Making the case for being one of the most dynamic bands of this generation, Muse with its Black Holes and Revelations, has made a very strong argument. Led by the supreme talent of Matthew Bellamy, and accompanied by a tremednously talented rythym section, Muse really is one of the best bands around today. While I felt that their most recent work, 2009's The Resistance (previously reviewed here on Ethos) was their best, this was another rock-solid effort and indeed more proof that they are deserving of all the attention they are getting.

     While not every single song is a total winner on Black Holes and Revelations, it does contain a number of superb tracks. You will hear a uniquely diverse group of songs that exude a complete understanding of music as an art form, one that doesn't adhere to constraints, but pushes boundaries. What I mean is, more specifically, that Muse has the ability to comprehend what makes a song great, but also isn't afraid to experiment either. For the msot part, the song selection here is fantastic and has a very high artistic quality. Take the lead single "Starlight" for example - it is by far the albums finest moment and I would go as far to say it is one of the best songs of the decade. "Starlight" is utterly beautiful in so many ways, it simply must be heard.

     I think Muse's best quality is their ability to be so diverse. No two songs sound alike on this album. They can rock out with the best of them, but also dramatize and introduce a tinge of classical music as well, which is such a refreshing take considering many rock bands of today aren't quite as visionary as Muse (but then again, it depends on the band). While I feel I've noticed elements of Pearl Jam in other Muse works, I felt in Black Holes and Revelations, I noticed echoes of Alice In Chains as well - from some of the vocal harmonzing perhaps. It just struck me a few moments here or there, and that is not a bad thing at all, but rather a plus!

     So what can you, the listener, take from an album like this? Well, I think if you want to broaden your pallette, this is an album and a band for you. I was very curious about Muse for a long time and finally gave them some attention, and the payoff is rather rewarding if you are music fan. They appeal to your senses in many ways - they can be catchy with several radio-friendly tracks, or create sweeping epics, or delve into the experimental. While I felt some of the more experimental tracks like the closing song "Knights of Cydonia" were a little too avant-garde, they can still be considered valiant efforts.

     At first listen, this album doesn't sound perfect, as I seemed to miss a lot of things the first time around. However, I gave it another try, and below the surface is some brilliant expression and creativity. Some songs are obviously stronger than others, but this album strikes a pretty fair balance as a whole. You may feel the same way, and if so, give it another listen, and perhaps it will lure you in even more. And if not, you'll still be won over by songs like "Starlight" or "Exo-Politics." In any case, this album deserves to be heard.

     See why Muse is one of the best bands of this generation. It is evident throughout this piece. While not their overall strongest effort (their best to date in my opinion is The Resistance), I still highly reccomend this album. It has plenty of great moments. Enjoy this work!

TRACK HIGHLIGHTS:

"Starlight"

"Supermassive Black Hole"

"Map of the Problematique"

"Exo-Politics"

"City of Delusion"

-Kurt L.

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     Was Metallica looking to cater to this new era of rock music? Or were they looking to redefine it in their own way? Well, either way, Metallica was changing, and it was a good change, but it also led to something of a decline later on. I feel that the Black Album marked a certain polarization amongst fans of the heavy metal act. Some thought this new album was too "mainstream", feeling that Metallica was abandoning its hardcore past. Others felt it was an epiphany. Either way, it was a monumental success and launched the band into the the stratsophere. I never felt that this album was an abondonment of their previous work, but rather a new direction and a new brand of expression.

     Throughout the 1980s, Metallica established a signature sound that consisted of tremendously intricate guitar work and dark themes. The dark themes remain in the Black Album, but the guitar work, and ultimately the rest of the bands sound is taken down a few notches. The melodies are simpler and a lot less technical. By rock standards, they were still more advanced than anyone else, but, for Metallica, it was a significant change in sound. It was certainly more appealing to the radio, as this album featured some of the most iconic and endearing songs of the 1990s, many of which are still hugely popular today. "Enter Sandman", undoubtedly their most famous song to date, has become a staple in their concerts and is played in every one of their concerts since. It's also popular amongst baseball fans as it is the entrance music for New York Yankees closer Mariano Rivera, as well as former New York Mets closer Billy Wagner. "Sad But True", "Wherever I May Roam", Holier Than Thou", and "Nothing Else Matters" are all included here in all their glory. I simply must mention "The Unforgiven", which is arguably Metallica's finest hour.

