This isn’t your older brother’s anarchists music, not by any short measure. And, not your dad’s hippy music.
Just spin “Renegade” off of NWO and you’ll want to come out blazing on the front street (a fat one!), and call
out all the hypocrites in the hood. Chances are, they couldn’t handle it anyway! Frontman/vocalist Jared
Gomes, will have anger coursing through you veins, and rightfully so with his “dead-on-subject” pervasive
lyrical attacks. Shooting what he sees as real from the hip; perpetuated in thought and cause. Because the dark
ages are upon us, and not yet have been fully revealed yet the vivacious frontman repetitively points out
(i.e.,video/single “Ordo (ab Chao),” “Middle Class Blues” and “Live Or Die Free”).

The music of New World Orphans is the cumulative effect of the self-proclaimed DIY guys wildest shit to date.
Big tough bass beats pummels you like a true heavy-hitter’s punches. And you better be strong for the 26
tracks (hed) pe lays out for you on New World Orphans. This album is as innovative and relevant to the time
like Broke was to it’s time. The first tune tune really rip it out hardcore style is definitely “Bloodfire,” this is
some sick stuff. Wild man whips out some vocals like never before, and the segue with Martin Luther King’s
speech is tight. This spills over into “Odro (ab Chao)” a funk/punk/hardcore joint all mixed up into one you
see. Which, the song title is latin for order out of chaos. The acoustic number “Self Aware” is also a real
departure from the bands usual song structure, but the crescendo makes it an ultimate rock anthem to be
maximally enjoyed.

Guest appearances by (hed)’s Suburban Noize/SRH label compadre’s include Dirtball on “Stay Ready.” Which,
has some huge fucking hooks! The Kottonmouth Kings on the obvious choice of a song, “Higher Grounds.”
And, TECH N9NE on the elusive “Work On This. Creating a hip hop sexual masterpiece. The next video is the
aforementioned “Renegade,” and if the NFL is smart they’ll by this one up for promo pieces. It’s got that vibe
to it. Then the next cut “Everything All The Time” would be perfect piece for a the Playboy channel for it’s
sexual implicitly and sexual funk! There’s been some serious time put into this mix on (hed) pe’s latest works,
and is worth picking up and joining the New World Orphans!

The sexy,sleazy duo from north L.A. add a new subtle dimension to their sound machine of tricks on their
third outing, Heart On. The soft serve, rockin’ blues kick out immediately on the opener “Anything ‘Cept The
Truth.” You’ll be singing the catchy lyric, “I only smile when I tell a lie,” and you’ll be smiling while you do it.
That’s always been the beauty of the Eagles Of Death Metal and their music. You feel and breathe the vitality of
their music when listening. The first single, video “Wannabe In LA” is a crafty little short ditty that plays out like
a fun freeway cruise. And, the drum accents by Josh “Baby Duck” Homme really take this one over the top.

Jesse “Boots Electric” Hughes soft/high vocals really are the sexy/sleaze point that drives the dynamic duo’s
musical impetus. If he can make a tune with a title like “Prissy Prancin’” sound cool and macho, then he’d be
the only one! The closing track of Heart On, “I’m Your Torpedo” is a big drum/synth number with some slide
guitar reminiscent of Robbie Krieger. Go Baby Duck! EODM also throw in that subtle madness into the mix to
give them the freshest sexy sound. The big rock, dance sound continues on “(I Used To Couldn’t Dance)
Tight Pants,” transposing a backwards blues shuffle that’s kind of Stonesy mixed with a tounge-n-cheek vibe.
I think “High Voltage” is a song about Kat Von D, one of the Eagle-ettes, but what the hell do I know!? There’s
still some serious string-bending going on here, which totally make it a rave-up of a song. Contrasting that,
“Now I’m A Fool” displays great strides of maturation as a song writing team with it’s acoustic swagger and
heart-tugging vocals.

So, if you like the shake-your-ass too some really cool rock and roll, grab a copy of Heart On and a hot babe!

