Once again, in no particular order:
1. U.F.O.
2. Chris Isaak
3. Scorpions
4. Black Sabbath (with Ronnie James Dio singing)
5. Rainbow
6. Peter Murphy (solo work)
7. Montrose
8. Queensryche
9. Robin Trower
10. Blue Oyster Cult
Wednesday, April 29, 2009
20 Grossly Overrated Bands
I tried to keep it to genres I don't dislike outright as best I could, as I'm hardly qualified to say that Kanye West is overrated if I don't listen to anyone in the genre.
In no particular order:
1. The Beatles
2. The Police
3. The Clash
4. The Sex Pistols
5. Rage Against the Machine
6. System of A Down
7. Van Halen
8. Guns N' Roses
9. Dave Matthews Band
10. U2
11. Coldplay
12. KISS
13. Bon Jovi
14. Styx
15. Def Leppard
16. The White Stripes
17. The Ramones
18. Aerosmith
19. Bruce Springsteen
20. The Grateful Dead
In no particular order:
1. The Beatles
2. The Police
3. The Clash
4. The Sex Pistols
5. Rage Against the Machine
6. System of A Down
7. Van Halen
8. Guns N' Roses
9. Dave Matthews Band
10. U2
11. Coldplay
12. KISS
13. Bon Jovi
14. Styx
15. Def Leppard
16. The White Stripes
17. The Ramones
18. Aerosmith
19. Bruce Springsteen
20. The Grateful Dead
Monday, April 27, 2009
Heaven and Hell- The Devil You Know (2009)
Overview:
After Ozzy Osbourne was fired from Black Sabbath in 1979 after the band had released two consecutive sub par albums and lost all of its chemistry in a haze of drug abuse and infighting, the band was faced with the challenge of finding a new singer to replace one of the best-loved vocalists in rock. The band chose former Rainbow singer Ronnie James Dio (ironically suggested by Sharon Arden, the daughter of the band's manager, who would later go on to marry Ozzy), and set about on the uphill climb of trying to restore credibility to the band that had put out some of the best metal albums of all time. Heaven and Hell, released in 1980, was a sublime work, standing up against even the best of the Ozzy-era albums. The re-energized Sabbath then recorded the excellent Mob Rules in 1981 before falling apart again in 1982 over internal conflicts relating to the live recording Live Evil, with Dio leaving to start his own band.
Sabbath spent the next eight years putting out largely uninspired albums to declining sales before reuniting with Dio in 1990 to release Dehumanizer, a good if not classic effort that once again returned the band to commercial success. Dio left again before the end of the tour in support of Dehumanizer, feeling insulted that Black Sabbath was to be opening up for Ozzy Osbourne's solo band for the final two shows and seeing that the concerts were likely to bring about a reunion of the original lineup. That reunion didn't end up occurring until 1997, spawning live album Reunion, and resulting in several tours over the following years but no new albums. With Ozzy working on solo material in 2006, Black Sabbath recorded three new songs with Dio for the album The Dio Years, a greatest-hits collection of the singer's work with Sabbath, amongst them the sublime "Shadow of the Wind". The recording went so well that the band reunited with Dio for a tour in support of the album, touring under the name Heaven and Hell to aviod confusion with the Ozzy-fronted incarnation of the band which was still technically together. After a successful period of touring, and the release of The Rules of Hell, a box set of remasters of all of the Dio-era Black Sabbath material, the band announced that they would be recording a new album, to be released in 2009.
The album, brought about by the positive energy the band felt recording the new tracks for The Dio Years, the positive fan reaction to the tour supporting it, and guitarist Tony Iommi's frustration with Osbourne's hesitation to record a new Black Sabbath album, is titled The Devil You Know- the band retaining the Heaven and Hell name for the record. The Devil You Know is loaded with slow doom, even slower and darker than Dehumanizer, and having little stylistically in common with Heaven and Hell or Mob Rules. Iommi's trademark crushing riffs and masterful solos show that he is still in top form, and Dio's voice is in remarkable condition for a man in his mid-sixties, having lost little of its power. Bassist Geezer Butler and drummer Vinnie Appice are consistent as always, providing the background for Iommi to crush in and Dio to soar over. Not every track is above average, putting the album behind the first two Dio Sabbath albums in terms of quality, but the overall product is superior to Dehumanizer. Black Sabbath with Dio at the helm is one of the great metal bands of all time, and The Devil You Know is an excellent addition to its catalogue, making one hope for a continuation of the lineup and more albums from them in the future.
