show/ Moonchild”, this album is classic Canadian hard rock. Triumph mixes Emmett’s acoustic guitar, along with borderline metal like “Be My Lover” (w/ talk box solo), “Don’t Take My Life” (reminscent of Hendrix’ version of “All Along The Watchtower”), “Streetfighter”, and it’s mellower Reprise. The second half picks back up the ‘metal’ with “What’s Another Day Of Rock n Roll”, “Easy Life”, and “Let Me Get Next To You”.
Triumph, later reissued as In The Beginning, may be the band’s hardest rocking album. I loved this early direction, and the energy of this album. They’d fine tune it over the years to feature those epics that mixed softer acoustic parts with hard rock from album to album. If you’re not familiar with this debut, I highly recommend checking it out.
Guitarist GUS G, of Greek power-metal band FIREWIND. has his 5th solo album coming out. Gus G is also known for his association with OZZY from 2009-2017, plating on the ‘Scream’ album, as well as being Ozzy’s touring guitarist in this period.
I’ll confess, I am not very familiar with Gus G’s past, nor is Scream high on my list of Ozzy album;s, but his soon to be released Steel Burner is something I can get in to. There’s a short list of guest vocalists and players here (see below). There are a few instrumentals here, such as the title track that kicks things off, which is excellent, as is the more moving piece “Confession” and final cut “Closure”, which features acoustic guitar before it changes, picks up pace and metal, before settling back down in the end.
Of the vocal tracks, favorites include “No One Has To Know” w/ Dino Jelusic (Jelusick, Animal Drive, Stone Leaders), “My Premonition” w/ Ronnie Romero (Lords Of Black, Elegant Weapons), and “Frenemy” (also w/ Romero). Love the big guitar sound, the production, and plenty of solid rock and metal, with enough changes to keep the listener interested throughout the 10 cuts here. Check it out!
Press info:
Internationally acclaimed guitarist, composer, and FIREWIND mastermind Gus G. will release his fifth solo album, ‘Steel Burner‘, on April 24, 2026 via Metal Department Records. The album marks his first solo release in five years and blends modern instrumental metal with select vocal collaborations.
Following an extended period of post-pandemic touring, ‘Steel Burner’ reflects a renewed focus on Gus G.’s solo vision. The album highlights his signature guitar style — combining technical precision, melody, and power — while expanding its scope through collaborations with some of metal’s most respected voices.
The album’s title track, “Steel Burner,” served as the starting point for the project. Originally commissioned by a company that manufactures industrial machines used to shape metal, Gus G. drew inspiration from a machine bearing the same name. The track’s driving energy ultimately set the tone for the album and inspired its title.
While the instrumental pieces showcase Gus G.’s evolution as both a guitarist and composer, ‘Steel Burner’ also features several standout vocal performances. Metal icon Doro Pesch appears on “Nothing Can Break Me,” a powerful anthem centered on perseverance and resilience. “No One Has to Know,” featuring Dino Jelusick, takes a modern hard rock approach while exploring the artificial lives and personas often projected through social media.
Matt Barlow (Iced Earth, Ashes of Ares) brings his unmistakable intensity to “Dancing With Death,” an epic metal track with a contemporary edge that tackles the darker theme of addiction. Ronnie Romero (Rainbow) also appears on two tracks, a collaboration that grew out of his recent world tour with Gus G.
Reflecting on the release, Gus G. comments: “This is my first solo album in five years. I’ve been busy touring in the post-pandemic world, but I always knew I wanted to make another solo record. This time I wanted the best of both worlds — exploring instrumental guitar music while also collaborating with singers I admire and am a fan of.”
‘Steel Burner’ was mixed and mastered by Dennis Ward (Helloween, Pink Cream 69, Magnum), delivering a clear and powerful modern production that complements both the album’s instrumental depth and vocal performances.
With ‘Steel Burner’, Gus G. delivers a confident and forward-looking record that honors metal’s roots while embracing modern production, themes, and collaboration.
Some time ago I’d featured the first 2 BLIZZARD OF OZZ albums as a ‘classic pair’ of albums, and for me those 2 albums – whether you want to classify them as band albums (as I do) or as OZZY OSBOURNE solo albums are above anything else Ozzy did beyond BLACK SABBATH.
So, my ‘best of’ Ozzy list would include almost all of those tracks before anything else. This ‘best of the other albums’ is my selection of favorite Ozzy tunes beyond Blizzard Of Ozz and Diary Of A Madman. really, the next 2 albums with Jake E Lee were his next best albums for a long time, and I really started losing interest after No Rest For The Wicked, aside from Ozzmosis (which I like), it’s all pretty much downhill for me. But (back up a bit), there was also the Mr Crowley live Ep, with the excellent non- album track “You Said It All”, and prior to the next solo album was the double live Speak Of The Devil (or Talk Of The Devil in some countries). Loved Speak Of The Devil at the time, it’s still my favorite Ozzy live release, even if it is all Black Sabbath songs! Brad Gillis sounded amazing on this. A shame it was such a tough period for Ozzy, and that Brad couldn’t continue (he would have great success with a number of excellent Night Ranger hits and albums). So, this article ended up being an overview of those Ozzy studio albums beyond the original band…
Bark At The Moon
Ozzy’s first album with Jake E Lee. Also here are Tommy Aldridge and Don Airey, who’d remained from Ozzy’s touring band since the death of Randy Rhoads. Rudy Sarzo had left, a combination of Ozzy needing Bob Daisley back to write songs, and Rudy’s feelings of still being there after the loss of his friend. Before the album was done Tommy would be fired and Carmine Appice was brought in to finish/fix the album’s drums and then tour. This is told in Carmine’s interview with The Metal Voice some years back.
