It’s been another crazy year in music, with 2007 being the year that rock returned to the fore if you ask me, with some really brilliant releases thrown out this year. It’s actually been more difficult than last year to devise a list, and it’s looking like being a top 10 this year of the greatest albums of the year.
As usual, live/tribute/cover albums don’t count, re-released/re-mixed/re-issues are not permitted either. To be considered, the album must have been of original material and released in the calendar year.
Here’s a list of my previous winners…
2004
(1st) Megadeth – ‘The System Has Failed’
(2nd) Velvet Revolver – ‘Contraband’
2005
(1st) Nevermore – ‘This Godless Endeavor’
(2nd) Kamelot – ‘The Black Halo’
2006
(1st) Iron Maiden – ‘A Matter of Life and Death’
(2nd) Blind Guardian – ‘A Twist in the Myth’
(3rd) Angra – ‘Aurora Consurgens’
Alter Bridge – Blackbird
This record is up there as one of my surprises of the year. I think I totally underestimated the talent that Alter Bridge had until I started to listen to this record a few weeks back. Solid, catchy riffs; outstanding vocal performances and great guitar solos – it’s more than an above average disc. I’m not at all surprised that Alter Bridge have achieved success in the US with this. It also makes you think how much of a doozie Scott Stapp was – if he had this much talent in his musicians in Creed, how come they could never show it. A must pick-up if you consider yourself a hard rock fan.
Annihilator – Metal
Before I rant on this one, let me say that Jeff Waters is one of my favourite metal guitarists. His output on the earlier Annihilator works was nothing short of superb. It’s lucky for Jeff that I remember him best for those earlier works. This record is not terrible. Waters has assembled another talented cast of musicians around him, and there are some excellent spots on this record, one of which is the opening track “Clown Parade” – featuring ex-Nevermore/Vicious Rumors guitarist Steve Smyth. But, the hypocrisy of Waters by writing a track (“Army of One”) about the state of metal and “not following the trend” is quite sick. The band’s mid-90s output (after Randy Rampage left basically) was nothing short of selling out and just didn’t click. This is a good CD considering the band’s recent times (better than Schizo Deluxe for sure), but doesn’t stand up against Alison Hell and Never, Neverland.
Biffy Clyro – Puzzle
My ignorance of Biffy Clyro is such that when I first heard them – it was their cover of Weezer’s “Buddy Holly” (one of the best songs ever) and I didn’t like it at all. Then I suddenly hear “Saturday Superhouse” on a rare occasion of driving without my Zen/iPod. This can’t be the same band? Yet it was. The first half of the record is stellar British-style punk-pop. The opening track, “Living Is a Problem Because Everything Dies”, is a fantastic exhibition of how a drum intro should be, and makes for a fantastic pedal-to-the-metal song. The second half falls rather flat for my taste, but this is a good pick-up.
Chevelle – Vena Sera
During my “nu-metal” phase, Chevelle were a band I respected for their outrageously screamy vocals and “heavyness”. Their third release builds on their first two records for another one in a similar mould. Whilst breaking slightly from a carbon copy of their first two works, the Chicago-based boys experiment with cleaner vocals and pull them off quite well, rather than the “angry young man” mode I seem to recall from their first two records. Not the best album I’ve heard this year, but not total dross either.
Chris Caffery – Pins and Needles
The man, the legend of Christopher Caffery (he of Savatage/TSO-fame) hit the ground running with a great first release, Faces a few years back. However, I never totally dug this album. I love Chris. Really I do. He’s a legend. I just didn’t dig the vocals on this one. It’s probably because I’m so used to when I hear the name Caffery, I hear the voice of Zak (Stevens) or Jon (Oliva) tearing across his genius riffs. If you are a fan of the pre-Gutter Ballet-era Savatage, you’ll like this. Chris has channelled the energy from those original records into this latest release.
Coheed and Cambria – No World for Tomorrow
When I first heard Coheed, some daft knut claimed they were “emo”. I refused to listen to them. Then the album with “Welcome Home” came out. I thought “Hang on…these guys aren’t emo – they have talent!”. No World for Tomorrow wraps up the rock opera-thing that Coheed have had going through their whole works so far. If you didn’t like Claudio Sanchez’s voice before, you probably still won’t like it here either. An eclectic album this, with a typical progressive style you would expect from the lads. Arguably the best track is “Gravemakers and Gunslingers” – a more straight-forward riff-fest with a great introduction.
Diamond Head – What’s in Your Head?
