Stryper – No More Hell to Pay
2013, Frontiers Records
2. No More Hell to Pay
3. Saved by Love
4. Jesus Is Just Alright
5. The One
7. Marching into Battle
8. Te Amo
9. Sticks & Stones
10. Water into Wine
Michael Sweet – Lead Vocals, Guitar
Oz Fox – Guitar, Backing Vocals
Tim Gaines – Bass, Backing Vocals
Robert Sweet – Drums
Producer: Michael Sweet
Stryper has done very well for themselves since releasing their comeback album, Reborn, in 2005. They’re one of the few “hair” bands that has remained relevant by successfully tweaking and modernizing their sound instead of trying to write songs that remind you of their 1980s albums. With this release though, it seems like they’ve taken quite a bit of inspiration from classic metal and decided to leave the lightweight sappy stuff at home.
After releasing an albums of covers and then an album re-recording their own songs, I was beginning to wonder if an album of all new original material would surface. Arguably, No More Hell to Pay is their heaviest, darkest and hardest album to date. Recently songs like “God” (from The Covering), “Blackened” and “Bleeding From the Inside Out” (both from Second Coming) were great indicators of exactly where Stryper was going with this release and the band has not disappointed me!
“Revelation”, “No More Hell to Pay”, “Legacy” and “Saved By Love” are absolute molten epic metal tracks. “Revelation” is my favorite song of the bunch with “The One” coming in second. “The One” is the album’s lone ballad, but I’m not sure if you could even call it that because it’s still pretty heavy for a ballad! Even the band’s cover of “Jesus Is Just Alright” features a very metal guitar solo!
Another highlight of the album of Michael Sweet’s vocals. He’s never really gotten the credit he deserves. He sounds phenomenal and is one of the better vocalists to come out of the glam metal era. What a great job he does on the rifftastic “Saved By Love”.
It’s great to see this band continue to evolve. No More Hell to Pay seems to be one-part Murder By Pride and one-part classic heavy metal. Even if you’re not a Jesus freak, there’s plenty to enjoy here if all you want is to do is bang your head.
Highlights: “Revelation”, “No More Hell to Pay”, “Saved By Love”, “The One”, “Legacy”, “Te Amo”, “Sticks and Stones”, “Renewed”
1947 – 1986
One metal legend that I’ve never really discussed has been “Rock’s Chosen Warrior” — Sammi Curr. A former student at Lakeridge High School, Sammi’s aspirations went higher than being stuck in his small town. It’s no secret that Sammi was an angry young man growing up. He cared little for authority and used his rebellious nature to propel himself to the top of the heavy metal heap in the mid-1980s. With his dangerous attitude and shock rock antics, he became a rock icon, a living legend, and amassed a large loyal teenage fanbase.
Sammi was a controversial figure during his time. While popular with teenagers, his music, lyrics and stage show were extremely controversial with parents, schools, politicians and members of the religious community. In a time when bands like Megadeth, W.A.S.P. and Motley Crue ruled the airwaves, it was Sammi Curr that felt the wrath of the media and concerned citizens the most.
That’s not to say that Sammi didn’t encourage the controversy though. Ego was another driving factor for Curr. He thrived on the adoration of his young fans and on the hatred of his detractors. Like many rock stars, Sammi wanted the attention and he lived the image of the “bad boy” to its fullest. You can’t drink blood straight from a snake’s mouth onstage and not expect some people to get up in arms about it.
Spending the majority of his music career signed to Waste City Records, some of Curr’s most loved (and despised) songs are “Trick or Treat”, “Fuck With Fire”, “Burn in Metal” and “Torture’s Too Kind”. It was in those last three songs that he used the technique of backmasking. Whether done for fun and as a gimmick or if there was a more sinister intention there, I don’t know. There are many who will argue either side.
In October 1986, Sammi petitioned to play a free concert at his old high school’s Halloween dance. He was denied this opportunity by the PTA and died just days before Halloween, under mysterious circumstances, in a hotel fire.
Sammi’s final album was to be called Songs in the Key of Death but it has never been released to the public in its entirety. The demos were set to debut on a local radio station in Sammi’s hometown at midnight on Halloween (per Sammi’s request) in 1986 but there was a malfunction with the broadcast. The demos have since gone missing.
Sammi Curr lived fast and died young. Perhaps for someone him, there was no other way.