Well, it been quite some time since the release of 12 Barre Blues, and the space and time are the differece of
the two albulms stylistic approach. Happy In Galoshes is a more polished affair than it’s aforementioned
predecessor, which conveyed a more futuristic, visionary perspective. Although, Weiland may be ambiguous to
his own title that’s emblazened beneath his tenebrific look that permeates his face. But, that’s always been
the beauty of Scott Weiland, the stark contrasts that he aspires to always exhibit. And, in his liner notes, he
dedicates Happy In Galoshes to his brother Michael and children Noah and Lucy. Sardonically adding, “...giving
me a reason to push on the lonesome road, the lonely highway, where rainbows lead to a pot of...gold? Or is it
mold?” An excellent example of those contrasts?!

The template for the second release from the enigmatic Weiland, is set to a subtle, rock-moderate genre.
“Tangle In Your Mind” is exemplary of this description. “Blind Confusion” has got an eighties new wave flair
that works up to a sharp, snappy chorus line. Which the former STP/Velvet Revolver singer croons
authoritatively. While, opening track “Missing Cleveland” is blowing up on Myspace with over two million
listens. It’s definitely one of the rockers on this works, which is selectively spaced timely on “Happy.” “Big
Black Monster” has the tinge of his first solo effort. Only more stripped down, and forging a new direction in
sound on his harmonies. Paul Oakenfold steps in on the remake of the Bowie classic “Fame.” On his
sophomore release Scot Weiland shows yet another side of his personality and musical character.

Well, there’s a healthy buzz amongst longtime Metallica fans, and with good reason. Death Magnetic is the
most focused effort the band has released in quite sometime. Which is, very reminiscent of the Ride The
Lightning days as far as heaviness and guitar virtuosity. But, there there is also a very modern concsiousness
bled into the final result. Guitarist Kirk Hammet fires off blistering leads throughout this killer album, and
more than he has since the Black album. And I bet you, is due to the fact that Rick Rubin masterfully (as usual)
produced this thunder-filled release. He got the band on the right page as far as, culminating the perfect
situation for the quartet to create the long-awaited Death Magnetic.

There’s more of a drive here, like a runaway freight train, or something to that effect. Maybe, that’s because
vocalist/guitarist James Hetfield dug out that old, beat-up flying V he used in earlier recordings. Inspiring
such songs as the gnarly “Broken, Beat & Scarred,” the self-murderous “Cyanide” and the harsh chops of the
ambiguously titled “Suicide & Redemption.” There’s also a rebirth with lush and lofty intro-ed “The
Unforgiven III.” It’s one of those demons that must never leave Hetfield’s soul. He keeps revisiting the idea of
that song with each new recording. “All Nightmare Long” will kick the “sandman’s” ass with it’s
staccato-riffed demeanor. And “The Day that Never Comes,” will no doubt be a lighter-raising event in the
live venues with it’s levitating build.

Bassist Robert Truillo (formerly of Suicidal Tendencies) has found his place in the Metallica fold. He and
drummer Lars Ulrich provide killer bottom-end lines for Hetfield and Hammet to build off. It’s definitely a
volatile mix of pure mayhem. This latest Metallica product is a must-have for all metal-heads in 2008!

Not many bands can attest to the fact that they’ve got the longevity in recording great music like the
Kottonmouth Kings. This due partly to the Kings owning their own label. The big labels usually kill a band with
pressure for the hit songs they impose to put many bands under too much pressure breaking the band up. Not
in all cases, but most of the time. But, not the So Cal’s Kottonmouth Kings, they’re impervious to the rules and
chaos that goes on with the mainstream labels. They’ve been running for twelve years now with The Green
Album being their tenth studio release, and another excellent production that flows like a running river.
Proclaiming their tenure on the outlaw opening cut “Legacy.”

This release really sees the Sub Noize Rats as reaching new levels of harmonizing, just listen the sweet
sounds of “Rainfall” and “Stand.” “Rainfall” is a tune that calls for peace and love to permeate the cold hearts of
this angered world. The first single, “Where I’m Going?” is another classic example of the growth in harmony
and song structuring that displays how this group grows with each release. There’s even more guitar tracks on
The Green Album than any other previous release. The acoustic guitars adding a percussive element to their
fold that works out quite nicely, and is quite complimentary to realizing their full vision and direction. The
spaghetti-western-like theme in “Blaze Of Glory,” makes this song a fun romp to roll. Picking up the
pace with other cuts like “Rock Like Us” and “Don’t Give A Fuck.” While, “Trippin” is an excellent psychadelic-
rock/hip hop number that’ll get your groove-on going!