Track by Track:
"Atom and Evil": Starting with a powerful riff at pure sludge velocity, this is a great introduction to what the album is all about. Dio's voice, alternating between near-malevolence to plaintive, tremulous highs, is perfect for the track. As fans know, deciphering Dio's usually-poetic lyrics can sometimes be impossible, but this track is quite plainly about the nuclear age, with a few excellent turns of phrase to remind the listener that songs can indeed be poetry
Song Rating: A-
"Fear": A quicker, rolling riff starts this track, alternating with a slower, pounding one for the chorus which keeps the song musically interesting. Iommi delivers a quality subdued solo that adds to the track instead of distracting from it. Dio also demonstrates that he is still capable of singing over riffs instead of having to follow along with them, one of the things that makes his songs with Sabbath a pleasure to hear.
Song Rating: B
"Bible Black": Opens with a soft acoustic intro with electric accents and Dio singing in his still-excellent softer tones, reminiscent of Sabbath classics "Children of the Sea," "The Sign of the Southern Cross," and "Falling off the Edge of the World." Then, like those songs, the soft intro gives way to a tremendous, chugging riff. Iommi shreds in the song's great solo, and Dio soars, making this one of the best tracks on the album- full of the magic that fans of the group have come to expect. The closest track on the album to the H&H/Mob Rules era, and a wise choice as the first single.
Song Rating: A
"Double the Pain": Grooves along consistently, though its excellent pre-chorus gives way to a weak chorus that prevents the song from being a classic. Yet more quality guitar from Iommi makes it a good listen, still, and Butler's bass stands out strongly
Song Rating: B
"Rock and Roll Angel": The most skip-worthy track on the album. A mid-tempo rocker whose light chorus doesn't fit with the rest of the record much at all. Excellent guitar work a little over halfway through and Dio's conviction to what he is doing prevent it from being unlistenable, however. The acoustic outro is a treat, as well.
Song Rating: C-
"The Turn of the Screw": Another mid-tempo track similar to "Double the Pain," and of similar quality. A good track on its own that can be a bit lost amongst the similar songs on the album. Still, Iommi and Dio both turn in good performances and there's not much to dislike here.
Song Rating: B
"Eating the Cannibals": A welcome increase in pace, driven along by Iommi and Butler's quick grooving. The whole tone of this track is lighter than the rest, and it stands as evidence that Sabbath can still write a fast, fun song in the vein of "Neon Knights."
Song Rating: B+
"Follow the Tears": From the faster pace of "Eating the Cannibals," the album comes back to a slow chug here. A giant doom riff and Dio at his dark best make this thoroughly enjoyable. A stronger chorus would have made this a classic, but it's still damn good.
Song Rating: B+
"Neverwhere": The second of the faster-paced songs on the album. Dio's vocals render this track better than it may otherwise have been, and Iommi turns in his standard level of quality.
Song Rating: B+
"Breaking Into Heaven": A return to sludge with the album's closer. Dio shines here, with the waver his voice has picked up over the years adding to the song rather than taking from it. The band's name is apt here, as the track goes from heavenly highs, Dio's voice and the music behind it reaching before crashing to pitch-black lows. No one does epic like the Dio/Sabbath pairing, and "Breaking Into Heaven" is another reminder of what the combination can produce. If this is played live on the upcoming tour, do not miss the opportunity to see it.
Song Rating: A
Overall Album Rating: B+
After Ozzy Osbourne was fired from Black Sabbath in 1979 after the band had released two consecutive sub par albums and lost all of its chemistry in a haze of drug abuse and infighting, the band was faced with the challenge of finding a new singer to replace one of the best-loved vocalists in rock. The band chose former Rainbow singer Ronnie James Dio (ironically suggested by Sharon Arden, the daughter of the band's manager, who would later go on to marry Ozzy), and set about on the uphill climb of trying to restore credibility to the band that had put out some of the best metal albums of all time. Heaven and Hell, released in 1980, was a sublime work, standing up against even the best of the Ozzy-era albums. The re-energized Sabbath then recorded the excellent Mob Rules in 1981 before falling apart again in 1982 over internal conflicts relating to the live recording Live Evil, with Dio leaving to start his own band.
