Chet Atkins/Les Paul – Chester and Lester

(Warning: another phoned in post that shouldn’t reflect on the amazingness of the record being discussed.)

So, I’m not sure where this is going to go today. I’ve drunk half of my coffee, and yet the caffeine hasn’t kicked in yet. So I’m just sort of sitting here staring at the screen wondering what I’m going to say about this record. That record being Chet Atkins and Les Paul’s 1976 collaboration ‘Chester and Lester’. I fantastic record featuring two world class guitarists. You don’t get much better than these two guys.

As I mentioned yesterday, I wasn’t much of a Chet Atkins fan most of my life. I was aware that he was an amazing guitarist in his field. But as you know, I’ve identified as a metal head and classic rock fan most my life. I recognize great players when I heard them, but I just didn’t spend much time with bluegrass and country most my life. Therefore, Chet Atkins has remained in my periphery most my life. Les Paul has a similar story for me. I first heard of him in 1988 or 1989 when HBO did a special on him. It showcased Paul jamming with many contemporary guitarists and was mind blowing to a 14 year Dave. But aside from that I never pursued his music. But I alway held both guitarists in high regard, even if I didn’t listen to their music.

I first became aware of this record existence in 2010 or 2011 when I first started subscribing to Netflix. There was this excellent documentary on Les Paul and they mentioned this record. If you have not seen it, I highly recommend it.

According to Chet Atkins, he had convinced Les Paul to come out of retirement to do this one record with him. So Les traveled to wherever the studio was and the two of them with the band set up and did a full day of rehearsals, which were recorded. At the end of the day, Les announced he was going home and whatever they had recorded that day was the record.

The result being a loose laid back record with a bit of banter between Atkins and Paul. It sounds more like a jam session than a recording session, what it essentially is. You can tell the two of them were having fun playing together. Throughout the songs the two guitarist are cracking jokes, teasing each other while trading guitar licks. In between songs you can hear the musicians laughing. I imagine this was a fun day in the studio for everyone one involved.

So that is it for this record. As I’ve said, I’m not feeling this whole writing thing this morning. I’m test driving Google docs this month to see whether I want to renew my subscription to Microsoft Office or not. If I can get everything I need out of Google docs, I might just stick with that. Anyway, I mention it because there is a plugin in Docs that analyzes your document and helps you fix your grammar and sentence structures. It also rates how readable and at what grade level your writing is. According to GradeProofs metrics, this document is at a 64% readability percentage and is written at 8th grade level. So it’s not my best effort.

I’ll leave you with that.


Chet Atkins – Pick on Jerry Reed

That moment when you realize that the last record you played was at 45 RPM and the one you just threw on is 33 RPM, Oops! That happens to me quite a bit, there is one artist who I listen to fairly often, whose record bounces between 33 and 45 and I always forget to switch it back after changing records. So, when I threw on today’s record, ‘Chet Atkins Pick on Jerry Reed’ it sounded all crazy, but still kind of cool.


You know what it sounded like? Have you ever listened to early Les Paul records when he first developed his sound on sound technology? If you haven’t you should check it out (I’ll try and see if I can some videos to link to). Anyway, Les Paul was possibly the first musician to develop sound on sound recording, and the first to really experiment with it, layering tons and tons of guitars on top of each other.  Some of the early experiments he’d toy with a pitch, recording parts at different speeds, faster and slower, and when he played back at normal speed, some of the guitar parts sounded really fast and hi pitched. Anyway, that is what today’s record sounded like when I first started playing it before I figured out I was playing at the wrong speed.


So, as you may have guessed, I’m sort of just bullshitting my way throw today’s review because I really don’t have much to say about this record. That’s not to say I don’t like it, barely know it, or that it’s not any good. I really like, listen to somewhat frequently, and I think it’s really good. I just don’t have a big discovery story with it, and it wasn’t a major soundtrack of my life. It’s just a record I own and throw on time to time when I’m looking for something different to listen to.


In fact, I’m not sure when or where I bought this copy I’m listening to right now. Well I can ballpark when, somewhere in early 2013, but I have no idea where I picked it up. If memory serves me correctly I bought this record early in my vinyl collecting days, which started around spring of 2013 (I think). But I can’t nail it down beyond that. I’m not sure if I bought from this guy Phil’s who ran a store in his garage, off of my friend Rick, or at one of the shops in Antique World, which is usually where most of those early purchases were made. All I can tell you is I have it now.