     It's amazing that so many incredible tracks are all on one single album, but such is the case for the Black Album. An effort that was a rather laborious one for the band. The recording process was lengthy, leaving the band physically and emotionally drained, so much so that after its tour, the band took a five year hiatus from the studio.

     So, yes, this album has a tremendous arsenal of killer songs, but outside of its most popular, some of the tracks, particularly in the latter half of the album, stumble. The lesser known tracks on here are certainly not as compelling as the more famous ones, something that was not the case in Metallica's previous records. In for instance, Master of Puppets, each song was strong, and the album had a very complete feeling to it. Not to imply that the Black Album was a rushed work, as it certainly wasn't, but perhaps the attention and emphasis was placed on some songs rahter than all. However, there is no doubting the brilliance here - this record is a treat and a pleasure for the ears.

     Ultimately, it is an album that should not be missed, but it is likely that you have heard many of these iconic songs already because this work was so impactful on the industry. Following this album, Metallica would continue to make plenty of great music, but more flaws have become evident in their more recent works (with the exception of Death Magnetic). Some consider the Black Album as the beginning of the end, but for me, it wasn't. It's certainly a landmark album, and one that has stood the test of time, and one that propelled the band into a very interesting direction, and it wasn't for the worse.

     1991 was indeed a great year for music, as well as many other things in the entertainment industry. If you'd like to see more, check out my Ethos Video Review on entitled "1991: The Year of Stuff", just click on the Ethos YouTube Channel to see it. Metallica's Black Album was perhaps the biggest album of that year, and is one of the most memorable of the entire decade. Listen to it and hear for yourself.

TRACK HIGHLIGHTS:

"The Unforgiven"

"Enter Sandman"

"Sad but True"

"Wherever I May Roam"

"Nothing Else Matters"

"Holier Than Thou"

"Through The Never"

-Kurt L.

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     Hello everyone! This is a special edition of the Ethos Video Review series. This is more of like a year in review of 1991. Why 1991? Well, see why and find out! So much stuff came out that year, and I take a look back into the past to share my thoughts. Thanks for watching!!

https://www.youtube.com/watch?v=96g9YsKRj1A

-Kurt L.

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     First, I will state that this is not a 100% rock album, it is quite literally a rap/rock album. Every song he is usually rapping with the help of an 808 machine. Though that doesn't make it a dreadful album like many have already made it out to be. There are 14 tracks in total some of which are quite good and some are just awful. The opening title "American Star" is pretty standard not very catchy and the lyrics are pretty bland. As for the first single "Prom Queen" it is quite enjoyable to listen to but Wayne's voice really lacks depth which is why I think this did not last very long on the pop charts. The first 3-4 songs have very bad sound quality. At times the instrumentals rage over Wayne's voice and at times you can barely hear the instruments being played; almost as if you were in a different room where the music is playing.

     "Paradice" the 5th song on the album is well done although it does have a sound you have heard before in many a album but to hear Wayne actually make a fairly descent rock song is impressive. The other two songs that really stand out are "On Fire" and "Drop The World". "On Fire" is a great song that is more rap than rock but has an excellent remix to Amy Holland's "She's On Fire". None of these songs compare to the greatest song on the CD and quite possibly one of my favorite Lil Wayne songs "Drop The World".

     In "Drop The World", Wayne teams up with Eminem for an excellent song. Filled with synthesizers and a fantastic drum beat, this song brings back old school Eminem with the flow and lyrics of something out of Slim Shady through Eminem Show. Wayne is good on the song too, however when Eminem is at his best, it's impossible to compete and it does show (not as bad as it shows on Drake's "Forever"). If you don't bother getting this album, you should really buy this song on iTunes or Amazon.

     Overall, Lil Wayne's rock album is fairly bland besides  3-4 songs that stick out. The instrumentals from the guitar, bass, and drums are all very standard, maybe even too standard. The lyrics and style of Wayne's voice is not really singing, just slower rap. I will give him credit for trying because some of the songs which I mentioned before were very good. As for when this album will come out well, it should today (2/2/2010) and I expect reviews to be quite harsh.

TRACK HIGHLIGHTS:

"Paradice"

"On Fire"

"Drop The World"

"I'm So Over You" (Deluxe Edition)

Written by: Adam "You'll Need A Piece" L.