I remember buying Bark At The Moon in March of 1984 at a small record shop in Niagara Falls. The store had a Ticketron outlet, and I had to go to get a refund for a cancelled Saga concert (February 29!), so with that I purchased Bark At The Moon (and a Styx album). I played this album to death for the first few weeks, and liked pretty much everything on it, except for sappy ballad “So Tired” (who thought this would be cool on an Ozzy album!?)
Side one was near perfect, the title track / first single was outstanding at the time, and even the keyboard heavy “You’re No Different” is one of the best here, followed by “Now You See It, Now You Don’t”, and the classic “Rock N Roll Rebel”. With Ozzy being an easy target for religious groups who would set up protests at his shows, “Rock N Roll Rebel” was an excellent and fitting anthem in response to critics. As much as I was a Randy Rhoads fan, I loved Jake E Lee’s sound on the 2 albums he did, very different to Randy, but the guy played heavy and creative. A shame he got fucked over and left the Ozzy fold. Side two was very good, though I spun it far less. “Centre Of Eternity” (titled “Forever” in some countries) was a fast paced rocker to open that side, but then things grind to a halt with the ballad “So Tired” – piano, strings, like WTF! I was never a fan of Sabbath’s “Changes”, and this was worse. Things picked back up with “Slow Down”, a decent rock tune. And the album ended with on a high note with another favorite, “Waiting for Darkness”.
Bark At The Moon (for me) is the next best album released under the Ozzy name in the catalogue, but a lot of that credit goes to Jake and Bob, along with Max Norman. I think this album lacked a certain ‘band’ magic that the previous 2 albums possessed, as well as some sort of Epic track ala “Revelation (Mother Earth)” or “Diary Of A Madman”.
The ‘werewolf’ idea that featured in the title track (single & video) was interesting at the time, as there’d been a number of ‘werewolf’ films in 81-82, most notably “An American Werewolf In London’, and (later, 85) “Teen Wolf”). Michael Jackson’sThriller came out a year prior to Bark At The Moon, and the video (produced by the same guy who produced American Werewolf In London). Ozzy did an interview on Canadian TV in 84-85, and was asked about Michael Jackson and Thriller, and he replied “boring to both, but when asked about the video, Ozzy sighed and said “Ok”. (I have this on an old VHS tape somewhere). The video shoot for the “Bark At The Moon” would use the same make up artist who had also worked on American Werewolf in London and the “Thriller” video! “So Tired” was released as the 2nd single & video, where a shattering mirror sent Ozzy to hospital with glass in his throat. Frankly, either single B-side (“Spiders” and “One Up The B Side”) would’ve been better on the LP, IMO. The non-LP tracks would appear on the 2002 re-mixed reissue on the album.
It took a few years before Ozzy’s next album, but The Ultimate Sin was released in early 1986.
The Ultimate Sin album was originally intended to be called Killer Of Giants, according to the press back then. The cover featured artwork by fantasy illustrator, Boris Vallejo. Fortunately, he still had Bob Daisley around for the early stages of this album to co-write songs with Jake E Lee. Daisley later recalled that he’d tried to get Ashley Howe in to produce the album, as Howe had produced the 2 Uriah Heep albums that Bob was on (Abominog and Head First). But as Daisley didn’t carry on to play on the album, that idea wasn’t pursued and Ron Nevison was hired to produce. During the mid 80s, Nevison was producing commercial rock albums for Heart, Survivor, Triumph, and Jefferson Starship. Bass player Phil Soussan, ex Wildlife was hired to play on the album and tour, while Mike Moran (ex Ian Gillan) played keyboards. I remember picking this LP up when it came out, in a shop in Hamilton. Played the heck out of it. I thought (and still think) Jake E Lee was even better on this album, with many creative riffs and solos, some cool intros… Jake’s performances are THE best sounding thing about this album! But I can’t say that I dig it as much overall now due to the production / sound, and a couple of songs. New drummer Randy Castillo does a decent job, but can’t help but think that it’s ironic that after Diary of A Madman, Ozzy (Sharon) was quick to dismiss Lee Kerslake, and then went through at least 3 of them over the next few albums. However, the 2 side openers made for decent singles – the title track and “Lightning Strikes”, but there’s a few even better cuts here, notably “Never” (the best, IMO), “Fool Like You”, “Never Know Why” (despite revisiting the ‘rock rebel’ theme again), and “Killer Of Giants” (kind of a return to that “Diary Of A Madman” epic feel with the acoustic guitar). Not so big on “Thank God For The Bomb” and the cover of “Shot In The Dark” (a blatant attempt at doing something mainstream / commercial, which just doesn’t fit here). Co-credited for the hit “Shot In The Dark” was Soussan, as the song was originally recorded during his Wildlife days, but there’s more to this song, as John Sloman (ex Lone Star, Uriah Heep) lays some claim to the songs origins in his book (Lost On Planet Artiface), as the bass player also worked briefly with Sloman in the singer’s post-Heep band Badlands (Not to be confused with Jake E Lee’s post-Ozzy band!) Soussan in more recent years is part of the Dio alumni band Last In Line.
