Following the early success of Quiet Riot, it seems that everything since their 1983 smash hit album Metal Health was a struggle. With their album sales and popularity tanking in the mid to late 80s, finally hitting rock bottom with the abysmal self-titled Quiet Riot in 1988 (the album that featured Paul Shortino on lead vocals), it seems that the 90s weren't any kinder to the heavy metal act. It seems that with each album Quiet Riot released in the 90s, it was distributed through a different record label. Be in Moonstone Records for the brilliant 1993 album Terrified (the best QR album in my opinion), or Kamikaze Records in 1995 for Down To The Bone, or in 1999 with Alive and Well by Cleopatra, there was a new label with each passing album. Why was this? What happened? These are questions that I simply cannot answer, but it is indeed a curious thought.

     As for Alive and Well, the album is just weak. Aside from Terrified, there aren't many flawless Quiet Riot albums to be heard. Alive and Well suffers from some incredibly bland song progression and utterly banal lyrics. Immature songs like "Slam Dunk (Way To Go!)" really drag this album down. "Angry" is another stinker. This record even includes an unsatisfying cover of AC/DC's "Highway to Hell."

     Two songs of the first nine new recordings are actually good. The opening track, "Don't Know What I Want" is vintage Quiet Riot and has a great hook and some really awesome and thunderous drums. "Overworked and Underpaid" is another solid effort. Unfortunately the rest is poor.

     The other saving grace of this album is the latter half of it which is comprised of re-recorded songs from the QR library. They re-record some of their best and most successful songs, and the new iterations are actually very impressive. I love the new iteration of the QR classic, "Don't Wanna Let You Go" with its refreshing acoustic approach. Also, "The Wild and The Young" is also a spirited re-recording that boasts a very enthusiastic and energetic sound. Other hits like "Cum on Feel the Noize" and "Metal Health (Bang Your Head)" are also a treat to hear all over again.

     These re-recorded tracks are a great addition and ultimately salvage what is otherwise a rather bad overall product. However, these re-recorded songs also serve as a reminder that QR's most popular and past material is eons better than the compositions on the rest of Alive and Well. I commend Quiet Riot though for including these re-recorded tracks. Frankly, I wish more bands would do that in their own newer albums. I'd love to hear Van Halen re-record "Runnin' With The Devil" or the Scorpions to re-record "Rock You Like A Hurricane", to use them as examples. The re-recording of certain songs can be construed as a compromise to the original versions, but I feel it's just a nice service for the fans.

     Alive and Well as a whole is something of a mixed bag. It has some very strong moments, be it the two solid new songs, or the new versions of QR classics. However, the rest of the package is marred with a directionless sense of songwriting and composition.

TRACK HIGHLIGHTS:

"Don't Know What I Want"

"Don't Wanna Let You Go 1999"

"The Wild And The Young 1999"

"Cum on Feel the Noize 1999"

"Metal Health (Bang Your Head) 1999"

"Overworked and Underpaid"

-Kurt L.

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     The majority of this album is good in moments. What I mean is that certain parts of songs are good, but as a cohesive unit they are pretty awful. "All Within My Hands", the closing track, is a perfect example of this. It's a bloated eight plus minutes long, and it embodies everything that is wrong with the album. The parts where Hetfield actually sings "all within my hands" are pretty cool, but the rest of the song is a disaster. Other moments in the album are strong too, like the break in "Shoot Me Again." Once again, it too is a mess.

     There are only a select few songs that stand out here as legitimate pieces of fluent music. The title track "St. Anger" is a highlight, "Sweet Amber" is truly awesome, and "Frantic" is a solid track with a catchy rythym. Hetfield maintains a fine consistency in terms of his lyrics - comeplling as usual. It's just a shame that the rest of the album couldn't live up to the strength of the three songs I mentioned.

     My question is - what went wrong here? Why is this album such a tremendous departure from the rest of their work? It's not even a throwback to their younger days from the 80s - those albums were some of the best the metal genre had to offer as they were technical and complex masterpieces. St. Anger sounds nothing like that, not even close. Metallica must have disliked this album after they made it because their newest album, 2008's Death Magnetic sounds like a true throwback to the old days and makes no reference in any way to St. Anger - if anything, it defies it because Death Magnetic contains a flurry of guitar solos.

     If St. Anger were made by any other band, it would have been easily dismissed. This album only garnered any sort of merit because of the band itself. Metallica is one of the finest bands of the past few decades, and with good reason. St. Anger is the one of the most disappointing albums in recent memory, and it's surprising that Metallica, with its incredible talents, could release such a subpar album.