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     Metallica, back at the top where they belong! After 2003's major misfire, St. Anger, Metallica in the mainstream eye was undoubtedly hurting. Many hardcore fans questioned whether or not they would ever return to their tremendous success of the 1980s, and others felt that they simply lost it. I was discouraged by St. Anger, and I am a big fan of the band, and that album just didn't have it. It didn't have the musicality and cohesiveness of past Metallica albums, which were for the most part, all classic in their own ways. Death Magnetic marks a return to vintage Metallica, but also at the same time, shows the band aiming their sights at the future in a new direction - and ultimately rejuvenated.

     The first significant change in Death Magnetic is the production. Bob Rock, longtime Metallica producer since the days of the mega-popular Black Album, has been dropped in favor of Rick Rubin. Rubin has an extensive, and impressive resume of bands he has helped sound better - he has produced Slayer, Audioslave, Weezer, Red Hot Chili Peppers, and even Johnny Cash. With such versatility, and understanding, Rubin seems like a great choice for cleaning up the muddy sounds of St. Anger. Of course, it's not all Rubin, but the band itself evolved dramatically over the five year absence from the studio. They return focused, and driven, something that was lacking in the previous album.

     This is Metallica returning to its heavy metal roots, but also embracing and encompassing its entire grand history, and delievering all of the different facets the greatly talented Metallica possesses. What I always loved about Metallica is that they have always been able to craft such masterpieces in the heavy metal genre, and never sound dissonant - always maintaining a high level of aesthetic quality. This brilliance is exuded here again on Death Magnetic. From beginning to end, it is a smartly crafted, modern day Metallica masterpiece. It is easily their best work of the past twenty years, arguably on par with the Black Album. It harkens back to And Justice For All... in many ways, but also touches on some of the more mellow and melodic sounds of their later 90s albums as well.

     The musicianship on this album is some of their best. We know how great they are, and this album shows why. And thankfully, guitar solos are back! Yes! That's right! St. Anger had NO guitar solos! How could such a legendary band like Metallica, known for some of the most technical of guitar work have an album completely absent of solos? Well, the band quickly turned that around as Death Magnetic features some incredible guitar work. It's simply a marvel to behold!

     The heart of Metallica, I always felt, lies with James Hetfield, the lead singer, primary songwriter, and guitarist. His voice sounds as good and as strong as ever - he shouts, spits, spews, and also vocalizes in all the right places. Listen to the strength, energy, and aggressiveness of the opening track "That Was Just Your Life", and then the epic beauty of "The Day That Never Comes." Also, "The Unforgiven III" features some of his best vocal performances ever, and on a personal note, it's one of my favorite Metallica songs to date.

     The album even looks like a classic Metallica album. Just look at the track layout on the back of the CD or vinyl record - it looks just like Master of Puppets or And Justice For All.... And the songs themselves all get the grandiose, epic treatment as each song clocks in at around six or seven minutes. It features an instrumental near the end, just like Ride The Lightning did and Master of Puppets. And similarly, like Master, which ended with the thrash classic "Damage Inc.", Magnetic ends with a thrash piece of its own in "My Apocolypse." Is this to say their new album is formulaic? Not really, because this is the Metallica brand - this is good music!

     Death Magnetic is a great album. From the opening heartbeat sounds of "That Was Just Your Life" to the blazing fury of "My Apocolypse", this album is tremendous. It should end the polarization among some of Metallica's fans that the band isn't hardcore anymore - they always were, I never thought they "sold out" by any stretch, but only matured. Here in Death Magnetic, they have peaked I feel in maturing as a band, and now can enjoy this even-keeled state of balance and great music on par with all of their best work. Metallica is one of the best bands to ever grace the music world, and this album epitomizes why they remain on top.

     Though they never really faded away at all from our hearts, this album serves as a reminder, and as a lesson in how good Metallica is. Enjoy!

TRACK HIGHLIGHTS:

"The Day That Never Comes"

"The Unforgiven III"

"That Was Just Your Life"

"All Nightmare Long"

"Cyanide"

"The End of The Line"

-Kurt L.