Before the next studio album there was the release of the Randy Rhoads live Tribute album, which was most welcome to hear Randy playing live. But now I can’t help but wonder why they haven’t released something else, particularly from the original ( Blizzard of Ozz band) on their first UK tour, following the first album’s release.
No Rest For The Wicked came out in ’88, and this was the last Ozzy album I picked up close to release date. Bob Daisley was back on bass, along with ex Uriah Heep keyboard player John Sinclair (though credited fully, neither would be pictured on the album’s inner sleeve). Randy Castillo was back, and new young guitarist Zakk Wylde. For the most part I really liked this record; it had 4 standouts (favorite cuts) for me – the single “Miracle Man” (mocking Jimmy Swaggart – “now Jimmy he got busted, with his pants down”), “Bloodbath In Paradise”, “Breaking All The Rules”, and the softer “Fire In The Sky” (which started life demo’d as “Valley Of Kings” when Sinclair & Daisley were in Uriah Heep, 1982). The rest is not bad, but those ones I was happy with and played repeatedly. I liked Zakk’s sound here, and he came up with some big riffs and solos, and the overall sound & production is a big improvement over the dated sound of The Ultimate Sin. Sinclair contributed a classic intro to “Bloodbath In Paradise”, and then contributed largely to the piano based ballad “Liar” – which was a non-LP track, along the excellent “Hero”. I’m guessing both of the latter tracks were left off the LP to keep it heavy, with cuts like “Devil’s Daughter”, “Tattooed Dancer” (which is spelt wrong on the back of the LP!), and “Demon Alcohol”. I think after revisiting these albums, No Rest For The Wicked was/is much better than I remembered, and I’ll put it slightly above the previous one.
Following the release of No Rest... Bob Daisley was gone again, and in came Geezer Butler for the tour. Gone are the ridiculous glam outfits of The Ultimate Sin era, with everyone looking more ‘rock n roll’, in leather and denim. 1990 saw the release of the 6 song EP – Just Say Ozzy (recorded in the UK, November of ’89). This featured 4 tracks from No Rest For The Wicked, plus 2 Black Sabbath classics. Not a bad release, but where’s the rest of the show?
Now this is where I kind of got off the Ozzy train. Growing less enthused about many of my favorites from the early 80s (really, I think the ’80s bands golden era was pretty much over), by then… I had moved on, or more so – back(!), discovering and picking up more ’70s band’s like Deep Purple, Blue Oyster Cult, and Uriah Heep. I continued to pick up the next few Ozzy releases, but was not in much of a rush.
The next album was No More Tears, and I got to confess I never liked the title track, or the sound of this (ok, the bass intro is cool). Between Zakk’s sound, the production here, and new writers, etc… Ozzy (musically) was sounding like other metal acts of the time. There was also a few softer cuts here (ballads). For me there was no huge standout tracks, though if I had to pick a favorite it would be “Desire”. Bob Daisley played on this album, but was not in the songwriting credits. Ozzy co-wrote a number of songs with Lemmy (Motorhead), as well as Wylde and Castillo. I know this album was a huge seller and got lots of press at the time, ya know – because it was supposed to be Ozzy’s final album and tour, but for me it’s a ‘nice’ listen, just not very memorable. This was followed up by the Live & Loud release. I played this and the even worse Live At Budokan very few times. Again, wasn’t a fan of the sound at this point, nor did I care to hear Ozzy dropping F-bombs between songs, and the Budokan album has got to be the worst album cover in Ozzy’s catalogue!
Now, 1995’s Ozzmosis I actually thought was an improvement. Despite the move towards mainstream with more outside writers, I really liked the single “Perry Mason”. An interesting subject for a song, the fictional defense lawyer created by writer (and lawyer) Erie Stanley Gardner, and who then became the title character of the American tv show that ran for nearly a decade from the late 50s to 60s. But this is a powerful song, heavy, dramatic, that leads off the album. .Ozzy tells it so well. Geezer Butler on bass, Dean Castronovo on drums! This album also includes the singles “See You On The Other Side”, and “I Just Want You”, which was co-written by Jim Vallance, best known for his years of co-writing with Bryan Adams. It’s kind of a heavy ballad, highlighted by Rick Wakeman’s keyboards and a great vocal from Ozzy. Ozzmosis also included heavier favorites “Denial” and “Tomorrow”. The track “My Little Man”, was co-written with Steve Vai, which is interesting as Bob Daisley later recalled that he, Vai, and Ozzy got together a year earlier to this album and started working on a project, which was abandoned. Ozzmosis was Ozzy’s highest charting album in the US then.