In fact, I’m not even sure why I decided to buy it. Though I like finger picking guitar style, it’s never been very high on my list of favorite genres. Same with Chet Atkins, I have always been aware that he was a guitar god from the 70’s in the country/bluegrass world. But I never went out of my way to really dig into his music. In fact, this is the first of two records I own by him, and the only two I have ever listened to.  So, I’m not sure what prompted me to buy it.


If I were to guess on why I bought this record, I would base in this weird desire I had for a long time where I thought I wanted to own as much music in as many different genres’s as possible, so as to have the perfect music on hand for whatever situation I ever happen to be in. Though I have always been a fan of many different types of music, and feel I’m open minded about music in general, I believe this desire to have a wide variety of music stems from my days of being a sound guy at the Z Lounge back in the mid 2000’s. I sort of prided myself on being able to pull up any record on my iPod that would fit what style music was playing that night.


After I left that job I still wanted to have a wide variety of music on my iPod, one to make shuffles interesting, and two, to be able to play something for every situation. I had it in my head that somehow, I was going to be hosting parties or get together, and I would want to be able to provide fitting music that would please as wide of range of people’s tastes as possible. And when I started collecting records, I carried on that practice.


But here’s the thing, I never host any parties what’s so ever. Out of the small group of friends I was hanging out and collecting records with in New York, I was the only one that didn’t have nights where we gathered at my place and played my records. I was living with my parents at the time, I lived about 30 miles away from everyone, and it just never was a convenient place to gather. So, it never happened.


And as far as shuffling playlist goes, I never do that anymore. For the most part when I’m walking or driving around with my iPod, I’m listening to podcasts most the time. The only time I play music on my iPod is when I’m reading or when I’m writing a review and I’m not playing the vinyl. So, the idea that I want a wide range of music on my iPod for interesting shuffles and entertaining others doesn’t apply to me anymore.


All that said though, even though I’m not sure why I bought this record, I’m glad I did, because I do really like it. I may not play it all the time, but occasionally I get in a mood and throw it on. And I’m always glad when I do. Take that for whatever it is.

Assjack – Assjack

(Another recycled post. I wrote this one a year ago, and I tried to clean it up and fix the grammar a bit so it makes more sense. I’m not sure how successful I was at that.)

Today’s CD is Hank Williams III punk metal project’s one and only record, so far, Assjack. A record in my opinion that is more interesting in theory than in practice. Though I will say that you should really check out the band live, it comes off much better than the CD.

Since this is my first Hank III related record in this series, I suppose I could tell my Hank III story. Back in 2001, I was working as a freelance stagehand and I was asked to work the Hank III show at Rosebud. At the time, I wasn’t sure what he was all about. I think I saw a little clip of him on MTV that summer but didn’t really pay attention to what his thing was. So, I think when the show was booked, I was expecting it to be a country show. It seemed to make sense, his name was Hank Williams and the show was sponsored by a country radio station seemed like a good bet that it would be a country show.

But during load in I was noticing a lot of road cases that had Slayer, Black Flag and Misfits stickers all over them. Plus, the backline seemed to be more of a rock or metal backline than a what you see with a country artist. The backline for country bands tends to be more Fender Twin Reverbs and smaller combo amps. Hanks bands were all Marshall half stacks and SVT bass cabinets, which is usually what you would see with rock or metal bands. So anyway, we get everything in and on stage and the band is setting everything up. At this point, they didn’t really need my help so I’m was sitting on a road case in front of the stage in case they need a hand. In comes in this guy about my age, with long hair, wearing gas station attendant shirt with The Misfits logo on it. He walks up to me and introduces himself as Hank and shakes my hand thanking me for helping load everything in. From there we talked about the Misfits and The Ramones for a little bit. I had just worked a Misfits show where they were doing The Ramones and Black Flag songs along with Misfits material, so I was telling him about that show. Anyway, we only talked for a few minutes and he came off to me as a cool guy who was nice and down to earth. From there he and one of his bands mates start talking about how they couldn’t sleep the night before and the various methods they used to get to sleep, but we won’t go into that

So after a while, the band is sound checking and I finally get an idea what the band was about. I must say it really made an impression on me, even though it would be 11 years before I finally got around to checking out any of his records, I distinctly remember him doing the song ‘Hang On’ during sound check and really liking it.