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     Muse is rapidly becoming one of the more popular bands in America today, and with good reason. The Resistance is a rock album like no other made in today's modern age. What the band does so wonderfully is that it transcends rock n roll more so than its contemporaries. It has the ability to fuse together the orchestral sounds of classical music with the aggressiveness of modern rock. Muse is also very keen on creating some truly beautiful melodic moments as well. It's this versatility that makes Muse a unique musical act, and a rather complete one as well. Matthew Bellamy, the bands lead singer, songwriter and pianist, is the heart of the group, and his talents, along with the rest of the band, really make their new effort, The Resistance, one of 2009's best overall records.

     The group of songs on The Resistance seem like they have all been carefully assembled and arranged with great care. Each song, in its own respect, has something to offer in one way or another. The opening three tracks ("Uprising", "Resistance", and "Undisclosed Desires") are indeed the best in my opinion, and really showcase Muse's diverse talents. The rest of the album has many high points as well. "United States of Eurasia (+Collateral Damage)" is a decent song, but ends on a interesting note with Matthew Bellamy playing his own arrangement of a Chopin classical piano piece. And while there are many other strong songs here on the album, attention must be paid to the epic finale - "Exogenesis." It is a three part song, encompassing the final quarter of the album, and is a modern masterpiece. It is essentially a classical-rock piece, that blends both genres together, creating a euphoric sound unlike anything I've heard in quite some time. All three parts of "Exogenesis" are beautiful, but perhaps the best is the middle section entitled "Exogenesis: Symphony Pt. 2, Cross-Pollination."

     Muse excels at creating sound. Your ears are treated to a wonderful wall of sound that is filled with nuance and is layered with such attention to detail. I can't convey it clearly enough with words, but this album is meant to be heard. Also, while Muse has a very original sound, at times it seems to echo that of Pearl Jam and Queen. Pearl Jam in a way because of the constant flow and unpredictable flux in melody (which can be a good thing), and Queen in how some of the piano and vocals are implemented. At first, I was averse to how they sounded like Queen, because I am not really a big Queen fan, but in any case, that is not to detract from Muse, as they sound terrific.

     The versatility is another aspect of this record that should be discussed futher. From the sweeping, three part epic of "Exogenesis", to the hard-rocking soldier-stomp of "Uprising" to the sweet beauty of "Resistance" to the pop/R&B hybrid "Undisclosed Desires" to the psuedo bluesy 1970s-ish sound of "I Belong To You", to the more modern sounds of "MK Ultra", this album has so much to offer. Another fascinating element of this record is that it often touches on a wide variety of subjects. The Resistance as a whole alludes to divinity, fear, angels, corruption, oppression, astronomy, resistance, mutiny, rebellion, retalliation, remembrance, and of course, love. It's amazing what this album can do and what it captures.

     Muse is one of the best bands today, and The Resistance is a record that should satisfy a wide variety of listeners because it encompasses so many different elements. It's a terrific album, and I like it for so many reasons. It exposes us to a lot of unique and different sounds, as well as re-introducing us all to a modern take on classical music. At its core, it is a rock album, but it accomplishes so much. Listen to it, and enjoy it.

TRACK HIGHLIGHTS:

"Uprising"

"Resistance"

"Undisclosed Desires"

"Unnatural Selection"

"MK Ultra"

"Exogenesis" (Pts. 1-3)

-Kurt L.

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     The alternative rock era was still in its early stages, but it was destined to take over the music world in the 1990s. Otherwise known as the "grunge" movement, bands like Nirvana, Mother Love Bone, Soundgarden, and Alice In Chains were just a few that were some of the key players in that game. However, in what seems to be rock 'n roll's biggest achillie's heel - drug abuse - reared its ugly head and took the life of Andrew Wood, lead singer of Mother Love Bone, in 1990. As a tribute to their fallen friend, the remaining members of Mother Love Bone teamed up with their fellow commrade and Rock God Chris Cornell and formed Temple Of The Dog. Their self-titled release followed shortly after his death that same year, and also featured another friend and upcoming singer, Eddie Vedder. The brilliance exemplifed on Temple Of The Dog sparked interest in creating a new band with Vedder and the members of Mother Love Bone, it resulted in what we know today as Pearl Jam.