The Ozzman Cometh was the career spanning (mostly post-Sabbath), released in 1997. Shameful that Bob Daisley’s name was spelled wrong throughout. There’s a few different early versions of Sabbath classics, as well as “Paranoid” live from the Randy Rhoads period. Their was one ‘new’ track, “Back On Earth”, which was from the Ozzmosis sessions, and has a keyboard intro/pattern, not too different to “I Just Want You” . A decent song, and single.
It would be 6 years from Ozzmosis to the next studio album, 2001’s Down To Earth. Despite having another odd cover, I thought this one is the last good Ozzy studio album. Some excellent tracks in “It Gets Me Through”, “That I Never Had”, and the ballad “Dreamer” ( a vast improvement on “So Tired”) A number of these songs were co-written with guitarist Joe Holmes, who played live with Ozzy following Ozzmosis. Interesting that Down To Earth went Top 10 in Canada and the US.
After all those Ozzy albums I was pretty done, and I’ve picked up things over the years – not because I expected much or liked what I heard before release. 2007’s Under Cover album (who the Hell wants to hear Ozzy doing a bunch of cover versions!?), then Black Rain, which I thought was forgettable at the time. I never bought it then, and only have it now because I found it for $3 at a flea market a few years ago. Scream came out in 2010, and not as forgettable as Black Rain. In retrospect I never gave this one a lot of time then, but revisiting it, Scream is better than I remembered. Really, at the time I picked up in part because it came with the t-shirt, and didn’t expect much! But I like the lead off track “Let It Die”, as well as the single “Life Won’t Wait”, the (somewhat) title track “Let Me Hear You Scream”. Gus G on guitars, Adam Wakeman on keyboards.
The last 2 Ozzy releases – Ordinary Man (2020) and Patient Number 9 (2022), I bought these at some point, perhaps as a completist and was expecting something with all the guests on these albums, or was easily swayed by all the suck-up reviews. Either way, a few listens and I just don’t care.
In retrospect I dig the ’80s Ozzy era even more so, and wouldn’t miss much else beyond No Rest For The Wicked (well, maybe Ozzmosis). It also makes me want to go back and fill in the gaps from the ’80s with live recordings and some singles (those non LP cuts). I’ve still got binders of Ozzy press clippings and magazine articles from the 80s, and early 90s, that I’ll have to scan some day.
CREATURES recently released their second album, Creatures II, to follow up their debut in 2021. The 4-piece band from Brazil is heavily influenced by ’80s hard rock and heavy metal bands like Judas Priest, Ratt, Ozzy, Dokken….and although I see no mention, lead vocals definitely remind me of Lizzy Borden. Creatures II features a new line-up, with the band lead by guitarist/songwriter Mateus Canteleano, who has answered my questions below. Bandmembers also included their ‘top 10’ album lists, as well as influences.
CREATURES consists of Mateus Cantaleäno, Marc Brito (vocals), Ricke Nunes (bass), and Sidnei Dubiella (drums). *Check out Creatures II, the interview, and the links below.
Can you guys tell me a bit about the band coming together and direction?
Mateus Cantaleano: Basically, this lineup came together around 2022, a few months after the release of our first album, which was recorded only by me and the former singer, Roberto. After the release of the album, people started getting in touch with me asking about live shows, and since Roberto had moved to Canada, I invited Marc—at first just to sing the first shows—and CJ to play drums. The last one to join the band was Ricke, who became part of the band in 2023. We created a really strong connection not only musically, but also in our personal lives, and this naturally became the official lineup of the band.
What are some of the yours (bandmembers) favorite bands, musicians, influences that you grew up on?
Mateus: For me, it was and still is bands like Judas Priest, Dokken, and Scorpions. As guitarists, I’d say Yngwie Malmsteen, Uli Jon Roth, and George Lynch.
Marc: Halford, Jon Oliva, Udo, King Diamond.
Ricke: Rush, Geddy Lee, Billy Sheehan, Juan Alderete, Felipe Andreoli, Bob Daisley, Jeff Pilson, Juan Croucier.
Are you able to give me a ‘top 10’ of favorite albums (each)?