“You cannot legislate morality, or music, or people’s minds… or we’ll bring you down, man!” – Sammi Curr
Avenged Sevenfold – Hail to the King
2013, Warner Bros. Records
1. “Shepherd of Fire”
2. “Hail to the King”
3. “Doing Time”
4. “This Means War”
6. “Crimson Day”
8. “Coming Home”
10. “Acid Rain”
M. Shadows – Lead Vocals
Zacky Vengeance – Guitar, Backing Vocals
Synyster Gates – Guitar, Backing Vocals
Johnny Christ – Bass, Backing Vocals
Arin Ilejay – Drums
Producer: Mike Elizondo
Well, this one seems to be mildly controversial for a number of reasons. First, Avenged Sevenfold continues to evolve their sound. They originally started out as metalcore and slowly began to incorporate more traditional/classic heavy metal influences and now they are writing songs that I would categorize as hard rock. They are still writing heavy metal songs as well but there’s definitely some mainstreaming and a greater sense of melody going on here. Although there are cries of the band selling out, I actually think the the band is taking quite a risk of alienating their long-term fanbase by releasing an album that’s not as heavy or fast as they are known for. The band has addressed the complaints of selling out and having stated that they are simply making the music they want to make.
This is NOT a retro metal album but the band says they were listening to the likes of Led Zeppelin, Black Sabbath, AC/DC, Guns N’ Roses and Metallica while writing this album and that’s extremely apparent in the case of Metallica & GNR. There are so many similarities to the point where people are saying A7X is ripping off other bands. Certainly, you can make a strong case for “This Means War” sounding like Metallica’s “Sad But True”. As much as I love A7X, yeah, that song rips off Metallica’s “Sad But True”. Also, I think “Doing Time” sounds very much like Guns N’ Roses. There are a number of Slash-esque solos peppered throughout the album as well.
I am not surprised with the style being played on Hail to the King at all. The Iron Maiden influence was obvious on City of Evil (and is again on “Coming Home”) and with each successive new release they were moving away from metalcore & nu metal and towards a more commercial hard rock/metal sound. The band has said they set out to record a classic rock/metal album with Hail to the King and that they have no interest in returning to their early metalcore sound. They wanted this album to be a modern version of Led Zeppelin’s IV or AC/DC’s Back In Black. They haven’t done that at all (that’s a ludicrous intention to announce to the world) but I do think this is a good album. It just isn’t great. I don’t have a problem with the new straight-forward direction (though I do miss the intensity and frenzy that the band has been known for) but Hail to the King falls short with compared to the band’s 2007 self-titled album and 2010’s Nightmare.
This is not to say there aren’t a number of great tracks here. “Shepherd of Fire” is a fantastic and people want to talk about Metallica but this one reminds me of Megadeth a bit, as does “Heretic”. The lead single, “Hail to the King”, is another new classic from these guys, IMO, but it’s also got a different vibe to it so I can understand why long term A7X fans may not like it.
Like I said, the album is good, but not great and certainly not the classic the band set out to make. I definitely prefer the last two albums over this one.
Highlights: “Shepherd of Fire”, “Hail to the King”, “This Means War”, “Heretic”, “Coming Home”, “Acid Rain”
Dio – Snapshot
2013, Niji Entertainment/RED Distribution
1. Holy Diver (live)
3. Fever Dreams
4. We Rock (live)
5. Long Live Rock N’ Roll (live)
6. Stargazer (live)
7. Heaven and Hell (live)
8. Children of the Sea (live)
9. Eat Your Heart Out (live)
10. Killing the Dragon
Stumbled across this album as it was a generated recommendation for me on a website… I hadn’t heard anything about it but Wendy Dio’s Niji Entertainment is listed as the label for it so I was curious as to what it was and why it seems like there’s been zero press on it.
Did some digging around and turns out that Snapshot is going to be an entire line of budget compilations for artists whose music was distributed through RED Distribution at one time or another. For example, Anthrax will be getting their own Snapshot release. These compilations seem to rely on newer tracks (from albums that RED had distributed) and live cuts of classic tracks. As the cover says, each Snapshot release comes with 10 tracks and four “snapshots” of the artist.
Personally, I don’t care for budget compilations. I think if you’re going to package someone’s music as a “best of” or “greatest hits” then you need to give it the proper care and respect in terms of packaging and song selection. That said, I also understand a casual fan is probably much more likely to pick up a $7 compilation at Walmart rather than purchase a $30 two-disc set from a music store or Amazon.com.
