"Petroleum Distillation" - Fifteen

     Hope you are ready for a doozy! Fifteen is an oddity punk group, and while some of their songs leave me desiring more, there are those that I fucking adore, like our choice for today. Before we get into that, I want to share some troubling news. I have been using Weebly for a long time; I appreciate its simple setup and easy-to-understand customization. Now, it has held me back many times from that creative touch, but I have learned to craft it into my own. Well, two or three years back, the big ol' e-commerce company Square bought little Weebly up. I was worried then but figured I would keep on truckin' and pull off the highway at the first sign of danger. You could tell that the Square takeover took Weebly into more of an online sales platform, but other than that, it was about the same clunky editor I have grown to love. Then came 2024, when they shut off the support to the Weebly editor app on the phone, something I hardly used, but it should have served as a canary in the coal mine. Then in 2025 they cut the app all together. Once again, no big deal, but I should have run. Fast forward some time, and I could tell that Weebly was struggling and also was having all its extensions disappear. Still, I kept on keepin' on, both in hopes and out of laziness. Now here comes today when I try logging in and find my dashboard gone and a Square login that doesn't even show I have an active website. I about shit. Years of work. Hours of working on a single page. Restless night figuring out my vision. I thought it was all gone with a snap of the fingers. I found the website, thank fuck, but then I realized what time it is. I have known Weebly was a sinking ship for some time, but the idea of starting this all over from scratch made me want to throw myself on the floor and throw a big ol' fit. The time is now. Weebly is getting sketchy, and fast. They cut support to many countries, and with the Weebly landing page being randomly gone, I think it is time to run. They are strong-arming some of us long-time users into their new shiny website editor, something that I am simply not willing to do, especially since Square doesn't even support the vision of AintNoisePollution unless I start dishing out merch. To make things so much worse, Weebly doesn't really compute to any other website editor, so I have to start from the ground up again. I mean, it will be a matter of copy and paste for some pages, but then there are those that I will have to completely rework. Shit, the majority of everything I will have to transfer manually. I cannot tell if I am excited for the next step of the website or if I am heartbroken. My stomach doesn't know either; it is pissed from all the stress. I made AintNoisePollution all by myself through so many years. The version of the website you see now is only a minor version of what it used to be. I am talking fuckin' years, man! And I have to do it again. Luckily I have a better understanding of what I want out of the website, but the work that is going to go into it is unreal. Truth be told, I am terrified. I am having a hard time even envisioning it. I do all of this for free. "All for the love of rock 'n' roll" is what I stand by. It is a labor of love, but with that in mind, I also have the labor of money I need to keep in mind. There are going to be days that I don't want to sit here at the computer and hack away at a new website for hours on end, but with it being live and me not wanting to lose some of you, I will simply have to. So, if you are reading this, dear loved ones, I will see you in a fuckin' month when the new website is done. You ever see the dad from the Coraline movie? Yep, that is how I am going to look. Fuck me. The future is uncertain right now. I am not sure if I will keep doing these posts here and then switch over and work on the other website, or if I am going to go into hiatus while I work on this other sucker. I really don't know. Don't you worry, this website is my baby, and I love coming here each day to serve up some fresh tracks for you. So the rock will continue, of that there is no doubt, but the transition might be ugly. If you come check out the website in the next couple of days and you haven't heard anything, then know that Square killed the music. They did the cardinal sin of any rocker: turned off the music. I will update you on the landing page of any changes. Thank you for sticking with me. Let's take a look at our artist and song of the day.