A couple of hours later and doors are open and the crowd starts coming in and I can’t help but notice that there were a several country type folks with cowboy hats on. At one point, I found myself in a conversation with this one guy who was a straight up country guy. He wasn’t some mall country suburban douche with a cowboy hat, he was the real deal. We get to talking and he was asking me what Hank III was about. It seems this guy had no idea what kind of music Hank was playing, but he was a huge country music fan, and a big Hank Williams Sr. and Jr. fan and was there just because of his name. Now, this may sound stupid, but at this point, I had never met anyone that was as much into country music like I was into rock or metal. My experience has always been that country music fans just have it on as background noise and aren’t really into music like I was. But this guy was all into the history of the music and came to this show out of curiosity and his love of the music.

At one point this guy asks what does he look like, he had heard that he’s a spittin’ image of his grandfather, which he is, and was wondering if that was true. It just so happened that Hank and the band were walking through the bar, and I said to him, “See that guy with the ponytail? That’s him”. The fact that Hank had long hair seemed to blow him away.

During this same time, I worked at an after-hours club that was around the corner from the venue I was working at, so I left for a little bit to clean it up and get it ready to open at 2 am, so I ended up missing a little bit of the first half of Hanks set. When I came in, it was during the country set, which reminded me of his grandfather’s classic sound, except with a lot more profanity and drug references. Hank has his hair tied back and had a cowboy hat on and is doing the whole classic country thing.

Also by this time, the room was full, and it was a mix of country people with cowboy hats and the Gooskie’s and Dee’s Cafe crowd. For those of you outside of Pittsburgh, that’s basically the rockabilly, punk, and tattoo shop crowd. Despite the vast differences in the crowd, everyone was hanging out and having a great time.

Eventually, the country set ends and Hank announces that the rock set will start set soon. But before he leaves the stage he warns the crowd “now this ain’t no 38 Special or Lynyrd Skynard type of rock, if you don’t like punk rock and heavy metal, you might as well leave now”. Despite this warning, no one leaves just yet. About 15 minutes later the band comes back out and Hanks has a black t-shirt on and has let his hair down and looks totally different. The band launches into ‘Tennessee Driver’ and all the cowboy hats take a step back. Hank steps up to the mic and does a few death metal growls and with that the all the cowboy hats in the building start B-lining it to the door. In less than 30 seconds he managed to clear out half the room. To this day that is one of my favorite moments in my career in working live music. It was awesome.

Now as far as this CD goes, it’s an interesting listen, but like I said in the intro, I think it comes off better live than it does on record. I think that is because Hank plays all the instruments himself and it lacks the energy that you get from the live show with the full band. That is something that I have noticed with Hanks career, once he finally broke with the record company and started doing exactly what he wanted, and usually by himself, the music suffers. Though he’s extremely talented and a brilliant visionary, I think he really needs other musicians to come to and to bring his vision to its fullest potential. This point is proven when you see him live. Stuff that sounds weak and thin on record totally kicks ass live.

So instead of trying to point you toward and song or two on this record, I strongly suggest going to see him live if you ever get the chance. He puts on such an amazing and varied show; you are bound to like part of it. From what I understand at this point he breaks it down into four different parts, country, psychobilly, punk/metal, and some crazy 3 bar cattle calling thing, which is some like cattle calling mixed with grindcore metal. It fucking crazy and you should really check it out if you get the chance.

As They Burn – Will, Love, Life

So, I woke up at 4:30 am this morning and couldn’t get back to sleep. I ended getting up around 7:30, taking a shower and going out and getting coffee. I figured I’d bang out a quick review early and move with my day. The problem was, though, I still felt catatonic and had no mental energy to do anything. What did I end up doing? You guessed it, I fell back asleep and ended up sleeping until about noon. But thanks to that nap, I now feel much more into doing a review.