     Before deciding on the band name "Pearl Jam", which I must say is an awesome title for a band, they were briefly known as Mookie Blaylock, who was a professional basketball player back in the day. Indeed, Pearl Jam's debut album, Ten, is also the number of Blaylock's jersey. Anyway, the newly formed Pearl Jam was destined to take the grunge world by storm with their debut record. While Nirvana had released Nevermind that same year and was creating a whirlwind for the business, Pearl Jam's Ten would stabilize, solidify, and legitamize the grunge sound as one of the greatest forms of rock 'n roll in its illustrious history. It is simply put, a masterpiece, no other way to say it. I often use the word "iconic" in some of my reviews, and this is certainly an iconic album. From beginning to end, it is one of those few albums that is continuously strong throughout without any weak spots whatsoever.

     Ten is book-ended with a brief instrumental piece known as "Master Slave" and within that framework are eleven brilliant tracks. Many of them dealing with some very heavy issues like depression, death, love, violence, and childhood truama, as well as others, but while it delves into such material, it doesn't take away from the music at all, as it is quite radio-friendly, but still packs a might punch nonetheless. It is one of the most listenable and familiar sounding albums out there today, and the reason for that is it was so wildly popular back when it was released. The success of Ten propelled Pearl Jam to the top of the music scene and made them arguably the most popular band of the decade, perhaps even more so than Nirvana. Personally, I always felt they were better than Nirvana in many ways, because PJ had such a richer and warmer sound than its contemporaries. In any case, Pearl Jam quickly became a household name, and Ten earned its place as one of the most influential albums ever.

     Another great thing about Pearl Jam is that their sound was so much more balanced than any others in the grunge scene. They weren't quite as heavy as the greats like Alice In Chains or Soundgarden, and not quite as punky as Nirvana, and this likely made PJ more appealing to the mainstream audience. Again, this isn't to say that their work is at all compromised because of that, it is, if anything, a nod to their genius. It is their natural ability to sound as they do, and they just do it so well. They are all supremely talented musicians and songwriters, and that is obviously essential. Vedder is a strong lyricist and songwriter in his own write and has himself a very profound voice with tremendous emotional depth. The rythym section is very lively, and the guitar work is flawless and perfectly punctuates each song nicely.

     I could go on and on and start breaking down each song, but that would be verbose, and ultimately uncessary. The album simply speaks for itself, and it deserves a home in everyones collection. It is one of the greatest albums ever made, and I'm sure you have heard many of its tracks before because they have been so popular. If not though, you have certainly heard at least a glimpse of their undeniable influence on the rock scene. Once again, it is a masterpiece.

TRACK HIGHLIGHTS:

"Once"

"Evenflow"

"Alive"

"Why Go"

"Jeremy"

"Oceans"

"Garden"

"Porch"

-Kurt L.

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     Van Halen's legendary frontman David Lee Roth departed the band soon after the album 1984 was released, which was the last VH album to feature Roth as the vocalist. VH carried on and regrouped with the well-established Sammy Hagar, and the band then continued on to record some stellar albums. Roth however tried his hand as a solo-act, bringing his brand of wild and loose antics to his own work. Roth, otherwise known as "Diamond Dave", had a fairly decent solo career, but his best work was often considered behind him. His first solo record, Eat 'Em And Smile (1986) was terrific! It featured guitar great Steve Vai and was a major success. His follow up, Skyscraper (1988) was on par with its predecessor in many ways, but perhaps was not quite as consistent - though it still featured Steve Vai on guitar. The 1990s were not very kind to Roth's solo career as those efforts were pretty poor. A Little Aint Enough (1991) and Your Filthy Little Mouth (1994) showed a significant decline in musicality, and the latter album was particularly bad. DLR Band in 1998 showed improvement, but it wasn't until 2003 when Roth released Diamond Dave, that he showed a determined and focused effort.

     Diamond Dave is easily Roth's best album since Eat Em And Smile, because it plays to many of Roth's strengths, but also, he takes new and interesting risks, but the choices pay off rather than hamper his work. Many of the songs here are covers, some lesser known, some mainstream, but all are pretty darn good I must say. The first three tracks, "You Got The Blues Not Me", "Made Up My Mind", and "Stay While The Night Is Young", are dymanite and are indeed are some of his best songs yet. The musicanship on this album is terrific and Roth has found perhaps his best band yet (aside from Van Halen of course).