Mateus (Top 10):
Defenders of the Faith – Judas Priest
Under Lock and Key – Dokken
Trilogy – Yngwie Malmsteen
Icon – Icon
Taken by Force – Scorpions
The Final Countdown – Europe
Bonded by Blood – Exodus
Down to Earth – Rainbow
Bark at the Moon – Ozzy Osbourne
Marc (Top 10):
Defenders of the Faith – Judas Priest
Invasion of Your Privacy – Ratt
Phantasmagoria – The Mist
Absolut Country of Sweden – Anti Cimex
Gutter Ballet – Savatage
Tower of Spite – Cerebral Fix
Ordem e Progresso – Azul Limão
Floodland – The Sisters of Mercy
Anything – The Damned
Into the Pandemonium – Celtic Frost
Ricke (Top 10):
Moving Pictures – Rush
Ready to Strike – King Kobra
Second Heat – Racer X
The Ultimate Sin – Ozzy Osbourne
Angels Cry – Angra
Icon – Icon
Back for the Attack – Dokken
Welcome to My Nightmare – Alice Cooper
Lean into It – Mr. Big
Leftoverture – Kansas
What is the metal scene like in Brazil? What sort of venues and shows have you been playing? Any major festival shows or guest slots ?
Mateus: Like I always say, I think Brazil in general is more focused on extreme/thrash/death/black metal bands and scenes, but we do have a small resistance within the traditional metal and hard rock scene. It’s not very big, but it’s loyal. Most of our shows here are as guests or opening slots for bigger bands—most of the time from other countries—or at festivals with local Brazilian bands. Sometimes we headline, and they are usually good shows in terms of audience.
A lot of excellent songs, such as Dreams, Devil in Disguise, Beware The Creatures, Nothing Lasts Forever…. This album doesn’t really slow down (til the last track). Any antidotes or stories behind some of the tracks? what stands out for you guys (individually)? and how much of this will the band be performing live on the road?
Mateus: Thank you! Well, something curious is that I usually compose the full songs alone at home, record a complete demo with everything, and then pass it on to the band. Each member takes their part, studies it, and adds their own identity individually. Since Marc doesn’t live in the same city as us, we never rehearsed or played the songs together as a band before recording the album—it was all a surprise. Also, balancing our jobs and personal lives, it took us a few months to record everything, but we were extremely satisfied with the result. For me, the standout tracks are “Beware the Creatures” and “Nothing Lasts Forever.” They’ve always been two of my favorites and still are.
Creatures II is a great production, with some riffs, intros, harmonies….Can you tell us about the making of the making of this album, as far as how aware you were about making it a ‘big’ sounding album? and what you (if) you had any 80s records or productions in mind that you might’ve strived for?
Marc: It took many, many hours of vocal recording on consecutive days, and there came a point where I was literally lying on the floor during every break between takes, even if it was just for a few seconds, lol.
Mateus: Well, like I said, it took a lot of work, days, and energy to record this album. We put the best of ourselves into it, and we’re very lucky to count on our producer and mixing engineer, Arthur Migotto, who has all the technical knowledge to bring out everything we were aiming for. We also tried to keep everything as analog as possible—real amps, real pedals, real drums—to sound as close as possible to what we like to listen to.
How does Creatures II compare to the first album (or differ)?
Mateus: First of all, I’m the one who recorded both albums, so this time we had almost a completely new band recording it. Over these four years, I’ve also greatly improved my knowledge of music, my skills as a guitar player, and mainly as a songwriter. I think the songs are much more mature on this album. Having a full band recording it this time—people who were already used to playing together and performing shows—also made a huge difference for the better. Musically, the new album goes into a darker territory, and I also think we have more heavy metal (and a little less hard rock) influences on this one.
Can you tell me about the albums artwork? Who created it? The ideas behind it, etc..?
Mateus: I developed the concept, and the artwork was made by a guy named Velio Josto, who had already worked with a considerable number of heavy metal bands that we like. We were aiming for something simple, something that mixed all that heavy metal and horror aesthetic that we’ve always liked and embraced. I think it turned out great.
What’s coming up for Creatures in the near future? Any possibility of shows in North America?
Mateus: Well, we have a few shows ahead. We’re going to play our first Creatures II show in a few weeks and do some more shows in Brazil. In April, we’ll play our first show outside Brazil, at the Keep It True Festival in Germany. We’ll actually be the first Brazilians ever to play this festival in its entire history, so this will be a historic moment for us!
About a show in North America, we would absolutely love to do it! I hope we can make this possible in the near future! 🙂
Austrian heavy metal band ZEPTER will release their debut album next month. Zepter features cover art created by Sebastian Frigerio, from Chile, who’s also drawn a number of other album covers for various metal bands. Below Sebastian talks about his art and creating the Zepter cover. As well I’ve included images of other covers that Sebastian drew.
Check it out, and check out the new ZEPTER album, which has a new video release for the track “Dark Angels”.
Can you give me a bit of background as to your work in art, and in particular, how you got involved in music and album covers?
First of all, thank you so much for your interest. This goes back a long way. I’ve always been fascinated by the visual arts, especially drawing. My first foray into it was collaborating with bands and friends’ projects, contributing illustrations to their demos and other releases. They would introduce me as their artist friend, giving me the opportunity to do my first work, and little by little, connections were made. During that time, I began creating my own pieces to gain recognition and, above all, to perfect my technique.
Do you have any favorite album cover artists, as well as a list (5+) of some of your favorite record covers (excluding your own)?