But the next issue I face is, what record do I review? Now I do have a spread sheet I’m working from that had at least the first 150 records and CD’s I plan on covering. On that list, I have two more Arch Enemy DVD’s I planned on talking about. But as we learned over the last week, ends up I have very little to talk about with that band. Yesterday I tried to write a review for the first DVD and even though I managed to write over 900 words, I still didn’t feel I said anything of interest. So, I think I’m just going to scrap it and skip the other DVD and move onto the next title on my list. That title being As They Burn’s 2013’s ‘Will, Love, Life’.


Who is As They Burn you ask? Well, to be honest, I have no fucking clue. The CD made its way into my collection a few years ago when my buddy Steve K, who hosts a radio show in Buffalo, threw a New Year’s Eve party at this bar and was giving away a ton of CD’s and other items throughout the night. At the end of the night, Steve handed me a stack of CD’s and said, here “you go man, take em all.” This CD was in that stack.


Around that time, I listened to every CD he gave me, and I liked a few, others no so much. I seemed to remember liking this CD a little bit more than some of the other ones, but even then I only listened to it a few times, and it’s been nearly 4 years since I last listened to it. So, because of that, I really don’t have much to say about the disc.


Before I took my nap, I did a quick internet search to see if I could learn a little bit about the band to share with you. What I found out was that there is no English Wikipedia page for them, though I did find one in French, and since I can’t read or speak French, it doesn’t help me much. In fact, very little of what I found on the band was not in French. Which leads me to suspect that the band is from France. Aside from that, I got nothing.


So that leaves me with the torturous task of trying to describe the band’s music, without much of a reference to work with. As I’ve mentioned in earlier post’s, I have a hard time nailing down the various contemporary sub-genres of heavy metal and hardcore anymore. Stuff that would have been considered metal in 1992 is now labeled with a string of words that have the word “core” at the end of each of them. I have no idea what makes something hardcore, metalcore, slamcore, scream-o, or whatever meaningless label you want to add to it.


So, because of that, I don’t know what subgenre of hardcore or heavy metal As They Burn fall under. In fact, I’m not sure if I’m doing them justice by suggesting that hardcore is part of their sound. To me, it sounds like the label fits. Heavy down-tuned guitars with lots of breakdowns, but the same time there’s a lot of elements that remind me of metal bands like Lamb of God and Slipknot. So, I guessing that they’re metal with some form of the word ‘Core” tossed in at some point.


What I can tell you, the record is pretty damn heavy throughout the entire thing. Though I wouldn’t say it’s terribly unique in any way. To be honest it sounds like a dozen of other bands I don’t listen to. Which is probably why I never bothered with it after the first or second listen. It just doesn’t move me that much. But that’s my own personal taste.  As I’ve to think I’ve established by now, when it comes to heavy metal, I’m an old school 80’s thrash metal head all the way. Most of the contemporary metal I like is either created by the thrash bands I grew up with or reminds of those bands. Most of the bands and subgenres that emerged out of the mid to late 90’s and early 2000’s don’t do much for me. It’s not to say all those bands suck, they’re just not for me.


Which sort of sums up my opinion of As They Burn. It was by no means painful to listen to this CD this afternoon. It never annoyed me the whole time it was on. But at the same time, even though it just ended less than two minutes ago, it left no impression on me and I couldn’t tell you what a single song sounded like.

Arch Enemy – Root of All Evil

(Phoning it in today. I wrote a review for this CD last year sometime, and I’m just copying and pasting it here, even though I know it contains information that I’ve already mentioned in early Arch Enemy post’s. But this is my project and I reserve the right to recycle whenever I want.)
Well, here I am sitting in Highland Park on a rotting old bench seeing if I can bang out another one of these things. I was hoping for a picnic table and some shade, or maybe a tree to lean against, but it appears that this park doesn’t have tables in this area, and all the trees have sod surrounding them, so if I chose to sit against one, my ass would get dirty as fuck. Oh well, chalk it up to as a learning experience. Next time I do this, I’ll remember to drive to the park, and bring my chair…though now that I’m sitting here, I’m thinking about moving to a different spot, mainly so I can see my screen better and not be in direct sunlight. Maybe after I finish this. (Edit: almost immediately after I wrote that I ended up moving to some shade under a tree, risking a dirty butt. It was worthwhile decision.)