Sabbath spent the next eight years putting out largely uninspired albums to declining sales before reuniting with Dio in 1990 to release Dehumanizer, a good if not classic effort that once again returned the band to commercial success. Dio left again before the end of the tour in support of Dehumanizer, feeling insulted that Black Sabbath was to be opening up for Ozzy Osbourne's solo band for the final two shows and seeing that the concerts were likely to bring about a reunion of the original lineup. That reunion didn't end up occurring until 1997, spawning live album Reunion, and resulting in several tours over the following years but no new albums. With Ozzy working on solo material in 2006, Black Sabbath recorded three new songs with Dio for the album The Dio Years, a greatest-hits collection of the singer's work with Sabbath, amongst them the sublime "Shadow of the Wind". The recording went so well that the band reunited with Dio for a tour in support of the album, touring under the name Heaven and Hell to aviod confusion with the Ozzy-fronted incarnation of the band which was still technically together. After a successful period of touring, and the release of The Rules of Hell, a box set of remasters of all of the Dio-era Black Sabbath material, the band announced that they would be recording a new album, to be released in 2009.
The album, brought about by the positive energy the band felt recording the new tracks for The Dio Years, the positive fan reaction to the tour supporting it, and guitarist Tony Iommi's frustration with Osbourne's hesitation to record a new Black Sabbath album, is titled The Devil You Know- the band retaining the Heaven and Hell name for the record. The Devil You Know is loaded with slow doom, even slower and darker than Dehumanizer, and having little stylistically in common with Heaven and Hell or Mob Rules. Iommi's trademark crushing riffs and masterful solos show that he is still in top form, and Dio's voice is in remarkable condition for a man in his mid-sixties, having lost little of its power. Bassist Geezer Butler and drummer Vinnie Appice are consistent as always, providing the background for Iommi to crush in and Dio to soar over. Not every track is above average, putting the album behind the first two Dio Sabbath albums in terms of quality, but the overall product is superior to Dehumanizer. Black Sabbath with Dio at the helm is one of the great metal bands of all time, and The Devil You Know is an excellent addition to its catalogue, making one hope for a continuation of the lineup and more albums from them in the future.
Track by Track:
"Atom and Evil": Starting with a powerful riff at pure sludge velocity, this is a great introduction to what the album is all about. Dio's voice, alternating between near-malevolence to plaintive, tremulous highs, is perfect for the track. As fans know, deciphering Dio's usually-poetic lyrics can sometimes be impossible, but this track is quite plainly about the nuclear age, with a few excellent turns of phrase to remind the listener that songs can indeed be poetry
Song Rating: A-
"Fear": A quicker, rolling riff starts this track, alternating with a slower, pounding one for the chorus which keeps the song musically interesting. Iommi delivers a quality subdued solo that adds to the track instead of distracting from it. Dio also demonstrates that he is still capable of singing over riffs instead of having to follow along with them, one of the things that makes his songs with Sabbath a pleasure to hear.
Song Rating: B
"Bible Black": Opens with a soft acoustic intro with electric accents and Dio singing in his still-excellent softer tones, reminiscent of Sabbath classics "Children of the Sea," "The Sign of the Southern Cross," and "Falling off the Edge of the World." Then, like those songs, the soft intro gives way to a tremendous, chugging riff. Iommi shreds in the song's great solo, and Dio soars, making this one of the best tracks on the album- full of the magic that fans of the group have come to expect. The closest track on the album to the H&H/Mob Rules era, and a wise choice as the first single.
Song Rating: A
"Double the Pain": Grooves along consistently, though its excellent pre-chorus gives way to a weak chorus that prevents the song from being a classic. Yet more quality guitar from Iommi makes it a good listen, still, and Butler's bass stands out strongly
Song Rating: B
"Rock and Roll Angel": The most skip-worthy track on the album. A mid-tempo rocker whose light chorus doesn't fit with the rest of the record much at all. Excellent guitar work a little over halfway through and Dio's conviction to what he is doing prevent it from being unlistenable, however. The acoustic outro is a treat, as well.
Song Rating: C-
"The Turn of the Screw": Another mid-tempo track similar to "Double the Pain," and of similar quality. A good track on its own that can be a bit lost amongst the similar songs on the album. Still, Iommi and Dio both turn in good performances and there's not much to dislike here.