     Fifteen is an odd band name, right? I mean, I guess it ain't the worst. Better than Butthole Surfers, I can tell you that much. The group never got up off their feet but still managed to dish out a solid couple of albums. Fifteen has the curse that riddles plenty of punk rock groups, especially of the time, with a revolving door of band members. They have had a stupid amount of people come through their door, toot, and then walk right back out the door. The only member that has been there for it all is vocalist and guitarist Jeff Ott. Alongside Jack Curran, Fifteen was born. Curran only showed up on the band's debut, Swain's First Bike Ride. Honestly, the band is sort of hit and miss with me. I wish it weren't so, but that is the simple truth. There are some songs that just rub me wrong, sort of like that dude who is shouting political statements you agree with, but all you wanted was to get a taco at the taco stand. Sure, fuck yeah, man. Now leave me be while I devour this taco like the sick piggy I am. Then on the other side, they have plenty of great tracks. Our song of the day, "Petroleum Distillation" is one of those great ones. This one I would say is their best, but I will admit I have only heard their first four albums. I sort of dropped the ball with adding them into the 2000s studies, something I still need to fix. Anyway, this track is killer! If you wanted nothing but the truth, then this track is for you. A straight-for-the-throat punk track that tells things the way they are. No sugar coating, but also not all too much anger. It feels almost like a desperate plead for change more than anything. Clever lines seem to come to Fifteen like they are nothing. "Petroleum Distillation" covers a good chunk of what is wrong in the world. We got pollution, political corruption, anti-capitalism, anti-consumerism, religious skepticism, and easy access to all things bad for us strictly for gain. Now, some of the songs that hit that many topics come off preachy, but somehow "Petroleum Distillation" is an exception to that rule. Could it be due to the tried and true punk approach to topics? I like to think of this song as a less ska variation of what Operation Ivy was putting out meets a less hardcore Minor Threat while being puppeteered by Fugazi. Truth be told, I am amazed that more people aren't talking about this song since it is so close to all of the legends of hardcore punk. The band has a whopping 8,627 monthly listeners, and with our song of the day being their most popular, it comes in at 239,000 total streams. Which is decent, a solid number, but not for a song that dropped in 1992. I don't think Fifteen was going for the same route, Jeff Ott from what I can tell, he was happy keeping on the underground trail. Maybe he used the band as I use my website: for artistic expression. I mean, that is punk rock, right? Much like my website, there are hits and then there are misses. Alright, back to the track. It is the opening track off the band's most essential release, The Choice of a New Generation, which serves as their second studio album. The album was released in 1992 and kept on the current theme set with their debut, the band's second greatest. Much more punky. There are strong tracks on this album, it has a strong name, and the playing is tight, but still it went underappreciated. I was shocked to find Andy Ernst produced the album. I recognize the name from AFI, Green Day, and Tiger Army. He is a hidden hero of punk rock, especially for iconic bands who later blew up in fame. Well, the album certainly has his touch, but we cannot give all the credit to him. Fifteen plays with much more power than a simple three-piece. The song starts off with a very Fugazi-feeling bass intro, and that vibe doesn't slip all too much throughout the whole song. Like I mentioned before, there is also one hell of a heavy note of many groups. They sound like they studied the handbook of hardcore punk from front to back a ton of times. We got a little taste of Operation Ivy, Rancid, Descendents, Minor Threat, Gorilla Biscuits, and some others, but they still manage to keep their presence in the punk sound of the early 1990s. I adore the style, but where my heart really resides is within the lyrics. Man, does this song strike true. "I was born a little too late to see the dream that they called America" is one of my favorites, but the next line cuts even deeper with "See, I only want to be a free man, but it's against the law to sleep on the ground in Gods land". Clever stuff. I mean, pretty straightforward, but I love the execution of it. So many lines have me repeating it in my head over and over again. We could sit down and talk about each one, but sadly I consumed a good chunk of the post with breaking the news of switching platforms. Once again, I will keep you in the loop, don't you worry. For now, how about we just let the music do the talking? This is a powerful one. A track hellbent on unity and questioning what the hell is even going on in this world. Too much hate. Too much greed. But at least good songs come from the suffering. Enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1992
Album: The Choice of a New Generation (1992)
Genre: Punk Rock, Hardcore Punk
Mood: Honest
​Perfect For: Dreaming of a better future, Social activism, Frustration, Casual listening
Where To Next: "Suggestion" - Fugazi
Rating: 9 / 10