Today’s random album is Arch Enemy’s ‘Root of All Evil’ CD, a collection of songs from the band’s first two records before Angela Gossow joined the bands, re-recorded with Angela vocals. A decision though not necessarily a bad one, but unnecessary, but I get it. I’m assuming the thought process went something like this; many people only started listening to the band after Angela joined the band, and don’t bother with the albums before her joining. But there are a lot of good tunes from that era of the band that they still like to play live, so why not re-record them with the benefits of better production and with a voice that many more fans find more familiar. At least that is what I suspect someone in the organization thought when they decided to do this record. Either way, that is the direction the band decided to go on that particular album cycle. And I have to say it works, at least for me, because I would never have bothered with the earlier stuff, if it wasn’t for this CD, in fact even though I own one of the earlier records, I couldn’t tell you a song from it. And to be honest, todays listen is the first I’ve listened to this CD in probably 6 or 7 years. I bought this CD right after I moved back to NY in 2009, and it was right on the edge of me caring about this band, so I never really spent that much time with it.

I first came across Arch Enemy back in 2002 when I saw the video for ‘Ravenous’ on MTV 2, and immediately I was hooked. I remember it clearly; I was up visiting my parents for my cousin Jennifer’s wedding, and I was staying up late watching TV when the video came on. Though I was already a couple of years into my metal revival phase at this time, I still wasn’t too impressed with a lot of the new of the new metal that was coming out. But I remember being immediately taken by the thrashy guitar intro to ‘Ravenous’, and when the vocals kicked in, and I saw that it was this adorable woman doing some of the best death metal growls I had ever heard, I was sold immediately. The melodic guitar solos were only the icing on the cake.

Unfortunately, I forgot what the name of the band was rather quickly, so it was a while before I owned anything by them. About a year later I was handed a Century Media compilation record that had ‘Ravenous’ and ‘Heart of Darkness’ on it. I think I was less impressed with ‘Heart of Darkness,’ so it took me a while before I was willing to spend the money any of their CD’s, especially at full price.

In fact, I don’t think it was until around 2005 when I was trying to be a death metal vocalist in my band that I bothered to buy one of their records, ‘Anthems of Rebellion’ and I wasn’t that impressed with it. Don’t get me wrong; I thought it was a good record; I just wasn’t that enthralled by it. It wasn’t until a couple of years later when I was working at DISH Network that I decided to spend more time with them, and I bought ‘Dooms Day Machine’ that I got into the band.

By this time Angela was my celebrity crush and I think I loved the band more for the fact that she was their singer than it was about the music. Now, of course, that’s not quite true, because without the skill level of the musicians of this band, no singer, no matter how cute she is will result in me buying everything they put out.

What I loved about this band was their focus on killer death metal riffs contrasted with their melodic guitar solos and harmonies with Angela’s aggressive death metal vocals on top, creates a dynamic I find compelling. And for a couple of years there, I ate up everything I could get my hands on by this band. They were everything I wanted in a metal band.

But for whatever reason, I eventually started to care less and less about them, and a lot of other metal bands too. I suspect that a huge part of it was when I moved back to NY in 2009, I started hanging out with my friends from high school, who weren’t as into metal as maybe my friends in Pittsburgh were. Hanging out them rekindled my love and appreciation of classic rock and progressive rock. Another contributing factor is after a while a lot of these bands records all started to sound the same to me. Unless they do like what Opeth did and take a complete left turn 20 yrs into their career, after a while, it seems you’re listening to the same record over and over again. And my interest in them wanes, and I just end up sticking with the one or two albums that got me into them in the first place. That is what happened with this band. Though I have listened to their last two studio albums in their entirety a couple of times, I never went out and bought them, and have no interest in listening to them Spotify either. They’re just not where I’m at right now when it comes to music.

But who knows, there may come a time in the future where I am all of a sudden obsessed with a new wave of metal bands that sing to my thrash sensibilities and I’ll find myself revisiting all these old Arch Enemy albums and loving them even more. I honestly find it less likely to happen, but you never know.

Arch Enemy – Doomsday Machine

(Warning: this post goes nowhere if you wanna learn anything about this CD, just go to YouTube and check out a song or two, because you’re not going to learn anything here.)