For Dio’s entry into this series, there are 7 live tracks and 3 studio cuts. “Fever Dreams” is from Magica while “Push” & “Killing the Dragon” are from Killing the Dragon. They are good tracks and I would agree that they are highlights from the second half of Dio’s career.
Most of the live tracks are a ripoff. “Stargazer” is only 1 min 42 sec and “Children of the Sea” is 1 min 24 sec. “Stargazer” is completely cut off just as it’s starting and “Children of the Sea” doesn’t even start at the beginning before it randomly stops. “Heaven and Hell” is pitifully reduced to 3 min 18 sec with another abrupt ending.
I have no clue when and where these live songs were done. If I ever find out, I’ll post the information in this review. “Holy Diver” sounds like a soundcheck to me, but I’m sure most of these songs are taken straight from Dio’s previously released live albums though “Eat Your Heart Out” (Has this one ever appeared on a live release before?) has a poorer sound quality than the rest of the songs.
Even by budget standards, this is an awful compilation. I understand using the work-around of including a few classics by making them live versions but why cut them so pitifully short? I’d rather they just included another late-era Dio studio track than do that.
This album costs so little to buy because it obviously cost so little to produce. It’s cheap. It’s a disgrace to the memory of Ronnie James and Wendy should be ashamed of herself for allowing this misrepresentation to exist. She needs to better protect Ronnie’s memory and work. I have a feeling things are only going to get worse though.
Buy the album at Amazon.com (if you’re a glutton for punishment)
Quiet Riot – QR III
1986, CBS Records/Pasha Records
1. “Main Attraction”
2. “The Wild and the Young”
3. “Twilight Hotel”
4. “Down and Dirty”
5. “Rise or Fall”
6. “Put Up or Shut Up”
7. “Still of the Night”
8. “Bass Case”
9. “The Pump”
10. “Slave to Love”
11. “Helping Hands”
Kevin DuBrow – Lead Vocals
Carlos Cavazo – Guitar
Chuck Wright – Bass
Frankie Banali – Drums
John Purdell – Synthesizer
Producer: Spencer Proffer and John Purdell
QR III is actually the band’s 5th album but I guess they aren’t counting their first two albums that were released only in Japan in the late 1970s.
I tend to think of Quiet Riot just as I think of Twisted Sister: both were solid metal bands, both had singers with powerful voices and both bands had great commercial success fairly early and then saw those sales fizzle out pretty quickly with each subsequent release. Also, when the going got tough, both bands tried using a much lighter sound in an attempt to stay commercially relevant (it still didn’t help).
Well, like I said, after the multiple platinum success of Metal Health and the disappointed of Critical Condition (it “only” went platinum), the band went with much lighter and more commercial sound in order to increase sales. This new synthesizer-heavy/AOR sound is none more apparent than on the opening track, “Main Attraction”. The first notes you hear on this album are not provided by guitar, drums or even by a bass guitar but by keyboard! The song is actually a great piece of cheesy pop-metal but I can imagine that it did the band no favors with all of the fans that bought Metal Health back in ’83.
“The Wild and The Young” is a more like the Quiet Riot of old but then “Twilight Hotel” moves back into AOR territory and sounds nothing like the band at all. “Still of the Night” is another slow melodic rock number that makes you wonder how this is Quiet Riot, but I think it’s another excellent song. “Slave to Love” is another AOR-style song but again, I like it, though I will admit the female vocals really seem out of place on a QR song!
“Bass Case” is a cool bass instrumental performed by Chuck Wright. Rudy Sarzo, the band’s bassist from the “classic” line-up had left the band in early 1985 after growing tired of Kevin DuBrow’s ego & attitude.
“Put Up or Shut Up” is a rocker that could’ve fit in on the two previous albums while “Down and Dirty” and “Rise Or Fall” could’ve been two really good hard songs but they are cut off at the knees by synthesizers and an overly polished production.
There is one song on this album (“The Wild and The Young”) that I would put up there with the rest of Quiet Riot’s signature songs. The rest is good, cheesy ’80s melodic rock. It’s not what anyone expected or wanted from this band and sure you could throw the “sell out” label on them for releasing these songs but I find QR III to be a guilty pleasure melodic rock album. The album probably deserves another look from people who stuck their nose up at it the first time around.