"Doom Over the World" - Reverend Bizarre

     Welcome; today we continue on with the glory of heavy metal. Previously we discussed Metallica, the most well-known and successful metal group to date. For today, we are going the opposite way, a band that really should be more popular but found little success. Even with that little success, they have gathered a strong fan following, with me being part of that party. That is the beauty of heavy metal. Bands are equal no matter where they ended up on the charts. Reverend Bizarre came along with the second wave of traditional doom metal. Most just consider them part of the traditional doom metal scene, but I like to split the two up since they are two different beasts. I am sure we have talked about doom metal here on AintNoisePollution, especially since it is one of my favorite subgenres of the beast, but what does traditional doom metal even mean? Black Sabbath set up the sound, and if you need a little understanding of that, then go listen to their iconic "Sweet Leaf". I like to make the joke that if you have heard "Sweet Leaf", then you have heard every single doom metal song to ever come out. It is nothing more than a joke since doom metal, like all main subgenres of heavy metal, expanded rapidly once it found its footing. Sabbath might have been the first to truly do the sound, and their influence to do that came from groups such as Cream, Jimi Hendrix, Blue Cheer, and many others who came along with the heavily distorted blues sound. I would consider Blue Cheer to be the first true doom metal group, but it wasn't until Black Sabbath dished out Master of Reality that we got a taste of what doom metal could be. Would be. Will be. Give it a couple of years, and the sound popped up and dropped off left and right with bands like Leaf Hound, Atomic Rooster, Lucifer's Friend, Toad, Buffalo, Cactus, and so many others. All of those groups have outstanding albums but hardly got any attention, which just seems to be the theme with doom metal groups. By the time the 1980s came around, metal had a following, a cultural uprising that served as the early days of the genre. Speed metal, new wave of British heavy metal, power metal, thrash metal, and straight-cut heavy metal were popping up, and year by year the genre was growing in size and in power. What was once a heavy and mean genre meant for youthful niche crowds was starting to hit the mainstream with releases from Metallica, Dio, Iron Maiden, Judas Priest, and Motorhead. A grandiose moment of kick-ass albums, core albums that would become classics within the genre. So, like anything, there was bound to be something going on in the underground. Stuff that was hardly meant for the mortal ear, and it was something that would likely never find its way to the surface of mainstream music. This beast was extreme metal, the side of heavy metal that had people demonizing its style. We had black metal in there, the satan fuckfest that was equally haunting and intense. Death metal, which might as well have been a war machine. The constant churning of death wheels that lured in fans, just for them to get ripped apart with a vicious sound. Thrash metal was halfway between hefty heaven and heavy hell. There were the bands there that were meant for the spotlight, bands like Metallica, Anthrax, Megadeth, Testament, and Overkill. Then there were the gremlins lurking in the dark, such as Slayer, Exodus, Sodom, Dark Angel, and Kreator. All are heavy. Though, you can feel the differences, and each section gave rise to inspiration within their side of the mainstream spectrum. The final of the big genres that were part of the extreme metal genre was one that took on a completely different stance than the other two. A genre that focused more on a thicker, sludgier, misty, and depressing style. All of that is explained in the genre's name, doom metal. Now, there are those that deny doom metal a place in the extreme metal genre, but I tell those people to kick rocks. Doom metal was heavy, and I mean heavy, but not in your traditional fast and mean style. The genre had underground albums coming out, ones like Witchfinder General's Death Penalty and Cirith Ungol's early work. They were bound to keep underground; it was just foretold by the metal gods, but there were those that fought back and found success within the main body of heavy metal. These four groups are heralded as the "big four of doom metal". We had Candlemass, arguably the most popular out of the genre and the most successful aside from Black Sabbath. Candlemass brought in epic doom metal, a genre that took the lyrical content of power metal but kept it low down and evil with that doom metal backing. Pentagram is an underdog story from hell. They were around playing before the majority of those in doom metal but just had to wait for the right time. They are almost more hard rock than doom metal, but there is simply no denying their spot in the big four. Our third champion is Trouble, one that showed you can go a little faster and still have it hold the doom fundamentals. Later in their career, they moved into a pleasant, almost psychedelic rock style, but in the 1980s, they somehow married speed metal and doom metal to achieve some intense results. Last but not least, we have Saint Vitus. Saint Vitus practically read the Black Sabbath handbook, ate it with some butter, and then pooped out album after album of top-tier doom-laden heavy metal. Sometimes they even do it better than the fathers of the genre.