This is more like -heavy- metal. The second album under the Nick Tart-era of Diamond Head was in the words of my buddy Borat, a “great success”. It was a bit samey at first, but, this is the kind of stuff Diamond Head should have been writing when Sean Harris was in the band. Although the New Wave of British Heavy Metal is long gone, if you want a current-era record that sounds most like it, this one will certainly deliver.
Dream Theater – Systematic Chaos
I had high hopes for this one. I think Systematic Chaos became the victim of my high hopes. Admittedly, Octavarium was not Dream Theater’s magnum opus like some had predicted, although it was still a solid record. Besides the single – “Constant Motion”, I have failed to really get into this album. It seems a bit too patchy and like the band have refined their style to such a point they forgot what made them so great and epic. Whilst nowhere near as bad as 1997’s Falling Into Infinity (which was not Dream Theater at all), it certainly does not stand up to their better material from the likes of Images and Words and Scenes from a Memory.
Drowning Pool – Full Circle
I’ll say it straight off the bat – Drowning Pool died when Dave Williams died. The band simply has not been the same. I’ll give them a massive amount of credit for hanging on, even if they’ve changed lead vocalists more times than I’ve changed underpants. The new lead vocalist is the ex-SOiL frontman. You would never have guessed. Think Drowning Pool’s old style mixed with SOiL and that’s what this record is.
Eagles – Long Road Out of Eden
I don’t look like the typical Eagles fan. I’ll admit that. But, with a band whose popularity stretches so far, you probably aren’t surprised to learn I was highly anticipating this double album, featuring the first all new material from the band in almost 30 years. This is probably the closest we will ever get to Hotel California II, and it certainly lived up to the hype. There was something familiar yet different about the double album – mixing each member’s solo works with your Long Run-era Eagles. There is a distinct lack of the Bernie Leadon-led kind of sound here which may disappoint some, but not me. If this were to be their final record, I would be happy with the sense of closure this album brings with it. A highlight of my year for sure.
Epica – The Devine Conspiracy
This is another stellar release from the Dutch progressive metallers. Simone Simons is again the star of this record, with her blistering vocals adding yet another dimension to the soaring guitar playing provided here. Unusually, she manages to pull off the death metal growl that many seem to think was perfected by Angela Gossow (Arch Enemy) in a very great fashion.
Finger Eleven – Them vs. You vs. Me
This record totally shocked me. I heard the first single and it was stupendously catchy and suddenly, I see Finger Eleven getting some major airplay in the US, which is damn good for them. I don’t think this record stands up for the diversity that they had on their previous s/t release from a few years back, but, it’s very very good pop-alt-rock for the ears.
Foo Fighters – Echoes, Silence, Patience & Grace
So, when I hear Dave Grohl’s doing another new Foos album, I said “Hehe, another million seller with about one good song on it”. And for once, I was completely wrong. Amazing record with all kinds of fun and games with riffs here. The first single, “The Pretender” has been a rock radio staple since it’s release, and the Foos continue their great style of splendid riffery, broken up by Grohl’s searing vocal and sheer brilliance in the slower numbers.
Gamma Ray – Land of the Free, Part 2
This is a sequel to the band’s landmark 1995 release, “Land of the Free” which is probably one of the most influential power metal release in the 1990s. Kai Hansen continues to bring out these classic metal platters, and this one is no exception, more splendid riffery and deviation that you have come to expect from those crazy Germans. I’m looking forward to their DVD which should finally make it over here this year.
Helloween – Gambling with the Devil
Helloween return to form with this one. I didn’t like the Keeper of the Seven Keys: The Legacy with the exception of the two singles, but this is more of what I would expect from the guys. If you don’t like Helloween’s tongue-in-cheek lyrically approach, you’re probably still not going to, but this is their most solid release since 2000’s The Dark Ride for sure.
Iced Earth – Framing Armageddon
This one came right out of left field. This album has split the metal community (mainly the usual split of Barlow/Ripper camps), but Ripper delivers big time on this one. Whilst Barlow sometimes sounded like he was doing a Paul Stanley impression on some songs, Ripper’s vocals soar above the blistering guitar lines from Jon Schaffer. The vocal performance on “Ten Thousand Strong” is enough to pull you in, and I regret not seeing Ripper with IE when they supported Heaven & Hell in November at the CIA. I do think bringing back Matt Barlow to finish off Something Wicked is a daft decision timing wise. After this great success the band had with Ripper, I’m so disappointed he’s been kicked to the curb. But, Ripper’s band Beyond Fear kicks all kinds of ass anyway, so I’m happy he has a band to go back to. Still a splendid album.