Today we are carrying on with Arch Enemy’s 6th studio record ‘Doomsday Machine’. I’m just going to say up front here, I really have no clue as what I’m going to write about this CD. I don’t have a story of discovery, a time I saw or worked with the band, nor any song that blew my mind when I first heard this record. I bought the CD a couple years after its release, around the same time I was buying up a number of other albums by the band, so it sort of blends with their next record ‘Rise of the Tyrant’. I already mentioned how I lost interest in the band around 2010 or so and haven’t listened to them too much since then, until this week when I started playing the CD’s in preparation for the write up’s I planned on writing. So, I’m just going to be winging it here, and hopefully, I’ll come up with something.


As I mentioned yesterday I first heard of Arch Enemy back in 2002, but really didn’t start collecting their albums until around 2008. At the time, I was working at Dish Network and one of the guys that worked in the warehouse, Justin, was a fellow long haired metal head, and the two of us had a bit of a competition going of who could find quality metal CD’s cheap. Each week we would hit up the various CD’s stores across the city, and then talk about what we found come Monday. It was Justin who got me into Amon Amarth, Nevermore, and to a certain extent Opeth. Between Justin and my roommate at the time Ken, I built up a pretty good metal collection at the time. I believe it was these conversations with Justin that lead to me to explore Arch Enemy some more.


As I was exploring Arch Enemy’s and other various bands we discussed discography’s, I would spend some time on their Wikipedia page trying to learn as much as I could about each band. What I learn about Arch Enemy during this time was that they were considered the leaders of the melodic death metal scene. Now I had never heard of melodic death metal, and kind of thought the term was stupid. It’s not that Arch Enemy didn’t exhibit either of those elements, they have tons of both, it just seemed contradictory to me. Aside from Angela’s growls vocals, I really didn’t hear too much death metal in them, at least the not the death metal I grew up on. I sort of thought of them more as a thrash metal band than death metal band. Though I admit I have no idea what makes something death metal or thrash metal anymore. But it all seem arbitrary to me.


So, what does make Arch Enemy death metal as opposed to thrash metal? The best I can tell its guitarist, songwriter, and founder Mike Amott’s connection to the 1990’s death metal scene with his former two bands Carnage and Carcass. Though some people may split hairs on whether Carcass was grindcore or death metal when they first started, by the time they disbanded in the mid 90’s they were considered leaders of the death metal movement. In fact, he formed Arch Enemy shortly after leaving Carcass, and in many ways carried where he left off with them. But is what he’s doing with Arch Enemy death metal? I really don’t know. As I said, I honestly think the label is there because of Mike Amott and nothing else. Yeah, Angela does growl, but so does Corey Taylor Slipknot, and no one who knows anything about death metal is going to say Slipknot is death metal.


So, what does any of this babbling mean? Well if I’m going to be perfectly honest with myself, it means I really don’t know that much about extreme metal and probably shouldn’t be trying to discuss it on a public forum. One thing doing these reviews series have taught me is that I’m just a music dork as opposed to a metal head. Yes, I have long hair, wear black t-shirts and jeans, and loved metal. But I also love classic rock, progressive rock, and industrial. I also like a little bit of jazz, the blues, folk, and old country. So, I think it’s a bit misleading to claim to be a metalhead. All it takes is me hanging out with a few true metal heads and listen to them talk about various black and death metals bands I never heard of and it becomes obvious, to me at least, I probably shouldn’t call myself a true metal head.


Well, I’ve reached my word count so I’m just gonna punch out and call it a day. Sorry that this review didn’t go anywhere. But as this series progresses, you’ll find that will happen more and more.

Arch Enemy – Wages of Sin

After taking a slight detour from our normal format, we’re picking up where we left off today with Arch Enemy’s 2002 record ‘Wages of Sin’. ‘Wages of Sin’ was Arch Enemy’s 4th record, but was the first one to feature the vocal talents of German female vocalist Angela Gassow, my celebrity crush for most of the early 2000’s.