     There may be no big presence of an Eddie Van Halen or a Steve Vai on guitar, but as I alluded to just before, the musicianship is amazing. The guitar work is excellent, as is the rythym section - it is nuanced and very well-developed. There are a few scattered original tunes on Diamond Dave as well, including the pop/techno-ish/rock song "Thug Pop", which is one of the albums highlights. It also features a fine cover of "Ice Cream Man", which Van Halen covered way back in the day on their first record in 1978.

     The album isn't entirely perfect either as it features some covers that aren't particularly engaging, like the Jimi Hendrix "If 6 Was 9" cover. In any case, all the songs show a valiant effort, one that is commendable, and deserves the proper credit.

     Diamond Dave is a return to form for David Lee Roth after a decade-plus of disappointing solo records. Any Van Halen fan should treat themselves to this album as you will surely enjoy it. For a broader audience, it has a certain charm that is sure to capture your attention and ultimately entertain. Above all, Roth is a fantastic entertainer, and this album showcases his many talents.

TRACK HIGHLIGHTS:

"You Got The Blues Not Me"

"Made Up My Mind"

"Stay While The Night Is Young"

"Thug Pop"

"Ice Cream Man"

"Bad Habits"

"She's Looking Good"

-Kurt L.

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     This album marks a triumphant return to the roots of blues, where B.B. King made his name a household one. His career has spanned a entire lifetime and has reached many generations, and still to this day, well into his 80s, is recording some fine music. However, in 2008, he cut his best record in a decade with One Kind Favor. And as I said, it was a return to the roots, where B.B. is his best. In fact, not only is it his best album in the past ten years, but one of my personal favorites he has ever made.

     One Kind Favor is not simply a return, but also a departure from the work he has done as of late. Many of his other recent works have been filled with musical guest stars, glossy productions, and sometimes even some reduced guitar work from King himself. 1997s Duece's Wild was a guest star album, as was 2005's 80, where King celebrated his 80th birthday. 2003's Reflections was a very glossy number, with a very modern sound, and while it was a pretty good album, I didn't like the fact that King didn't seem to have too many leading guitar solos, they were mostly performed by a bandmate. These are the primary reasons as to why One Kind Favor is just that good. It isn't hindered by anything, and gives you exactly what you expect to hear: B.B. singing and playing the blues.

     I love the sound of this album. It has been stripped down to the basics. Not only that, but it has a very nostalgic sound to it as well. It has this warm sort of sound not heard on records of today. It almost sounds like an old vinyl record playing on your turntable, but yet, is cleaned up just enough to sound modern. This sounds like it could have been recorded in 1955, but obviously it was recorded in 2008. Surely, it sounds much more like a throwback, but if anything, I feel that sound comes natural to King when he is playing the basics of blues. The accompanying musicians are terrific as well. They are all quite skilled in their respective crafts, and sound like one cohesive unit behind King. They also provide many nuances throughout the entire piece that really bring more life into the songs.

     King himself sounds fantastic. I am blown away when I listen to how good he sounds here. At age 82, he sounds better than he did on Reflections (2003). His voice continues to be as booming and as expressive as ever, convincingly, and emotionally conveying the blues to his audience; songs like "See That My Grave Is Kept Clean" and "I Get So Weary" really showcase the raw power of his tremendous voice. His guitar work is also just as thrilling as ever. His signature sound is kept in tact after all these years, and is just as captivating.

     Another interesting thing about this album is that King seems also quite world-weary about his age and place in life. Still going strong thankfully, but at age 82 during the time of release, a song like "See That My Grave Is Kept Clean" may appear to be macabre, but it isn't. I think King understands these things, but he definitely doesn't dwell on them, and I feel he appreciates the life he has been blessed with - throughout all of his ups and downs. In fact, this album embodies the struggles of life through the blues, but also its sweet embraces as well, and the jovial King comfortably guides us the entire way keeping our spirits high.

     I've always been a big fan of B.B. King and this album was a pleasure to listen to, and one that I have and will listen to again and again for the years to come. It is one of my favorite King albums, and certainly his best in the past several years. It is albums like this that continue to cement his name as the true, bonafide, undisputed King Of The Blues.

TRACK HIGHLIGHTS:

"See That My Grave Is Kept Clean"

"I Get So Weary"

"Get These Blues Off Me"

"How Many More Years"

"Waiting For Your Call"

"Midnight Blues"

-Kurt L.

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