Jimmy Eat World – Chase This Light
Ask a few people and they will tell you I’m not the stereotypical Jimmy Eat World fan. But, Futures remains one of my favourite albums and is a fantastic album to sing-a-long to in the car. Chase This Light builds on the “more mainstream” punk-pop that the band delivered with their previous release, with “Dizzy” being akin to “23”. This album is very good, but I still can’t quite put my finger on what is missing that makes it just as good as Futures.
Kamelot – Ghost Opera
Kamelot were a featured attraction at my favourite gig this year, ProgPower and debuted two songs from this album at the show (I even got a signed sampler, and the members present thought my famous “Musicians for Groupies” t-shirt kicked ass. They are fucking legends. End of.) and both songs were well received. The album continues on from the Black Halo, which is the best power metal album this decade for sure, and with such high expectations, it was a tough task to live up to. Kamelot almost did it. The album flows incredibly well, and Roy Khan proves that his reputation for his amazing vocal continues. But, the certain “x-factor” that made The Black Halo so incredible is missing here.
Linkin Park – Minutes to Midnight
Considering how un-popular Linkin Park are nowadays, it will perhaps be a surprise if I say I have most of their discography. I am glad that Minutes to Midnight is not a carbon-copy of the multi-platinum Meteora, but by now the nu-metal bubble has most definitely burst (see how Disturbed have now become hard rock legends). “What I’ve Done” was a monster hit and has probably amassed an award for “The Use in the Most Video Packages”, I’m glad to see that Linkin Park have experimented with non-rap style vocals and it has worked.
Megadeth – United Abominations
Be honest, you just knew I was gonna suck up to this record when it came out eventually. And you wouldn’t be wrong. Dave Mustaine continues the set of politically driven metal that he began on The System Has Failed and expanded upon it with some of the best guitar work from him in years. This is gonna be a classic in years to come, and it’s for no reason at all that ‘Deth has suddenly become the talk of metal again. Solid support from the Drovers and new bass player James LoMenzo means this is ‘Deths most consistent and fluid release since ’94’s Youthanasia (which is still my favourite Megadeth record).
Nocturnal Rites – The 8th Sin
Swedish-power metallers (are all the bands who come out of Sweden power metal now?) NR released another good power metal release in 2007, with some soaring riffs and intricate keyboard lines. Standing out from the crowd is difficult in power metal, but NR manage to do it through a variety of interesting musical experiments, and Jonny Lindkvist’s vocals add to the experience, as he can adapt it to fit a series of different emotions. Very good release.
Ozzy Osbourne – Black Rain
He’s better known now as a reality TV dad, wife of an X-Factor judge, although better known to me as the second best vocalist Black Sabbath ever had (for number 1, please see Dio, Ronnie James – or “God”). But Ozzy hooked up with his old buddy Zakk Wylde for his first studio album in almost 6 years. My beef here is that Black Rain sounds similar to Black Label Society’s recent record, which all sounded roughly the same with the exception of “Concrete Jungle”. Ozzy played it safe and went away with another big seller, but I don’t think it stands up, even compared to his earlier catalogue with Wylde’s guitar playing.
Pain of Salvation – Scarsick
Remedy Lane was a classic progpower release, and Daniel Gildenlöw again deviates (like usual) with another concept album, which follows on from a previous release The Perfect Element (“It’s a sequel in all but name”, he has said). I still don’t quite get the album. Despite repeated listens, it doesn’t seem to flow, perhaps as I have only listened to Part 2 of 2. “America” is the catchiest song on the album, but doesn’t really stand out enough from the rest to make it spectacular.
Paramore – Riot!
This is my surprise of the year. Paramore have gone from this little band who played The Full Ponty to this huge success, which I think personally is down to the sex appeal of lead singer Hayley Williams. I’m allowed to call her a singer because frankly, she can. Despite looking like “just another Avril Lavigne” as one internet forum I visit says, Williams’s vocal performances deliver in a huge way here, and this album is a brilliant piece of catchy pop-punk. “Misery Business” has more than turned a few heads this year, and latest single “crushcrushcrush” has converted many. What next for Paramore? A headlining UK tour probably isn’t far away.