These stoner overachiever had to trim the tracks for this release from sixty to twenty. Doesn’t that just
blow-your-mind that the Kings recorded sixty tracks while touring constantly, and not that long after
releasing Koast 2 Koast, their last release ( Who said all potheads do is get stoned and sit on the couch?).
“Sex Toy” kicks out the super-funk like the Kings have never done before, and will make you crack a big,
blazing smile with each listen. This album could be as relative to the new millennium as The Beatles’ White
Album was to the sixties. Period.

There’s also a host of guest appearances with the likes of Tech Nine, The Dirtball and Brother J. Additionally,
the Kings will donate a percentage of the proceeds from The Green Album (I just love saying the title!) to
their favorite “green” causes. So, be proactive and buy a copy of this album, and know you’ve helped worthy
causes out while you get stoned and enjoy the deep cuts of THE GREEN ALBUM !

Well, there’s a healthy buzz amongst longtime Metallica fans, and with good reason. Death Magnetic is the
most focused effort the band has released in quite sometime. Which is, very reminiscent of the Ride The
Lightning days as far as heaviness and guitar virtuosity. But, there there is also a very modern concsiousness
bled into the final result. Guitarist Kirk Hammet fires off blistering leads throughout this killer album, and more
than he has since the Black album. And I bet you, is due to the fact that Rick Rubin masterfully (as usual)
produced this thunder-filled release. He got the band on the right page as far as, culminating the perfect
situation for the quartet to create the long-awaited Death Magnetic.

There’s more of a drive here, like a runaway freight train, or something to that effect. Maybe, that’s because
vocalist/guitarist James Hetfield dug out that old, beat-up flying V he used in earlier recordings. Inspiring such
songs as the gnarly “Broken, Beat & Scarred,” the self-murderous “Cyanide” and the harsh chops of the
ambiguously titled “Suicide & Redemption.” There’s also a rebirth with lush and lofty intro-ed “The Unforgiven
III.” It’s one of those demons that must never leave Hetfield’s soul. He keeps revisiting the idea of that song
with each new recording. “All Nightmare Long” will kick the “sandman’s” ass with it’s staccato-riffed
demeanor. And “The Day that Never Comes,” will no doubt be a lighter-raising event in the live venues with
it’s levitating build.

Bassist Robert Truillo (formerly of Suicidal Tendencies) has found his place in the Metallica fold. He and
drummer Lars Ulrich provide killer bottom-end lines for Hetfield and Hammet to build off. It’s definitely a
volatile mix of pure mayhem. This latest Metallica product is a must-have for all metal-heads in 2008!

And so, vocalist/guitarist Vaden Todd Lewis puts The Burden Brothers on the back burner to reform and
reinvigorate the hard rock act, Toadies. Bringing it on strong with their third full-length album, No Deliverance.
While, there may be long periods between Toadies releases, the group really gives a full effort on every track
on each album to this point. This is instantly apparent on opening cut, “So Long Lovely Eyes.” Lewis’ voice still
rages as strong as it did on the band’s debut Rubberneck. He’s got such a unique and distinctive vocal sound
it’s surprising that he hasn’t reached a higher tax bracket with those pipes. But, that’s rock and roll for you.
Some of the best singers are ones you’ve never heard of, I’ve come to notice in my years of experience in the
industry. Not too take away from the Fort Worth, Texas group, they have a sizable following.

The music on No Deliverance is still-with good reason-as raging as ever. Drummer Mark “Rez” Reznicek and
guitarist Clark Vogeler turn in prolific, signature performances on this works. Giving that clear Toadies-edge
and darkness to the sound and mix. The title track is a quick, crescendos building number that unleashes a
full-on onslaught by the end. And that enthusiasm spills over into the rambunctious “I Am A Man Of Stone.”
And, Vaden’s twisted, bad-relationship perspective is once again unleashed on the cuts “Song I Hate” and
“Nothing To Cry About.” Other absolute mentionables are the vehement “Flower,” “Hell In HIgh Water” and “One
More.” After a long hiatus, the Toadies are back, and back with a serious vengeance!