     Regardless St. Anger has some highlights, but they are few and far between. It's one major plus is a live-studio DVD included with the CD that features the band performing the entire album in the studio with new bassist Robert Trujillo (producer Bob Rock played bass on the album itself). The live DVD makes the album much more listenable, but it doesn't save it from its inherent issues. In any case, I'm glad it was included.

TRACK HIGHLIGHTS:

"St. Anger"

"Sweet Amber"

"Frantic"

-Kurt L.

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     Following the departure of Oscar De La Rocha from the group Rage Against The Machine, the remainder of the core band was left without its lead singer. Meanwhile, in another branch of the rock music world, grunge god Chris Cornell was just coming off the heels of his greatest solo album, Euphoria Morning, in 1999. The remnants of RATM joined forces with Cornell in 2000 to form a new band that combined the widely different styles of each. Audioslave was thus born and became more than just a supergroup experiment. Their debut self-titled album sounds like a true mixture of both parties - blending the modern metal sound of Rage, with the alternative rock sound of Cornell. It was an awesome mix.

     While Cornell's influence seems to be the more potent one on this album (and for the rest of the bands run), it does indeed feature some terrific signature-like moments from Rage guitarist Tom Morello. This album contains an explosiveness and energy that is unrivaled. It sounds experimental, yet also at the same time established. Both parties sound invigorated, but also like veterans. Audioslave was indeed more than a supergroup as they acheieved legitimate "band" status.

     I have been a huge Cornell fan for a long time now and I consider the album Audioslave to be one of the better works in his tremendous career. Songs like "Like A Stone" and "I Am The Highway" are some of the best songs recorded in the past quarter-century - particularly the former. This album boasts an impressive set list from beginning to end, with only two real duds to speak of, of the fourteen tracks. One after another, it is a treat for the ears bursting with unwavering power through the complex guitar riffs of Morello, the thunderous rythym section, and of course Chris Cornell's soaring vocals.

     The attention to detail is rather impressive on this album. There is never a moment where the record sounds phoned in. Take the closing track, "The Last Remaining Light" for instance. It is a fairly unknown song in the Audioslave library, but is nonetheless a powerhouse thanks to the fantastic lyrics and moving vocal performance. The fact that Cornell consistently invests so much emotionally into every song he sings, even the less popular ones, is a testament to his abilities as a musician and songwriter.

     Audioslave would continue on for a few more years eventually becoming one of the more popular bands of the decade. It was because of this debut album that propelled them into such popularity. To this albums merit, it is worthy of such praise.

TRACK HIGHLIGHTS:

"Like A Stone"

"I Am The Highway"

"Cochise"

"Set It Off"

"What You Are"

"Light My Way"

"Getaway Car"

"Show Me How To Live"

"The Last Remaining Light"

-Kurt L.

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     From the outset, the Scorps pull in the listener with one of the vew few rousing rockers entitled "Wild Child." From that great opener, to the intro of the next track "But The Best For You", you'd think that it is following the typical formula - but it is not the case. Once "But The Best For You" breaks into the first verse, you are treated a much more mellow sound - it's quite refreshing. Pure Instincts as a whole is such a departure from their larger body of work, it's startling, but also stunning, as it is done so very well.

     Pure Instincts not only showcases a legitimate songwriting talent, but from an actual band chemistry standpoint, the musicians themselves are all in top form. Klaus Meine delievers some breathtaking vocals throughout the piece, and the versatility exuded by the guitarists, bassist, and drummer, is simply amazing.

     One of my all time favorite Scorpions songs is on this record, entitled "Soul Behind The Face." For some bizarre reason, Pure Instincts is currently absent from iTunes, as I would recommend picking up that song right away. Though, that isn't to say this album isn't worth getting! Quite the contrary! It's a terrific and unique piece of Scorpions lore that stands out in their larger body of work. I always felt the Scorpions were among the very elite in terms of arena rock bands, as they have always showcased a certain talent much better than the likes of the mediocrity in that genre (bands like Ratt, Tesla, Bon Jovi, etc.).

     I know I've been gushing over this album, but it also has a few misfires along the way. These few tracks, like the banal "Stone In My Shoe" for example, do not detract from the great strides made here. I also must make note of the closing track - "Are You The One?" It is a song of such simplicity - in its message and in its delievary. Klaus Meine sings his heart out in front of a orchestral ensemble, with some light guitar touches in the background - it's gorgeous.