Well, from artists like Goya and Gustave Doré, to Renaissance and modern art, there are many, but this would be my top list:
Frank Franzetta, Boris Vallejo, Michael Whelan, Rowena Morrill, Andreas Marshall, H.R. Giger, Necrolord, Emanuele Taglietti, to name a few.
How did you get involved with the Zepter album?
Well, that was thanks to social media, and the band followed up with a couple of bands they had already worked with.
And they were looking for something similar to what I had already done
Was the cover completely your own creation and/or was there input from the bandmembers? What inspired it?
If the band had an idea that perfectly matched my artistic tastes and references, the drawing process was much easier thanks to our shared interest in dark fantasy and album covers from the 70s and 80s.
Had you been able to hear the music prior to and did that play a part in creating the cover? Any favorite tracks from this Zepter album?
I was already familiar with the band, so it was a surprise when they contacted me, since their style is what I listen to most often, so it also served as inspiration. Overall, I’d highlight the entire album, from its composition to the final result, both musically and in terms of design.
Can you tell me about the actual drawing – how it was achieved (drawing technique…) ?
Well, this work is done in oil on paper, and the goal was and is to make it similar to the classic album covers of bands from the 70s and 80s, which are practically an influence and inspiration.
What are some of the other album covers you’ve created for other bands? Any in particular that stand out? And aside from covers, do you also create posters or merch items for the bands you work with?
Well, as I mentioned before, I participated in several projects, but when I started to stand out it was thanks to bands like Insecurity, Phantom, and Void, which put me on the radar of many others, something I’m very grateful for since it also opened me up to the field of design for other types of merchandise. And obviously, working with more bands has been rewarding in many ways.
This second release from Austrian band ZEPTER is a great surprise that kicks ass from the start. (OK, so the first release was an extremely limited EP cassette). Influenced by the like of Thin Lizzy, early Iron Maiden, and New Wave Of British Heavy Metal bands like Saxon and Angel Witch. This has a definite old-school vibe, with heavy twin guitar blends. A good listen beginning to end. Check out the first video for “Slasher On The Highway”, which is a good indication of this album. Other favorites include “Hit The Streets”, “Everlasting”, and a cover of “Lonely Night”, originally by a short-lived Swedish metal band from the 80s! These guys remind of Swedish band Black Trip, who put out a pair of great albums a decade ago, then changed their name and disappeared! *To be released February 20 on various formats (including vinyl!). Killer artwork. Order Link: https://www.hrrecords.de/ZEPTER
Zepter are a new traditional heavy metal band from Austria. The project started in January 2024. A few months later, an EP called »Inferno« was issued on cassette in a limited edition of 100 copies through Ironbound (a vinyl version on Fucking Kill Records and a CD edition via Witches Brew followed shortly after).
“We have been knowing each other for years and have played together in other bands,” explains guitarist/vocalist Lukas about the formation of Zepter. “One day, the idea to form a traditional heavy metal band came up. And this is exactly what we did. We had our first rehearsal in January 2024 and the EP was published in April the same year. Everything happened really quick.”
High Roller Records will release Zepter’s self-titled debut album, which Lukas describes as “authentic heavy metal of the old school, with lots of catchy hooks and tasty twin-guitar harmony parts”. According to him, “it should come across like a mixture of Thin Lizzy and UFO of the Schenker era, combined with elements of early speed metal by the likes of Acid and Slayer, as if they had been already around in 1978.”
All tracks on the album are new, apart from the cover version of a song called “Lonely Night” by the band Screem.
With songs like “Exterminator”, Zepter’s music transports quite a strong NWOBHM vibe, with hints of Trespass and Tygers Of Pan Tang, first and foremost. “That’s true,” says the band’s guitarist and vocalist, “for this project the NWOBHM is a big inspiration. But it’s not the only one. We are all listening to different stuff, from blackended death metal to prog, post-punk and film music. Our smallest common nominator is the NWOBHM though. And that’s where Zepter comes in. Some specific NWOBHM bands which have inspired us are early Maiden (everything from »The Soundhouse Tapes« up until »Killers«), Saxon, Witchfinder General, Dark Star, Raven, Saracen, Angel Witch and Satan.” MATTHIAS MADER
TRACKLISTING: 01 Slasher on the Highway 02 Everlasting 03 The Slayer 04 Hit the Streets 05 The Exterminator 06 Dark Angels 07 Lonely Night (Screem Cover) 08 The Lords
LINE-UP: Lukas Götzenberger – guitar, vocals & synths Stefan Bolda – guitar Tobias Hochwagen – bass Alex Nemeth – drums & vocals (on “Lonely Night”)
HEAVY PETTIN’ released 3 albums of hard rock back in the ’80s. In recent years the band from Scotland has been brought back to life via singer Stephen Hayman, and in October released their first full length album since 1989. Rock Generation features a fun set of hard rockers and anthems, and I like the sound (big guitars and even those 80s backing gang vocals at times). Fave cuts include “X-Rated”, “Brother Sister”, and “This Life”. The band has been busy playing live to support this album, more recently as support for Uriah Heep, (and) with April Wine in Europe.