Any adamant Clutch fan will tell you, “Clutch are one live force to be reckoned.” And, this statement holds
true to the first dvd release by the Maryland music makers. Full Fathom captures every essence and nuance of their
live show that is quite personably Clutch’s identity. Additionally, Full Fathom launches Clutch’s new label
Weathermaker Music.

As, indicated by the title the shows that were recorded spanned from ‘07-’08 a, and four different
venues(Pittsburgh, Boulder, Sayerville and Sydney), and four maniacally frenzied crowds. The loyal totally groove to
this band live. And rightly so, after the expansive career that Clutch has had dominating the underground.
Tim Sult bleeds his guitar for every note, on every song from the well-rounded set list that sets the pace for this
dvd on high-octane. And, never looking back at the dust storm left in their trail. Jean-Paul Gasters drums boom
through the soundtrack like cannons and bombs. In addition to, performing several bombastic syncopated drum
solos. All awhile, Dan Maines intrepid bass maneuvers compliments the bottom-end, and keeps that drive alive!
Singer/guitarist Neil Fallon’s command of the microphone proves that he need not be “careful with that mic.” His
vocals never miss a note on this indefectable performances by Clutch.

The gamut of tunes picked for the dvd set list span the entire life of the band’s expansive career (“Big News 1”
and Big News 2,” “The Mob Goes Wild,” “The Elephant Riders,” “The Dragonfly,” “The Yeti,” “Escape From Prison
Planet” and “The Devil And Me” i.e.) . So, that makes this dvd a “must have” for any fan of Maryland-based group,
and could serve a lesson to all those whiney emo-kids of what excellent rock and roll is supposed to sound like
(sorry, couldn’t resist)! This is the REAL DEAL! Period. And, you have Clutch live every night on your home theater
system.

So, these Iowa demons serve society up a double-fisted sucker punch of pure adrenaline on their fourth full-
length studio release, All Hope Is Gone. Even though this is the first effort that Slipknot did not record as a
whole band (recording it near their hometown allowed band members to show up whenever they felt inspired to
lay tracks down), it’s a well-timed brutal assault of macabre sound structures. Albeit, producer Dave Fortman
used the “cut and paste” approach for recording, this is the Des Moines nine’s hardest and well-timed efforts to
date. They explored more with guitar leads courtesy of guitarist Jim Root(#4) and Mick Thompson’s (#7) valiant
efforts. This is quite evident in the first single “Psychosocial.” Root blazes on some diminished scales that fit
the song stupendously. Additionally, should also help send this effort into multi-platinum status-worldwide,
and claim the title as the heavy metal release of 2008.

Slipknot’s fourth effort opens with “.execute.,” another one of those cool noise-inspired Slipknot intro’s
(courtesy of sampler Craig Jones #5 and turntable extrodinaire Sid Wilson #0) that sets the pace for the album as
a beserker’s delight. Culminated by the fact that Joey Jordanson’s drumming is impeccable; matched by Shawn
Crahan (#6) and Chris Fehn’s (#3) rhythm drumming. Which, pro ports a huge sound. After the intro the album
segues into the killer, fast chugging track “Gematria (The Killing Name),” propagating an Armageddon on disc
experience. That’s one thing you got to give these guys is that they pure every ounce of energy into every track
on the album, not just focusing on singles. Other noteworthy track include, the ravenous “Vendetta,” the
impermeable chops of “Butcher’s Hook” and “Wherein Lies Continue” and the overtly ominous “Gehenna.” As the
album closes on the title track you can’t but help pushing the replay button.

Well, here’s a hybrid of music that seems to seep in well with vocalist/guitarist Michael Poulson’s particularly
audacious, baritone vocals and fast and choppy rhythms on guitar. This Copenhagen-based quartet drafts
influences from everything from Johnny Cash/Elvis to Iron Maiden. This is quite evident in their first single, “Sad
Man’s Tongue,” which serves as a lesson of what can be diversely fused together and be solid as a drum. The
crisp, anthematic sound of “The Garden’s Tale,” really defines the caliber of the band as a topnotch act. And,
befittingly so on their third set.

