This is a collection of soulful, gritty rock & roll songs, showcasing Wylde's fittingly gravel-like baritone vocals. This is definitely a Zack Wylde SOLO record, in the sense that it is nowhere near the sound of his work with Ozzy nor the heavier side of Black Label Society. In relation to his previous work, it resembles the more acoustic side of BLS, but with more of a blues-rock production of early Black Crowes. The songs are solid and the band's playing is proficient. I wouldn't rate this as any groundbreaking milestone in Zack Wylde's recording career. But the overall package is cohesive, and the songs are well-meant and pleasing to those who prefer the bluesy, (even old-school R&B) analog-rock sound of the 70's, as that sound is sounding more and more refreshing in this age of digital, homemade records that are too often made by people more interested in hooks than actual song-craft. Wylde reminds us on this record that he's not merely just one of the best guitar-shredders in rock history, but a soulful singer/songwriter as well. This record is more about the soulful singing and songwriting. If you want the shredding side of Wylde, look elsewhere. The record is about the songs.
Ethereal and dramatic - excellent (and extensive) musical reflection of all the moods and situations involved in this highly developed video game. A lot of great, well-conceived instrumental music for the money, as well.
Every genre has its "authentic version" and the completely commercially-motivated version. With regard to the current crop of R&B/soul artists, this release by Lee Fields reflects the former. Authentic for sure.
This release the previous one by renowned Welsh crooner, Tom Jones, marks a significant turn of direction in his singing career (similar to that of Johnny Cash), as Jones enters what many call 'senior citizenship'. These are uncompromising themes, recorded with pared-down instrumentation, delivered in the inimitably soulful way that only Tom Jones can deliver them. He is apparently doing what he finds musically satisfying to his soul at this time, which comes across in spades to this listener. It's almost therapeutic in its effect. A long way from 'What's New Pussycat', these songs are a mix of blues, soul, gospel and folk, refreshingly delivered with urgency and honesty.
Though I prefer the sound of the former Derek Trucks Band, I can't blame him for having the established blues-rock voice of Susan Tedeschi as the voice of the band (re-named to reflect their professional partnership, which is also marital). The songwriting is still solid and the delivery is very soulful and genuine.
This double-CD recording (which is, in a way, prog-metal's answer to The Who's "Quadrophenia" or Pink Floyd's "The Wall") is brimming with memorable melodies, outstanding musicianship and a comprehensive storyline. As a long-time fan of Dream Theater (and prog-rock in general), it's fitting that Petrucci and company have arrived at this milestone at this time - after 20+ years of consistent excellence. They have done "concept" albums in the past, but not to this extent (like a "rock opera"). The music is wonderful and runs very thematically throughout, like a "rock symphony" of sorts. Also, this is unlike their previous records in several ways. There are slower, even ballad-like, numbers on this record as well as many songs that are shorter in duration than the usual DT songs. There are no 12 and 15 minutes epics here, which is more in line with the movie-soundtrack vibe of this work. There are still the presence of their trademark heavier songs included, as needed in the context of the story. But this, in a nutshell, this is a work that is set apart from their previous works. I find it to be an excellent, very satisfying record in its entirety. The live show is outstanding as well as I caught them on tour in support of "The Astonishing" recently. Very highly recommended!
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I like this record because it maintains a strong sense of melody with interesting instrumentation. It's a bit of a departure this time as the some of the songs sound (dare I say) "catchier" in a commercial sense. But C&C's sense of "catchy" is still a far cry from Top 40 radio. So, don't fret - none of these songs will be on any conventional rock stations anytime soon. Even though there is a little less of the "progressive-rock" tendencies than before, and the songs are noticeably shorter (which isn't a bad thing), Claudio's signature vocal sound and excellent sense of melody are still prevalent. Also, the band still rocks hard and still exhibits the same great dynamics as before, balancing the loud with the ethereal - just in a shorter song format. Still a very good C&C record.
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You got to love this band for being around this long, doing things the old-fashioned way (record/tour/record/tour/record/tour/etc.) and putting out one satisfying hard-rock record out after another. Another great thing about Clutch is their ability to attract the alternative-rock crowd and the heavy-metal crowd, by melding sweaty blues-rock with straight-up, no-nonsense hard-rock, and even funk, while maintaining a clever sense of lyric-writing. "Psychic Warfare" picks up where "Earth Rocker" left off and is a real blast from start to finish.
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It's a good hard-rock record with fine attention to melody and thoughtful lyrics. There's quite a lot of bands out there with a similar emo/hard-rock sound. But BB has been around long enough to have real credibility in this sound. This particular record isn't bad, but it isn't as much of a breakthrough as I hoped for either.