*Check out the press info below, as well as the videos and links at the bottom,
The Scottish rock warriors Heavy Pettin release the title track and video from the brand-new studio album Rock Generation, which is set for release on on October 24th via Silver Lining Music. Pre-orders available now at this location.
Vocalist and founding member, Stephen “Hamie” Hayman comments: “Heavy Pettin are back!!!! Rock Generation is a celebration for all rock fans around the world… Made to ROCK ur Soul.”
Back in the ‘80s, Scottish rock ‘n’ roll warriors Heavy Pettin strode stages worldwide whilst their debut album, 1983’s Lettin Loose, threatened to break the rock world apart. They were seen as the natural ascendants to rock’s highest echelons, touring internationally alongside the likes of Ozzy Osbourne and Motley Crüe as wild Glaswegian whippersnappers. Then life happened and Heavy Pettin went on a triple decade hiatus.
Listening to Heavy Pettin’s first new studio album since 1989 – Rock Generation – feels more like a 30 week’ hiatus augmented by a supreme confidence. Led by founding frontman Stephen “Hamie” Hayman, featuring Dave “Davo” Aitken and Richie “St. James” Dews on guitars and backing vocals, plus David “Boycee” Boyce on bass and Mick “The Wizard” Ivory on drums, Rock Generation is a sonically-superb, classic song-strong rock ‘n’ roll return to that glorious slipstream between Def Leppard, Whitesnake and Thin Lizzy. The ten cuts bristle with full-frontal attitude and powerful melodies. Take the title track, with its hip swinging anthemic swagger, there’s “Oblivion” with guest vocals from Roni Lee which carries a true Celtic swing in its groove plus an addictive singalong chorus, while “X-Rated” fuses the attitude of Glasgow’s Sauchiehall Street with the punch and panache of the Sunset Strip.
Made in Glasgow at Morsecode Studios and produced with a timeless sheen by Ciarán O’Shea, make no mistake, Rock Generation is only interested in bringing you on a thrill-ride through the carefree sweat and leather landscape of cut-loose heavy rock ‘n’ roll. It’s a mission which will demand -and receive- your willing acquiescence.
Well, I started out (months ago!) compiling a Top 50 list of favorite Alice Cooper solo songs. Many Alice lists I see on Youtube (and elsewhere) tend to mix the original band and his solo recordings into one list, but for me, I see (and hear) a big difference, so I absolutely have to separate the 2. Much like I wouldn’t compile a favorite list of Black Sabbath albums and include Ozzy or Dio albums! Anyway, a good half of this list was easy to come up with, but the bottom half got a bit tougher to choose. Feel free to leave your picks in the comments.
Hey Stoopid (1991)
I like Trash when it came out, but over time it hasn’t aged well with me, being Alice’s ‘Bon Jovi’ album, and too many guests that I’m not a fan of. So, Hey Stoopid is the follow up, still in that 80s style, and with even more guest players and co-writers. BUT, gone is the Bon Jovi feel and just better songs, and a bit more bite. I also like the cover-art here. But aside from maybe 2 songs (I don’t need to hear “Feed My Frankenstein” ever again), I love all of this. Favorites being “Snakebite”, “Dangerous Tonight”, “Little By Little”, “Hurricane Years”, and “Burning Our Bed”.
The Eyes Of Alice Cooper (2003)
I’ve seen this one ranked near the bottom on many Alice Cooper album rankings on youtube, and really wonder why(?) I think this is a great album, full of Alice rockers and ballads, and humor! Not perfect (I can do without “Novocain”), but “What Do You Want From Me”, “Man Of The Year”, “Detroit City” (w/ Wayne Kramer), “Love Should Never Feel Like This”, as well as the ballads “The Song That Didn’t Rhyme” and softer “Be With You A While”, are good to outstanding by me. Alice uses his touring band here, without an excess of ‘guest’ players, so it sounds like a band album. The original CD release of this album came with 4 different eye (and circle) colors.
Welcome To My Nightmare (1975)
An easy favorite for most; it’s the album that started off Alice’s solo career (effectively marking an end to the original band). His Nightmare band featured guitarists Dick Wagner and Steve Hunter (as well as the rest of Lou Reed’s band), who would work with Alice for some years to come But the concept, theatrics, and songs here are just classic. This included the anthem “Department Of Youth”, the live favorite “Cold Ethyl”, the top 20 hit ballad ” Only Women Bleed”, a guest appearance from Vincent Price on “Black Widow”, the introduction of the (recurring) character “Steven”,… The album would be made into a TV special aired as Alice Cooper: The Nightmare. More recently a live show from this tour was released on Record Store Day, featuring Alice’s new band performing a set that included (almost) the entire album, as well as a few previous AC hits. Alice followed up this album with Alice Cooper Goes To Hell, which can be seen as a sequel…
Brutal Planet (2000)
Alice didn’t record a lot during the 90s, like many other older artists, but as he tended to do ever few albums, he switched gears, creating perhaps his most ‘metal’ album this one, released in the summer of 2000. Taking in sounds of industrial or new metal at the time, with a heavier sound, and darker lyrics,, reflecting what was currently happening in music and the world. Produced by Bob Marlette, who’s credits included Rob Zombie, Marylin Manson, Rob Halford, and many others. Loved the title track, as well as favorites “Blow Me A Kiss”, “Pick Up The Bones”, “Cold Machines”, and the ballad “Take It Like A Woman”. The follow up, Dragontown, was pretty much a sequel to Brutal Planet. I liked that one too, just not as strong IMO.