Highlights: “Main Attraction”, “The Wild and The Young”, “Twilight Hotel”, “Down and Dirty”, “Still of the Night”, “Slave to Love”
Dio – Finding The Sacred Heart: Live In Philly 1986
2013, Eagle Rock Entertainment/Niji Productions
1. Draco Ignis
2. King of Rock and Roll
3. Like the Beat of a Heart
4. Don’t Talk to Strangers
5. Hungry for Heaven
6. Medley: The Last in Line/Children of the Sea/Holy Diver
7. Drum Solo
8. Heaven and Hell
9. Keyboard Solo
10. Guitar Solo
1. Sacred Heart
2. Medley: Rock ‘n’ Roll Children/Long Live Rock ‘n’ Roll/Man on the Silver Mountain
3. Time to Burn
4. Stand Up and Shout
5. Rainbow in the Dark
6. We Rock
Ronnie James Dio – Vocals
Craig Goldy – Guitar
Jimmy Bain – Bass
Vinny Appice – Drums
Claude Schnell – Keyboards
Finding The Sacred Heart: Live In Philly 1986 is Dio’s 5th live album and the second to be released posthumously. As becoming common with live releases (and I think this is a cool idea), not only does is this 1986 concert at the Philadelphia Spectrum presented in audio form but it is also available on DVD and Blu-ray. Truth be told, this show was released on VHS and DVD years ago but those versions were edited down to 60 minutes. Here, you get the entire concert. This is the first time the concert has ever been released as an album.
I watched the DVD a few years ago. It’s quite an enjoyable show and features Dio at the peak of his powers and flashy theatrics. Lasers, smoke and Dio fighting Denzil the dragon… what more could you want ?! Plus, I’ve always had a really soft spot for the Sacred Heart album, which the band was touring behind at the time. That’s probably my favorite disc from this band.
This is a great live performance. Most of the hits you’d want to hear from Dio are presented: “Rainbow in the Dark”, “We Rock”, “Sacred Heart”, “Heaven and Hell” and then there are three medleys to satiate the Black Sabbath and Rainbow fans even more.
Finding The Sacred Heart catches Dio going through a hair metal phase but it’s still a great release and features one of the better line-ups for the band. Well worth seeking out, as is this show in video form.
Highlights: “King of Rock and Roll”, “Don’t Talk to Strangers”, “The Last In Line/Children of the Sea/Holy Diver”, “Sacred Heart”, “Stand Up and Shout”, “We Rock”
2013, Century Media Records
2. “Where Dreams Go to Die”
4. “In This Light”
7. “Midnight Lullaby”
8. “A World Without”
9. “Don’t Look Back”
11. “Open Road”
Todd La Torre – Lead Vocals
Michael Wilton – Guitar
Parker Lundgren – Guitar
Eddie Jackson – Bass, Backing Vocals
Scott Rockenfield – Drums, Percussion
Produced by James Barton
Well, I’ve already reviewed TateRyche, I figured I had to give ToddRyche a shot as well! Equal time and all that jazz. As I’ve mentioned before, Queensryche has never been a favorite of mine. I never disliked them, they’ve certainly recorded some very cool songs over the years, but when I bought Operation: Mindcrime I felt that was enough for me. Funny that with the feud, I’m more interested in Queensryche than I ever have been!
I think part of what has helped me enjoy this album so much is that it’s barely 30 minutes long! “X2” and “Midnight Lullaby” are instrumentals that clock in around a minute a piece. I wonder if songwriting/recording for this album was cut short in order to get it out quicker to “compete” with Geoff Tate’s Frequency Unknown. It doesn’t matter. While it’s rare to see these days, I actually think an album that comes in around a half hour is pretty refreshing, especially when I seem to be getting busier and busier!
As for the album, it’s good stuff. Todd La Torre’s vocals are very similar to Geoff Tate but just different enough and the band is full of energy and doesn’t get weighted down by the bore ‘n’ chore of what progressive rock can sometimes be. The major difference between this album and Tate’s is that this one completely embraces the classic Queensryche sound. “A World Without” sounds like something Queensryche did years ago, and I mean that in a good way.
There’s really no attempt at creating a modern hard rock song. It’s just Queensryche being Queensryche with a singer that is perhaps better-suited to sing in this style than Geoff Tate is these days. Frequency Unknown isn’t a bad album, but this self-titled release by his ex-band mates is better. The REAL Queensryche sounds completely re-energized.