Porcupine Tree – Fear of a Blank Planet
I had never heard of Porcupine Tree until I heard the title track of this album on a sampler CD. Then my life changed. Seriously. “Fear of a Blank Planet” (named after Public Enemy, yes Public Enemy’s 1991 release “Fear of a Black Planet”, which is one of the most important rap releases of all-time) describes all that is wrong with society nowadays. From the intro static and acoustic riff, this song grabs you and says “This is 2007”. It’s definitely the most important progressive release since Queensryche’s Operation Mindcrime. The rest of the album does not disappoint, with the 17-minute “Anesthetize” featuring Alex Lifeson (Rush) on guitar. Splendid. Just splendid.
Puddle of Mudd – Famous
I once heard someone describe Wes Scantlin, lead vocalist of PoM as “Kurt Cobain Jr.” and there can be no denying that PoM have more than taken an influence from the 90s grunge “legend” (reasons for the inverted commas are worth a blog entry), this album falls in the same vain as their previous releases, doing pretty much the same thing. Scantlin has a good voice (he was tipped to replace the fallen Layne Staley, but Puddle of Mudd fail to stand out from the Post-Grunge crowd.
Redemption – The Origins of Ruin
Ray Alder is best known as “the” voice of Fates Warning, the criminally underrated prog-metal legends. The Origins of Ruin plays up to the band’s strengths – astonishing vocals and solid songwriting. This is really prog metal at it’s finest. Deserves a look if you are a Fates Warning fan, and seeing as they did so much to create the genre, Alder’s influence on the younger members (who themselves have their own excellent band – Prymary) is surely a good thing.
Relient K – Five Score and Seven Years Ago
Mmhmm, Relient K’s previous record was quality pop-punk. Matt Thiessen however tried to go the Brian Wilson route (check out “Plead the Fifth” – right out of the Beach Boys play book) and despite this album more than having it’s moments, it falls a little flat of their previous works, which managed to throw brilliant pop culture references into these really catchy tracks.
Rush – Snakes & Arrows
Canada’s finest achievement are back with their first studio release in 5 years and it’s much better than Vapor Trails (compare to St. Anger). “Far Cry” was a big radio hit, and Lee, Lifeson and Peart continue to evolve their sound as they continue to sell-out arenas worldwide. A standout release and perhaps their most consistent since 1989’s Presto.
Saliva – Blood Stained Love Story
Saliva are one of those bands that take me back to my wrestling-obsessed youth. Whilst I’m still a wrestling fan, back in the days of the WWF, WCW and others (only a few know what I mean by others there ;]), Saliva were constantly there to throw up a theme song or special track. Their latest album has it’s moments, but Saliva seem stuck in a time-warp. After discovering their brilliant debut album this year, it appears that band think nu-metal still exists, but they have failed to deliver on this one.
Sanctity – Road to Bloodshed
Sanctity are another discovery from a Metal Hammer sampler, and in a nutshell are a better idea of Trivium. Whilst the vocal skills may leave a lot to be desired, if you compare to Trivium’s earlier works, Sanctity are a much better act, with far more solid songwriting, great guitar lines and good clean vocals. A solid debut which they can build on.
Seether – Finding Beauty in Negative Spaces
Seether produced a monster hit when they collaborated with Amy Lee for a new version of “Broken”. If you’re looking for hits on this one, there could be a couple of diamonds in the rough – “Fake It” is exactly what Seether’s style is all about, grouchy vocals, catchy riff and a kind-of guitar solo. This album probably requires repeated listens to appreciate, but it’s still pretty solid and very good release.
Sonata Arctica – Unia
Sonata Arctica are huge in their home land and this album shot straight to #1 in Sweden. There are a few tracks that break the mould here, but Sonata have a blistering keyboard as part of their setup, which is what made their earlier works so great. This album seems to lack a fast-paced rocker that really could have made the album flow better. What’s here is good, no denying, but what isn’t here probably bothers me more.
Symphony X – Paradise Lost
SymphX, ah yes. The Odyseey was a brilliant all-round release 5 years ago, and Paradise Lost builds on the promise of that album. The album is based on John Milton’s poem and is simply fantastic. It has a bit of everything. A slow ballad (“Paradise Lost”) a soaring riff-fest (“Eve of Seduction” – someone say future Guitar Hero closer?), the epic closer (“Revelation”)…it really is the total package and a seminal release.
Velvet Revolver – Libertad
VR have always been hit and miss. “Slither” was a spot on track, but their contribution to the Fantastic Four soundtrack fell flat on my ears. I was hoping with their second album they would address the failures of their previous album, but the problem with supergroups is that never usually happens. I’m not blown away by this one either. Whilst a G’n’R reunion is particularly unlikely, this album just doesn’t seem to work for me. There’s some good songwriting here, but the tracks seem to plod along and nothing gets you to repeat on first listen.