Song Rating: B
"Eating the Cannibals": A welcome increase in pace, driven along by Iommi and Butler's quick grooving. The whole tone of this track is lighter than the rest, and it stands as evidence that Sabbath can still write a fast, fun song in the vein of "Neon Knights."
Song Rating: B+
"Follow the Tears": From the faster pace of "Eating the Cannibals," the album comes back to a slow chug here. A giant doom riff and Dio at his dark best make this thoroughly enjoyable. A stronger chorus would have made this a classic, but it's still damn good.
Song Rating: B+
"Neverwhere": The second of the faster-paced songs on the album. Dio's vocals render this track better than it may otherwise have been, and Iommi turns in his standard level of quality.
Song Rating: B+
"Breaking Into Heaven": A return to sludge with the album's closer. Dio shines here, with the waver his voice has picked up over the years adding to the song rather than taking from it. The band's name is apt here, as the track goes from heavenly highs, Dio's voice and the music behind it reaching before crashing to pitch-black lows. No one does epic like the Dio/Sabbath pairing, and "Breaking Into Heaven" is another reminder of what the combination can produce. If this is played live on the upcoming tour, do not miss the opportunity to see it.
Song Rating: A
Overall Album Rating: B+
Thursday, April 23, 2009
Queensryche- American Soldier (2009)
Overview:
After spending their first decade producing nothing but quality albums, among them the best concept album ever in 1988 gem Operation: Mindcrime, Seattle-based rock legends Queensryche seemingly ran out of steam. 1994's Promised Land was released to good sales, but did not approach the huge sales totals of its predecessor, 1990's triple-platinum behemoth Empire. After that, things only went downhill for the next decade, as various reasons led to the departure of lead guitarist Chris DeGarmo and the band released a number of experimental, uneven albums, none of which met with any real success. Many wrote the band off for dead- a 1980's rock dinosaur that would be best suited to either hang it up or only go on the occasional greatest-hits tour.
Queensryche, however, stayed the course and was able to regain a measure of respect as a vital entity with a sequel to their best work- 2006 release Operation: Mindcrime II. It was a solid effort, if not an earth-shaker, that stood far superior to anything the band had put out since Promised Land. Reinvigorated, the 'Ryche began work on a new album, releasing covers collection Take Cover in 2007 both to take advantage of their new lease on life and to keep their momentum going until the new album could be put together. In 2008, it was released that the new album would be an exploration of military life and the experiences of war through the eyes of the men on the front lines, titled American Soldier.
Released in March of 2009, American Soldier is Queensryche's tenth album, and while stylistically different from Operation: Mindcrime II, continues their return to producing quality albums. Ignoring the political themes that mark much of Queensryche's work, the album stays admirably true to its purpose, sticking to the experiences and emotions of the men who have served their country in the armed forces. Not as heavy as many of the band's releases, the songs on American Soldier tend to be mid-tempo numbers, relying more on their emotionally-charged nature than uncontrolled guitar solos and pounding riffs. The album still rocks, just more in an alternative rock way than heavy metal. Interview clips taken from singer Geoff Tate's interviews with real soldiers conducted before the writing of the album are interspersed amongst the songs, reinforcing the band's commitment to authenticity and reminding the listener that the songs are often about real people, not just the band's idle imagining of what a soldier is and what he experiences. When the listener keeps this in mind, several of the tracks deliver a strong emotional punch vastly different from that of even good conventional songs. Though not without its weaknesses, American Soldier is a worthy work, signalling Queensryche's return to relevance.
Track-by-Track:
"Sliver": The album's opener, about the experience of boot camp, is a good, mid-tempo number made better by solid backing vocals and almost ruined by the insertion of clips of an awkward drill-sergeant guest vocal that sound harsh against Tate's more melodic style. Michael Wilton provides a quality guitar solo that helps save it from being recommended for a skip every time through.
Song Rating: C-
"Unafraid": Interview clips with two soldiers serve in place of lyrics here, with Geoff Tate only singing the song's strong chorus. Solid bass and drum work from Eddie Jackson and Scott Rockenfield drive the track, and Wilton adds another good solo.
Song Rating: B+
"Hundred Mile Stare": A good mid-tempo groove powered by Geoff Tate's vocals. Age certainly hasn't robbed him of his ability to stand as a compelling vocalist.