I first discovered Arch Enemy back in the summer of 2002 when I was up visiting my family in Western New York for my cousin Jennifer’s wedding. As memory serves me, it was late at night and I had MTV 2 on the TV. The network had just tried to relaunch their classic Head Bangers Ball show, and though I never watched the original show, I was willing to give this reboot a shot. At that time, I was trying to embrace a lot of the newer metal I had been ignoring for years. Throughout most of the 90’s I lost interest in most metal. It just did nothing for me. But in late 1998 my love for metal began to rekindle, I was always on the lookout for newer extreme metal, or at least new to me. But the problem was I was still an old-school thrash metal head, and very little of the current metal did much for me. So, when the video for Arch Enemy’s ‘Ravenous’ came on the TV, they got my attention. The opening guitar riff was right up my alley and I was hooked immediately. But then Angela Gassow came on the screen and I was sold no questions asked. Here was a female vocal delivering the most brutal death metal vocals that I’d heard in years. And the fact that she was hot didn’t hurt matters any.


Hot female singer aside, the music for ‘Ravenous’ was literally everything I wanted in extreme metal at the time. The song was very riff orientated, tight bass lines, and crushing drums. But when the songs broke down for the guitar solos, I found myself falling in love with the song even more. Being an 80’s child that grew up on Ozzy, Black Sabbath, WASP, and Iron Maiden, one thing I loved about metal was that the guitar solos had melody and went somewhere. They weren’t just a blast of technical acrobatics (though they weren’t afraid to go there from time to time). But in a lot of those metal record I grew up with, the guitars solos were just as memorable as the vocal melodies. That was something I missed with a lot of the late 90’s and early 2000’s metal I was hearing. But that seemed to be exactly what Arch Enemy was about, brutal rhythms, strong vocals, and melodic guitar solos and harmonies. I loved it!


But my dumb ass never wrote down the name of the band, thinking I would just be able to remember them and be able to buy the CD when I got the chance. Well, I didn’t remember the name of the band right away. I remember searching Eide’s metal section trying to find them, hoping that I’d see something that would spark my memory. The best I can remember that didn’t happen until I by chance ended up with a Century Media sampler CD that had ‘Ravenous’ and ‘Heart of Darkness’ on it. I used to play the CD regularly while I cleaned this after-hours club I worked at. I found that I really didn’t like most the bands on the disc, except Arch Enemy and Lacuna Coil. I also noticed I didn’t care for the second Arch Enemy song ‘Heart Of Darkness’. Because of that, I was reluctant to pay the $15 for ‘Wages of Sin’ whenever I saw at the music store.


In fact, it would be years before I really began to dig into the band some more. Around 2004 I found their second record with Angela ‘Anthems of Rebellion’ and that really didn’t do much for me. I thought the musicianship was good. But it didn’t move me that much. It wasn’t until around 2008 or so when I began to find their later CD’s dirt cheap that I really got into them. I’m can’t remember if I bought 2005’s ‘Doomsday Machine’ on blind faith, or if I heard it some of it before buying it. But once I got that CD, I really started to get into the band and tried to buy up every CD and DVD I came across. I think it was during this time when I bought ‘Wages of Sin’, 7 years after initially falling in love with the song ‘Ravenous’ and forming my celebrity crush on Angela Gassow.


But my enthusiasm for Arch Enemy only seemed to last a couple of years. In late 2009, my situation changed and I ended up moving back to the WNY area. With that move, my musical interests shifted a bit. I started to dig into classic rock and progressive rock more than I had since high school. With that shift, I started to lose interest in a lot of the metals bands that was I obsessed with just a couple years before. It seemed all those bands were putting out the same CD every two years. Arch Enemy’s 2011 ‘Khaos Legions’ sounded exactly like 2007’s ‘Rise of the Tyrant’ to me and I never bothered to buy it. Eventually, Angela would step down as the band’s vocalist to focus on managing the band. Though her replacement Alissa White-Gluz was just as talented (and hot) I just couldn’t get into it. Not that the music is bad, it’s great. But I’m just not interested in putting the time into exploring those records. The handful of Arch Enemy CD’s I own is enough to satisfy my taste for them.


That said, it has been fun revisiting this record this afternoon. Though some of its charms have worn off for me. I found ‘Ravenous’ isn’t as mind blowing as I thought it was 15 years ago. In fact, it’s sort of average sounding. But as I type out these last few sentences ‘Wages of Sin’ have wrapped up and the opening tune for ‘Doomsday Machine’ has started playing and I can already tell I miss that record more. Had I bought ‘Wages of Sin’ when I first discovered the band, perhaps that record would hold more nostalgia for me, but saying I got it after I discovered the later albums, I find it doesn’t measure up and stand the test of time that well for me.