Raise Your Fist And Yell (1987)
The follow up to Alice’s comeback album Constrictor. Taking on the 80s metal sound, and inspired by current happenings (the PMRC hearings), and slasher films! The second to feature Kane Roberts as guitarist and co-writer throughout. I played this album non-stop! Not a bum track here. I can still pull this out and love it. Featured the hit “Freedom”, plus “Prince Of Darkness” (from the John Carpenter movie), and favorites like “Give The Radio Back”, “Time To Kill”, and the slasher trilogy on side 2 (“Chop, Chop, Chop”, “Gail”, “Roses On White Lace”). Saw this tour twice.
Dada (1983)
The last album in what’s been labelled Alice’s ‘blackout’ years, and his last for Warner Brothers. This, and the 1 before it sold poorly, with little promotion, and no touring. I bought this one, and the 2 before it, off the 99 cent rack at a local convenience store! But hey, these weren’t bad at all! Dada being my favorite of Alice’s early 80s 4 album run, where he changed the look and sound to fit with the times. Dada featured a fresh sound, good songs, and flow, with standouts like “Former Lee Warmer” (formerly Warner), the hilarious “I Love America”, and epic “Pass The Gun Around”, highlighted by one of Dick Wagner’s most memorable solos.
From The Inside (1978)
Following Alice’s stay at an asylum for alcoholism, he co-wrote a lot of this with Bernie Taupin (Elton John), and used members of Elton’s band, as well as the likes of Steve Lukather, David Foster… From The Inside featured the hit ballad (Alice’s 4th in a row), “How You Gonna See Me Now”, as well as memorable rockers like “Serious”, “Wish I Were Born In Beverly Hills”, and the title track, plus a few more ballads and lighter cuts. A pretty clean sounding album, featuring stories inspired by his stay in the asylum, and the effect on those around him (“For Veronica’s Sake” about his dog). A solid album. Check out the non-LP b-side “No Tricks” as well, a duet with soul singer Betty Wright.
Zipper Catches Skin (1982)
See above! I played the heck out of this one. Lots of fun rockers like “Adaptable (Anything For You)”, “Tag, You’re It”, “Zorro’s Ascent”, as well as “I Am The Future” (from Class Of ’84). “Make That Money (Scrooge’s Song)”, and the hilarious title of “I’m Alive (That Was The Day My Dead Pet Returned To Save My Life)”. Featured guitarists (and co-writers) John Nitzinger, Dick Wagner, Billy Steele, as well as Mike Pinera, and players Erik Scott (bass), and Duane Hitchings (keys), among others. Wagner later claimed there was a lot of crack cocaine use on this one, but I liked it.
Constrictor (1986)
Alice’s comeback album, after finally kicking his previous habit (cocaine), made sober, and full of energy. The first to feature new guitarist Kane Roberts, as well as a return to a hard rock guitar sound and the classic Alice image (eye make up and leather). Produced by Beau Hill and Michael Wagener, who were big at the time with many 80s metal acts. The drum sound kinda gives this a dated sound now, but at the time, I’d never thought I’d get to see Alice (being a newer fan, and Alice being out of the public eye), but I got to see this tour. Constrictor was the first Alice album in years to chart, and get any radio play. Cuts like “Teenage Frankenstein”, “Give It Up”, and “Life And Death Of The Party” were favorites. It also included “He’s Back (The Man Behind The Mask)”, from Friday The 13th: Part VI (Jason Lives).
The Last Temptation (1994)
This last spot was the toughest for me to decide on… The Last Temptation was an Alice Cooper concept album, a series of morality plays….Anyway, the full story was explained over a series of comics by Neil Gaiman and Michael Zulli. The Last Temptation opened with “Sideshow”, and followed on with excellent rockier cuts like “Nothing’s Free”, “Bad Place Alone”, the title track, the single “Lost In America”, and lighter songs such as “Stolen Prayer” (co-written with Chris Cornell) and favorite “It’s Me” (co-written with Tommy Shaw and Jack Blades). The album featured guitarist Stef Burns (Y & T), as well as Derek Sherinian (keys), among others, as we as guest Dan Wexler (Icon) who co-wrote a number of songs, and played guitar on one. There was no tour for this album, but eventually a few songs were worked in to the live show. The 90s were a tough time to be an Alice fan!
And then…..Paranormal, Lace and Whiskey, Goes To Hell, Dirty Diamonds, Flush The Fashion, Trash, Along Came A Spider, Special Forces, Welcome 2 My Nightmare, Detroit Stories, Road,
Outsider Rock 