Highlights: “Where Dreams Go to Die”, “Spore”, “Redemption”, “A World Without”, “Don’t Look Back”
Black Sabbath – 13 [Best Buy Deluxe Edition]
2013, Republic Records
1. “End of the Beginning” 8:05
2. “God Is Dead?” 8:52
3. “Loner” 4:59
4. “Zeitgeist” 4:37
5. “Age of Reason” 7:01
6. “Live Forever” 4:46
7. “Damaged Soul” 7:51
8. “Dear Father”
1. “Methademic” 5:57
2. “Peace of Mind” 3:40
3. “Pariah” 5:34
4. “Naïveté in Black”
Ozzy Osbourne – Vocals, Harmonica
Tony Iommi – Guitar
Geezer Butler – Bass
Brad Wilk – Drums
Produced by Rick Rubin
I won’t get into all of the stats and figures but it’s been a long time since these guys have played on an album together as Black Sabbath. It’s just a shame they couldn’t work out something with Bill Ward in order to do a TRUE reunion album/tour.
Still, this is a very important time in the band’s history. Though I’m not an Ozzy fan, I can still agree that this is a monumental occasion, so I’ll give my thoughts track-by-track:
- “End of the Beginning” – This one starts off like something from The Devil You Know with a heavy, slow and doomy vibe. It picks up later in the song but at 8 minutes, it’s not how I would’ve chosen to kick off the album.
- “God Is Dead?” – I can’t hear some of the guitar parts in this song without thinking of Weezer’s “Undone – The Sweater Song”. I can’t be the only one that hears that, can I? We’re now only two tracks into the album but sitting 17 minutes! Again, I question the track listing. Decent song but like most of the world, my socks weren’t knocked off when I heard this.
- “Loner” – Finally the speed is picking up a bit and look — this song is only 5 minutes long! We even get an “Alright now!” from Ozzy.
- “Zeitgeist” – Essentially this is “Planet Caravan, Part II”. If you had told me this was either a Pink Floyd song or recorded by Sabbath in the mid-70s, I’d believe you. It’s a good song but I’m a bit disappointed they basically tried to recreate something they’d previously written. Seems a bit lazy to me. But hey, they aren’t the first band to ever do that.
- “Age of Reason” – Love the drums here (sorry, Bill!). One of the first songs from this album that grabbed me immediately.
- “Live Forever” – Another much-need slightly more up-tempo number.
- “Damaged Soul” – Ugh. Another 8 minute track. Fuzzy 1970s stoner vibe. Another track that really sounds like something the band recorded “back in the day”.
- “Dear Father” – Probably feeling this song the least of all on the album.
That finishes up the proper album, now onto the deluxe edition tracks:
- “Methademic” – Shame this one was relegated to being on the deluxe edition!
- “Peace of Mind” – I know ’70s Sabbath when I hear it. This is it.
- “Pariah” – Another good rocker. Has a cool melodic opening.
- “Naïveté in Black” – Exclusive to the Best Buy edition of the deluxe album. The fastest song out of both discs. Why didn’t they write more songs like these? Kinda reminds me of modern day Metallica.
Disc 2 is very strong. The songs are a bit faster and much shorter. Disc 1 has its moments but it’s just too slow and time-consuming for its own good. Surely we could’ve swapped out “God Is Dead?”, “Damaged Soul”, and/or “Dear Father” for any of these four tracks! It’s a strange choice for them to include so many slow and plodding 7-9 minute epics on the album when they had some very good 4-5 minute rockers being released as bonus content.
13 is going over well with the Ozzy fans and I can see why. It’s definitely got that old-school Sabbath vibe to it that should be pleasing to those that prefer the band’s Ozzy years. Being someone who isn’t an Ozzy fan, I can admit that this is certainly a good album, possibly will make my Top 10 for the year, but I don’t think it’s great and it’s probably not something I’ll ever listen to much again. I can’t imagine thinking, “Man, I really need to hear that 9 minute song Black Sabbath wrote back in 2013!”