This Denmark foursome is big on evolving these intro’s to songs that add a dimension that really distinguishes
each cut and the potential power these cats are capable of conveying through song. “Radio Girl” has got a fifties
vibe matched by crunching guitars for a result that’s totally intriguing and procacious. “Soulweeper#2” is another
ear-catching track that has an intricate double melody that proves the power of Poulson’s vocal capabilities.
Other highlights include; the staccato-noted “Mr. & Mrs. Ness,” the heavy-hooked “Devil Or The Blue Cat’s
Song” and the raucous “A Moment Forever.”And so, it can be said, with the release of Rock The Devil that
Volbeat has note fully arrived on the shores of America!

After nearly three decades since the Motley Crue’s inception, and a decade since their last studio album, the
Crue proves to still write hard riff-laidened music that is totally relevant with their release of Saints Of Los
Angeles. Mick Mars chops are still as deep and dark as ever. While, the contrast to his higher-end stuff he plays
is matched superlatively. Mars has always been a totally underrated guitarist, and once again proves his well-
played prowess on Saints. Singer Vince Neil can still belt it out with the best of them, as he reclaims his title with
the disc openers, “L.A.M.F.” and “Face Down In The Dirt.” The group reflects back on the lean times, and
uncertainties of the future with the cut, “What’s It Gonna Take.” A Time when L.A. was full of leather jackets, and
long spiked hair- ahhh the good ole days! And tapping into that sentiment, procures the next track, “Down At
The Whiskey.”

When the title track kicks in, The Crue boldly affirms their tenure as seasoned Los Angeles musicians. And,
they’ve worked their asses off to get where they are today. Continuing to do so with their latest effort on their
new home Eleven Seven Music. Proudly sounding off this sentiment in the hard knocker, “M F Of The Year” in a
bold Sunset Boulevard design. This is one party band from the L.A. circuit the you should re-aquainte yourself
with, and have a raucous party on your sound system.

The Seattle grunge band that helped set that scene on fire in the nineties returns once again with a kick-ass,
solid effort with enchanting The Lucky Ones. And, one gets that sense instantly with the bouncing rockin’ “I’m
Now.” Mike Arm’s lyrics are incisive and razor sharp with crooning flair. Guitarist Steve Turner’s “superfuzz”
buzz are inherent of of the qualities that put their record label, Sub Pop on the map. The title track is exemplary
of this prior statement and furthers the boundaries of the ideal of Mudhoney.

“Next Time,”has got that “down and dirty” sound with grunge godfather Neil Young inspired guitar leads. The
subtle bass-line that opens in the cut, “And The Shimmering Light” for the psyhchadelic-fueled frenzy that
pulls into the station slow at the end of the song. “Tales Of Terror” is another show-stopper, with it’s ascending
riffs will surely send all the crowd-surfers into a frenzied fervor. The big-beated songs just keep coming (New
Meaning, “The Open Mind” and “Running Out.” So, if you’ve forgotten about these Seattle rockers, they’re back
stating they’re still pertinent with the release of The Lucky Ones.

Debuting ex-Soil vocalist Ryan McCombs on their third full-length set, the Dallas quartet turns in a significant
hard-rocking effort that matches their magnamus debut Sinner. Drowning Pool really redefines themselves with
their new singer in an effort that brings them “Full Circle.” As the title implores. McCombs establishes himself
as a force to be reckoned with and does so as former-now deceased- vocalist Dave Williams once did(God rest
his soul). Guitarist C.J. Pierce serves up some luscious tones on guitar and some absolute boulder-sized laiden
batch of demiurgic hooks.

The first video, “37 Stitches” is a somewhat a ballady/crescendos piece that really fuels the soul. Personally, I
usually don’t care much for rock ballads, but this song struck me hard. The way McComb delivers the vocals
on the particular track really stikes a strong chord with the listener. “Soldiers” is the best tribute to the troops
recorded to date. Toby Kieth wishes his tribute songs can be as heartfelt as this track. The four-piece act also
remake the Bill Idol hit, “Rebel Yell” with great vigor. Other staples on Full Circle include; the soul-shaking
“Enemy,” the greathearted “Reborn” and the resonating “Paralyzed.” And, tracks like “No More,” display how this
band has overcome great losses and have bounced back with great resilience. That should definitely put this
effort on the radar in the music community.