Song Rating: B
"At 30,000 Feet": Opening with an interview clip with a pilot, this track focuses on the often-ignored experience of the airman in combat. The loneliness and detachment broken with moments of intensity that characterize the experience of pilots in combat come through well, with the soft verses punctuated by heavier choruses. Tate is again the strongest point here, voice conveying emotional conflict quite well.
Song Rating: B+
"Dead Man's Words": The compelling story of a wounded soldier and the rescue mission to recover him is played out with Tate singing the part of the wounded and a guest vocalist contributing as one of the men volunteering for the mission to retrieve him. Tate and the other vocalist's voices compliment each other's well, and the rest of the band provides a subtle, Middle Eastern undercurrent to the song that drive it along almost subconsciously.
Song Rating: B+
"The Killer": Another mid-tempo number that isn't bad, but suffers from following up on better songs in the same style on the album. A relatively weak chorus also hurts the song, but quality backing vocals (A Queensryche staple) help out.
Song Rating: C
"The Middle of Hell": A mid-tempo, almost hypnotic song about a soldier's letter home to his father driven by Tate and the backing vocals.
Song Rating: B
"If I Were King": The album's first single- opening with a heart-rending interview clip of a soldier relating experiencing the death of one of his friends in combat. Ballad-esque, with a swelling chorus, Tate's voice is not in its finest form here, though not unlistenable. A rather pedestrian track, overall, if not for the emotion surrounding it- this is one point where the band falls somewhat short of the pressures of writing a song that conveys the emotions of the soldiers. The second audio clip about two-thirds of the way through followed by a short guitar solo is the closest to reaching the true emotion that the song reaches for.
Song Rating: C
"Man Down": Starts off fairly heavy, dropping back into an almost upbeat tone before raising to it's emotional pre-chorus, this song is about a soldier who's war experiences follow him back home. This track is lyrically strong, but the vocal style doesn't quite match the message except during the pre-chorus. The solo is of good quality, but this one falls quite a bit short of its potential.
Song Rating: C
"Remember Me": An out-and-out ballad, starting and interspersed with an interview with a soldier relating the stresses that being in the military puts on the families of soldiers who are away from home, this is one of the best songs on the album. Solid lyrics, execution, and backing vocals make "Remember Me" a heart-rending high point.
Song Rating:A
"Home Again": Another song about being overseas away from family, this time in the form of a father exchanging letters with his daughter back home. Tate's daughter sings the part of the daughter, and the exchange between the two of them- with so much risk of coming off as pure cheese- instead absolutely rips your heart out. The best song on the album, although hard to listen to sometimes due to emotional impact.
Song Rating: A+
"The Voice": Not a bad song, but definitely a let down after "Remember Me" and "Home Again." Opening with an interview with Tate's father himself, it is about being seriously wounded in combat and the thoughts that go through one's mind in the situation. Everyone performs well on the track, and it might have been served better being placed differently on the album.
Song Rating: C
Overall Album Rating: B+
After spending their first decade producing nothing but quality albums, among them the best concept album ever in 1988 gem Operation: Mindcrime, Seattle-based rock legends Queensryche seemingly ran out of steam. 1994's Promised Land was released to good sales, but did not approach the huge sales totals of its predecessor, 1990's triple-platinum behemoth Empire. After that, things only went downhill for the next decade, as various reasons led to the departure of lead guitarist Chris DeGarmo and the band released a number of experimental, uneven albums, none of which met with any real success. Many wrote the band off for dead- a 1980's rock dinosaur that would be best suited to either hang it up or only go on the occasional greatest-hits tour.
Queensryche, however, stayed the course and was able to regain a measure of respect as a vital entity with a sequel to their best work- 2006 release Operation: Mindcrime II. It was a solid effort, if not an earth-shaker, that stood far superior to anything the band had put out since Promised Land. Reinvigorated, the 'Ryche began work on a new album, releasing covers collection Take Cover in 2007 both to take advantage of their new lease on life and to keep their momentum going until the new album could be put together. In 2008, it was released that the new album would be an exploration of military life and the experiences of war through the eyes of the men on the front lines, titled American Soldier.