     Overall, Pure Instincts is a wonderfully mellow, sometimes theatrical showcase of this bands talent. If you ever thought that the Scorpions were simply a glam-arena rock band, think again. Listen closely, and you'll find out they are so much more.

TRACK HIGHLIGHTS:

"Soul Behind The Face"

"But The Best For You"

"Are You The One?"

"Wild Child"

"Does Anyone Know"

"You And I"

"When You Came Into My Life"

-Kurt L.

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     The sound of this album certainly marks the beginning of a new era in the Scorpions. Crazy World (1990) seemed to close out the 80s-like (yet still timeless) sound, while Face The Heat features a more "Americanized" sound. What I mean more specifically is that this album has flavors of Van Halen and Guns N Roses, rather than your typical Scorpions - which is not a bad thing either. The Scorpions are indeed a band of German descent, however, that isn't to say they sound disctinctively such. It's just simply tough to describe, or articulate, but regardless, it still is some quality Scorpions music - and no worries, it does contain the band's signature tone.

     Perhaps this infusion of a different sound is owed partially to famed rock producer Bruce Fairbairn. The late Fairbairn was a truly successful and renowned producer - his credits include the mega-hit Bon Jovi album, Slippery When Wet, and also one of my favorite Van Halen albums, Balance, made in 1995. Clearly, those two albums are from some of America's favorite rock bands, so that touch of American-made rock could have made its way into this Scorpions album.

     From a songwriting perspective, Face The Heat is generally heavier than prior releases, especially in the opening track "Alien Nation." It is a thunderous, well-crafted, and technical wonder that will surely grab your attention from the start. The rest of the album boasts a fine selection of modern classics - and like most Scorpions albums, it contains some nice ballads, despite the album's lean toward a heavier tone. These classics include the John Lennon-esque "Under The Same Sun", which seems to pay homage to Lennon's song "Imagine" with the lyric, "Why can't we live as one?" Other great tunes include the very Van Halen/Sammy Hagar-ish "Someone To Touch", the rich sound of "Woman", and also of "Taxman Woman." It also closes with one of the very best songs in the Scorpions library - "Lonely Nights." In similar fashion to the finale of their must-have 1984 release Love At First Sting (which ended with the epic "Still Lovin' You"), this album closes out with a gorgeous ballad that has such emotional strength, and great textured and layered composition in the musical sense, from the vocals to the guitar and basslines, to the drums - it's superb.

     The U.S. release of Face The Heat, which I have, also has a hidden bonus track at the end of "Lonely Nights" entitled "Marie's The Name (His Latest Flame)." Whether or not it correlates with "Lonely Nights" is debatable, but regardless, this surprise ending is simply awesome. Originally, it was an Elvis Presley song - and who would have thought the Scorpions would cover an early 1960s pop song? It certainly remains the most unique of songs in Scorpions lore - it's great stuff.

     Overall, Face The Heat is better than some critics had given it credit for. Sure, it may be one of their lesser known releases, but that's because it was buried underneath the new grunge albums of the time. Regardless of that, its slight obscurity should not outweigh its legitimate merits, as it is indeed another strong, solid Scorpions album that is littered with some truly awesome songs, that I would say have since become Scorpions classics.

TRACK HIGHLIGHTS:

"Lonely Nights"

"Alien Nation"

"Under the Same Sun"

"Someone to Touch"

"Woman"

"Marie's the Name (His Latest Flame)" [Hidden Track]

"Taxman Woman"

-Kurt L.

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     The pacing and track positioning of this album is superb. It seems to have a natural flow about it. It isn't a particularly long album either, with only nine tracks, it sort of makes me want to hear more - I think that is a good thing! Does it feel complete then? Yes, definitely. It has one dud track right smack dab in the middle of it, entitled "The Same Thrill" - and that's it. Aside from that, the rest of the record is terrific!

     The other eight tracks are tremendous. From the opening hard-stomp of "Bad Boys Running Wild", to the thematic "Rock You Like A Hurricane", to the catchy "I'm Leaving You", the half ballad, half hard rockin' "Coming Home", the album is not short of greatness.