Highlights: “The End of the Beginning”, “Loner”, “Zeitgeist”, “Age of Reason”, “Live Forever”, “Methademic”, “Peace of Mind”, “Pariah”, “Naïveté in Black”
Stryper – Second Coming
2013, Frontiers Records
1. “Loud ‘N Clear”
2. “Loving You”
3. “Soldiers Under Command”
4. “Makes Me Wanna Sing”
5. “First Love”
6. “The Rock That Makes Me Roll”
7. “Reach Out”
9. “To Hell with the Devil”
10. “Calling on You”
12. “The Way”
13. “Sing Along Song”
14. “More Than a Man”
15. “Bleeding from Inside Out”
Michael Sweet – Vocals, Guitar
Oz Fox – Guitars
Tim Gaines – Bass
Robert Sweet – Drums
Religion aside, Stryper is one of the few successful bands that I never got into when I was discovering the wonderful world of hair bands and glam metal. Despite owning a few one or two albums from their original run, it’s actually their later albums that pulled me in and converted me (no pun intended) to a fan. Despite the fact that Second Coming is the band re-recording their own material from their peak years, it has further solidified Stryper’s status with me as one of the best and most relevant hair bands in modern times.
I won’t even pretend to know how some of these songs compare to their original versions but it’s safe to say the production is greatly improved and these songs just sound so HEAVY now. Classic metal songs with a modern twist. These oldies are definitely beefed up to match the power and sound the band has been displaying on their recent albums.
When the band released The Covering (an album of covers… what else?) they included one new track called “God”. It’s one of my favorite songs from the last few years so I was definitely looking forward to the two NEW tracks that were included on this album. Both continue on in the fine tradition of modern Stryper. Another major standout for me is “To Hell With the Devil”. It finally sounds exactly like it always deserved to (okay, that is the Stryper song I’ve always loved)!
Die-hards are probably all over this already but casual Stryper fans should give it a shot to hear some of the band’s classic material with updated production and to check out the new tunes.
Highlights: “Loud ‘N Clear”, “Soldiers Under Command”, “Makes Me Wanna Sing”, “Surrender”, “To Hell With the Devil”, “Bleeding from the Inside Out”, “Blackened”
Whitesnake – Made In Britain / The World Record
2013, Frontiers Records
Disc 1: Made In Britain
1. Best Years
2. Give Me All Your Love Tonight
3. Love Ain’t No Stranger
4. Is This Love
5. Steal Your Heart Away
7. Love Will Set You Free
8. My Evil Ways
9. Fare Thee Well
10. Ain’t No Love In the Heart of the City
11. Fool for Your Loving
12. Here I Go Again
13. Still of the Night
Disc 2: The World Record
1. Bad Boys
2. Slide It In
3. Lay Down Your Love
4. Pistols at Dawn
5. Snake Dance
6. Can You Heart the Wind Blow
7. Fare Thee Well
8. One of These Days
9. The Badger
10. Deeper the Love
11. Soldier of Fortune
12. Burn / Stormbringer
David Coverdale – Lead Vocals
Doug Aldrich – Guitar
Reb Beach – Guitar
Michael Devin – Bass
Brian Tichy – Drums
Michael Ruedy – Keyboads
Produced by Michael McIntyre, Doug Aldrich and David Coverdale
Whitesnake returns with another double live album! Hmm… seems like I’ve done a similar review before. Oh, yeah. I did: here, here, and here! So this is the second live album that Whitesnake has released in a matter of months. Made In Japan kind of came about as an official release by accident but Made In Britain/The World Record was actually a planned release. Like Made In Japan it too documents the band’s Forevermore tour from 2011. The difference being that album featured performances from Japan and these recordings were done in England (the Made In Britain portion) and internationally (The World Record portion… Get it? It’s a world record.).
This another one of those album titles I’m confused about. The band’s official website lists it as Made In Britain and acknowledges it is a two-disc album. Frontiers Records’ website lists it as Made In Britain – The World Record. Most other music sites refer to it as Made In Britain/The World Record. And the album art above is the only one that’s floating around and you can obviously see it is plainly called Made In Britain.
What can I say that I didn’t already say during my Made In Japan review? Whitesnake is still going strong, putting out great records and great live shows and great live albums. It’s amazing how good the Forevermore material sounds alongside the classics. This is the band’s sixth live album (four of them released in the last 7 years alone!) and while you may not need this album, it stands are as a great representation of the Forevermore era. I would recommend it over Made In Japan.
Highlights: “Steal Your Heart Away”, “Forevermore”, “Love Will Set You Free”, “My Evil Ways”, “Fare Thee Well”, “Ain’t No Love in the Heart of the City”, “Lay Down Your Love”, “One of These Days”