Released in March of 2009, American Soldier is Queensryche's tenth album, and while stylistically different from Operation: Mindcrime II, continues their return to producing quality albums. Ignoring the political themes that mark much of Queensryche's work, the album stays admirably true to its purpose, sticking to the experiences and emotions of the men who have served their country in the armed forces. Not as heavy as many of the band's releases, the songs on American Soldier tend to be mid-tempo numbers, relying more on their emotionally-charged nature than uncontrolled guitar solos and pounding riffs. The album still rocks, just more in an alternative rock way than heavy metal. Interview clips taken from singer Geoff Tate's interviews with real soldiers conducted before the writing of the album are interspersed amongst the songs, reinforcing the band's commitment to authenticity and reminding the listener that the songs are often about real people, not just the band's idle imagining of what a soldier is and what he experiences. When the listener keeps this in mind, several of the tracks deliver a strong emotional punch vastly different from that of even good conventional songs. Though not without its weaknesses, American Soldier is a worthy work, signalling Queensryche's return to relevance.
Track-by-Track:
"Sliver": The album's opener, about the experience of boot camp, is a good, mid-tempo number made better by solid backing vocals and almost ruined by the insertion of clips of an awkward drill-sergeant guest vocal that sound harsh against Tate's more melodic style. Michael Wilton provides a quality guitar solo that helps save it from being recommended for a skip every time through.
Song Rating: C-
"Unafraid": Interview clips with two soldiers serve in place of lyrics here, with Geoff Tate only singing the song's strong chorus. Solid bass and drum work from Eddie Jackson and Scott Rockenfield drive the track, and Wilton adds another good solo.
Song Rating: B+
"Hundred Mile Stare": A good mid-tempo groove powered by Geoff Tate's vocals. Age certainly hasn't robbed him of his ability to stand as a compelling vocalist.
Song Rating: B
"At 30,000 Feet": Opening with an interview clip with a pilot, this track focuses on the often-ignored experience of the airman in combat. The loneliness and detachment broken with moments of intensity that characterize the experience of pilots in combat come through well, with the soft verses punctuated by heavier choruses. Tate is again the strongest point here, voice conveying emotional conflict quite well.
Song Rating: B+
"Dead Man's Words": The compelling story of a wounded soldier and the rescue mission to recover him is played out with Tate singing the part of the wounded and a guest vocalist contributing as one of the men volunteering for the mission to retrieve him. Tate and the other vocalist's voices compliment each other's well, and the rest of the band provides a subtle, Middle Eastern undercurrent to the song that drive it along almost subconsciously.
Song Rating: B+
"The Killer": Another mid-tempo number that isn't bad, but suffers from following up on better songs in the same style on the album. A relatively weak chorus also hurts the song, but quality backing vocals (A Queensryche staple) help out.
Song Rating: C
"The Middle of Hell": A mid-tempo, almost hypnotic song about a soldier's letter home to his father driven by Tate and the backing vocals.
Song Rating: B
"If I Were King": The album's first single- opening with a heart-rending interview clip of a soldier relating experiencing the death of one of his friends in combat. Ballad-esque, with a swelling chorus, Tate's voice is not in its finest form here, though not unlistenable. A rather pedestrian track, overall, if not for the emotion surrounding it- this is one point where the band falls somewhat short of the pressures of writing a song that conveys the emotions of the soldiers. The second audio clip about two-thirds of the way through followed by a short guitar solo is the closest to reaching the true emotion that the song reaches for.
Song Rating: C
"Man Down": Starts off fairly heavy, dropping back into an almost upbeat tone before raising to it's emotional pre-chorus, this song is about a soldier who's war experiences follow him back home. This track is lyrically strong, but the vocal style doesn't quite match the message except during the pre-chorus. The solo is of good quality, but this one falls quite a bit short of its potential.
Song Rating: C
"Remember Me": An out-and-out ballad, starting and interspersed with an interview with a soldier relating the stresses that being in the military puts on the families of soldiers who are away from home, this is one of the best songs on the album. Solid lyrics, execution, and backing vocals make "Remember Me" a heart-rending high point.
Song Rating:A
"Home Again": Another song about being overseas away from family, this time in the form of a father exchanging letters with his daughter back home. Tate's daughter sings the part of the daughter, and the exchange between the two of them- with so much risk of coming off as pure cheese- instead absolutely rips your heart out. The best song on the album, although hard to listen to sometimes due to emotional impact.
Song Rating: A+
"The Voice": Not a bad song, but definitely a let down after "Remember Me" and "Home Again." Opening with an interview with Tate's father himself, it is about being seriously wounded in combat and the thoughts that go through one's mind in the situation. Everyone performs well on the track, and it might have been served better being placed differently on the album.
Song Rating: C
Overall Album Rating: B+
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