     The latter half of the record is just as impressive. "Big City Nights" has some unforgettable guitar riffs and awesome melodies. I love "As Soon as the Good Times Roll"; now that is a song that conveys as great sense of musicality and songwriting savvy. It's not the Scorpions best song ever, but it is definitely a career highlight. From the technical standpoint, I love the sound of that track. For the first half of the song, the drums are played off the beat of the rythym - it's not jarring at all, it really works well. The second half of the song, the band switches and then the drums play on time with the beat, but then the guitar plays behind the rythym, it's really cool stuff. Plus, they take the traditional rock convention of "letting the good times roll", which dates back to the days of Chuck Berry in the 1950s, and they, the Scoropions, create their own discintive take on it.

     While "As Soon as the Good Times Roll" exudes great ability of song construction, many, many other tracks on this album do just the same in their own respects. The following track, "Crossfire" is another classic - with its military march drums driving the song, it features a howling vocal performance from Klaus Meine and an awesome sense of political interest and rebellion, about how innonence should not be caught up in the 'crossfire.'

     In my opinion, I've always been fond of an album that closes with a sweeping epic song. Love At First Sting ends with such a disctinction. "Still Loving You" is pretty much the ultimate in terms of having a closing song. With its tear-jerking theme, its subdued yet restless guitar riffs and melodies, to the throaty and wide ranging performance from Klaus Meine on vocals, it has it all. It clocks in at six plus minutes in length, it packs a lot of punch, and leaves an indelible impact - it's a bonafide classic. You couldn't ask for a better way to finish out an already awesome album!

     As you can see, this was a pretty lengthy review, but I had a lot to say about Love At First Sting. I could have simply said, 'this album is great,' or, 'you should go buy this,' but more needed to be said. This album is much more than another 80s rock album, it's wholeheartedly, a great rock and roll album. It very much captures the essence of a 1980s arena rock record, but it doesn't sound dated. It is very representational of the time in which it was recorded, but it transcends that time because it features so much great nuance - whether its in the songwriting itself, or the intricate guitar work, the melodies, or of the intense singing by frontman Klaus Meine; there simply is a lot to like. With all this being said, is Love At First Sting, the Scorpions best album ever? Tough call to make, but it is definitely up their amongst the elite.

TRACK HIGHLIGHTS:

"Rock You Like A Hurricane"

"Bad Boys Running Wild"

"Still Loving You"

"As Soon as the Good Times Roll"

"Big City Nights"

"Crossfire"

"I'm Leaving You"

"Coming Home"

-Kurt L.

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     Was the full written review not quite enough for you? Well, then take a look at the newest video review from Ethos on the Scorpions' newest album Sting In The Tail. I take an in-depth look at the thematic points of the album, and also I discuss some of the other cool things I liked about it - I even play a little Scorpions stuff on guitar for some fun!

     Click the link below and check out the brand new Ethos Video Review: Sting In The Tail CD Review. An Ethos Nation Production. Thanks again for watching!!

https://www.youtube.com/watch?v=aXDivkwpL5M

-Kurt L.

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     The opening track, "Raised On Rock", also the album's single, is absolutely one of the Scorpions best songs I've ever heard. It has a boisterious energy that hopefully will amp up its chances of making a splash on the radio or iTunes. It's a terrific, rousing, rock stomp with that awesome signature double-guitar attack. It's got a catchy melody, and a cool bravado.

     Aside from the great opening song, the rest of the album trades back and forth between a ballad and a hard rocker. The hard rockers on this album are all loud and intense, but not the most cohesive of songs. They sometimes feel like they, the band I mean, are simply trying their darndest to go out with a bang. However, the ballads on this album are excellent. "The Good Die Young", "Lorelei", "SLY", and the half-ballad, half-anthem, ironically titled closing track "The Best Is Yet To Come" are all some of the best work here. So, aside from "Raised On Rock", are there any other good rockers here? Well, yes, "No Limit" is definitely a highlight. The strength of this album largely lies within the work of the ballads though.

     I noticed a rather interesting thematic element throughout the entirety of Sting In The Tail. There is definitely a lot of allusions to their roots, and to their past influences. Often hear some both obvious and vague references to the late 1960s, The Beatles, the Rolling Stones, and to the legacy of the rock n' roll genre as a whole - "Spirit of Rock" is a good example of the rock legacy being exemplified. I never really noticed before, in any other Scorpions record, this sense of nostalgia and their past influences. It was certainly a nice thing to hear, as they are not only providing you with a fun, energetic final album, but a personal sense of how they got to be where they are.

     Sting In The Tail is certainly a valiant effort. It's not a perfect album, but it definitely provides a fitting farewell to its fans. It salutes them with a one-two punch of what they do best - engage you in their ballads, and energize you with their heavy rockers. After all these years, the band itself still sounds so professional and tight. Klaus Meine, the lead singer, is 62 years old and his voice sounds as crisp, clear, and as powerful as ever - it is remarkable. So with that all being said, I recommend Sting In The Tail. The Scorpions have had a long, illustrious, and successful career, and I hope they all enjoy their final tour together, as they bow out here with grace. Goodbye Scorpions, we the fans, thank you for all the wonderful years.

TRACK HIGHLIGHTS:

"Raised On Rock"

"Lorelei"

"The Best Is Yet To Come"

"The Good Die Young"

"SLY"

"No Limit"

-Kurt L.

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     This isn't a particularly great album, but it does have some bright spots. First off, take a look at the album cover pictured above, doesn't that gory scene just ooze heavy metal? That is a picture of Vic, the band mascot, making his return to the cover after nearly a decade of absence. Now, onto the music -the opening track "Disconnect" is just downright awesome - and the title seems fitting, as it is perhaps metaphorically disconnecting from the past few years of mainstream works and harkening back to the heavier heydays. The album is fairly unbalanced as it trades back and forth a good track for a mediocre one, so it never quite strikes a nice stasis - but again, with that being said, it has some highlights. The song "1000 Times Goodbye" is a bit melodramatic, but, I rather liked it, as it is fairly catchy.

     The latter half of the album is where it gains a little more consistency. "Dread and the Fugitive Mind" is strong, as is the remake "Return To Hangar", which directly correlates to "Hangar 18", one of the most memorable tracks from Rust In Peace. As you can see, Mustaine, the band leader, is clearly trying to infuse a bit of his rich musical past with this newer album - and it works from time to time, but not entirely. An instance where Megadeth seems misguided is on the song "Moto Psycho" - it's terrible.

     Aside from the shortcomings, The World Needs A Hero has several memorable songs. If you look back at Megadeth from a broader historical perspective, this album was indeed, in the least, a step in the right direction. Following this 2001 album, Megadeth continued to make new music, and their subsequent releases following The World Needs A Hero truly accomplished what Mustaine seemed to set out to do here - bring the metal back, and he sure did. So, if you want to see where the re-birth of Megadeth began, take a look at The World Needs A Hero.

TRACK HIGHLIGHTS:

"Disconnect"

"1000 Times Goodbye"

"Dread And Fugitive Mind"

"Return To Hangar"

-Kurt L.

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     This album is atrocious! It is amazingly bland and boring and the production is dull and muddled. I know Quiet Riot before the release of this 1988 bomb were never truly the most gifted of song-writers, but were capable enough for the most part to string together a few good, entertaining songs (even though their most popular hits are actually covers). Indeed, this would again be the case after they reunited with DuBrow in the 1990s, as Quiet Riot would regain its songwriting skill and its focus. Without DuBrow though, all of that presence is lost, leaving a wide gaping void in this record.

     To be fair, Paul Shortino is a decent singer with some solid chops. He doesn't dazzle by any stretch, but he is servicable. Unfortunately for Quiet Riot, he doesn't exude or convey any sense of energy and it drains the life out of this dismal experience. DuBrow, even in the confines of a lesser song, can at least sell it with his genuine enthusiasm, but here, not only does Shortino lack energy, but the entire band sounds deflated.

     Of this mess, I have found that there is only one song I like off this album - and honestly, I like it a lot. "Don't Wanna Be Your Fool" is a great, great song! It has an awesome 1980s sound with a great vocal performance from Shortino and some cool guitar licks from guitarist Carlos Cavazo. So, if you were ever interested, then I'd say just download this song off iTunes or something and skip the rest of the tracks.

     I must say that I am a huge Quiet Riot fan, having listened to practically all of their albums, and this one, by far, is the worst. Without DuBrow, the album suffers enough, but the songs themselves (with the exception of the one I mentioned before!) are terrible. Not only does this album fail on a musical level, it also features a truly hideous album cover, one that indeed repulses the eyes, thus failing in the aesthetic sense as well.

     Thankfully the rest of Quiet Riot and Kevin DuBrow came back to their senses and reunited to make the bands best effort, Terrified, in 1993.

     Stay away from this album, stay far away, and leave it to decay in the damp, dank basements of music history.

TRACK HIGHLIGHTS:

"Don't Wanna Be Your Fool"

-Kurt L.

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