     Now, you might be thinking, "Aren't you supposed to be talking about Reverend Bizarre?" and yeah, I should be, but to understand them, you must understand the sound they brought into the 2000s for another gloomin', doomin', head-banging onslaught. Reverend Bizarre took all the great pieces of the big four of doom, that which came before, and what fellow traditionalist doom metal bands were doing at the time and put it on a silver platter. Reverend Bizarre isn't just some group that was putting out albums of stuff we have already heard; they brought their own sword to the battle. A sword that you fear will strike you down if you don't turn up the speakers each time you see their name creep across your phone, display, or mind. Reverend Bizarre is one of the most essential names out of traditional doom metal in the 2000s. While you might not have heard the name, nor did you scratch it into your notebooks as a teenager, they are champions of the doom metal genre. I first came across them almost ten years ago, and even with their discography being 3 main studio albums and some EPs, I am still finding new things to dig about them each time I sit down and listen to the band. Their most popular song by a long shot is the one we have with us here today. "Doom Over the World" is an excellent song, but it isn't the ideal one to truly showcase the band. This one is a lot more mellow and easy to get behind. That isn't a bad thing, so don't go grabbing your "poser" pitchforks and "unbeliever" torches quite yet. If you were to listen to one song to see the power of the band, then I would suggest "Doomsower" from their debut or "By This Axe I Rule" and "Eternal Forest" from the album that holds our song of the day. Now, if you are someone who just wants a mean and solid song, then you can find few better from the band than "Doom Over the World". The band poked fun at themselves for coming back with their second album being a little nicer than the debut by putting a sticker on the CD that says "the biggest sell-out in true doom". I don't think that is true, nor is it fair, since "Doom Over the World" can still get your fist pumping and head banging. Slowly. Head banging slowly in doom metal style. Appealing to the stoner rock, desert rock, doom metal, and sludge metal fans is no easy task, but Reverend Bizarre seems to do it with natural grace. "Doom Over the World" supports that statement by halfway through the song. It is the opening track off the band's second studio album, II: Crush the Insects, and it kicks it off damn well. This is the type of song that you buy the album for, but feel completely compelled to listen to the rest of it due to its raw and heavy appeal. "Doom Over the World" starts off slow and menacing but grows in power with each passing second. A rallying war call. The bugle of war has sounded. The seven seals have been broken. Soon, really soon, there will be doom over the world. It takes the song a solid 50 seconds to even show you what the body of the song will even sound like. Now, I want you to know that it is okay to lose yourself when that drop comes. Nobody will judge, and if they do, be sure to let them know where to stick their judgment. Or just elbow them. Once vocalist and bassist Albert Witchfinder (no, I don't think that is his real name) comes into the picture, you get reminded of the band's name. It just fits. You can also see this dude was trained in the bloody mud of doom metal of the 1980s. Not only that, you can feel the influences of power metal and underground heavy metals of the 1980s. I always envision the band to be dressed the same as how Witchfinder General portrayed themselves on Death Penalty. Pilgrims. Witchfinders. God-crazy fanatics that still have some blood under the fingernails. I mean, the bands' stage names should tell you all you need to know. We have vocalist and bassist, Albert Witchfinder. Guitarist Peter Vicar. The drummer and guitarist has the boldest name, Earl of Void, which is kickass. Some of the fun of Reverend Bizarre in comparison to the others out of the second wave of traditional doom metal is how you can tell they aren't taking it all too seriously. The style sure is heavy, and the doom metal genre is known for being quite serious about their occultism lyricism and moody atmosphere, but Reverend Bizarre is here just to get drunk and tell you stories of bloody battlefields in the shadows of giants, fucking wizards, and war elephants. What is not to love? Got a night of dungeons and dragons? This is for you. How about getting piss drunk? Bam. This is the band for you. What do you mean you do neither of those? Learn to live, yeah? I guess if you are on your way to Bible study, or maybe playing it quietly in the old folks home, then maybe this isn't for you. Actually, I bet you can still find a track to dig. Alright, enough out of me. Hope you dig the song! As you know, there will be another tomorrow, so be sure to stop back in. Enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 2005
Album: II: Crush the Insects (2005)
Genre: Doom Metal
Mood: Slow and Steady
​Perfect For: Doom, Gloom, Boom, Tomb, Emergency Room
Where To Next: "Death Bride" - Spiritus Mortis
Rating: 8 / 10

"The Day That Never Comes" - Metallica

      Yeah! It is Metallica time! With now having 781 posts, I am not even sure who has the most picks. I think it is Metallica, with "The Day That Never Comes" being their 8th song to show up on the website. It ain't shocking. I mean, how could it be? It is fuckin' Metallica. These dudes are legendary for a reason. There isn't any other band out there to serve as a better diving board into all that heavy metal has to offer. Metallica is the highest-selling heavy metal band of all time, and they hold plenty of awards. Each member likely has a room in their mansion just to hold all the awards, platinum records, and trophies they have gathered. With that in mind, the band catches a lot of grief from the metalheads who are elitists who think selling out is a cardinal sin. Truth be told, I think I talk about this exact thing each time we talk about Metallica. I will let sleeping dogs lie, but it always gets my blood hot when people talk down on the band. Yes, they are bloody rich. Yes, they have had a couple less honorable moments. No, they aren't trying to be progressive and do the most stunning material; they are just metal maniacs doing what they do best, serving up entry-level heavy metal that can please just about anyone out there with ears. They have been pleasing the masses for a damn long time. Their career started out in the 1980s, being one of the first metal bands to hit the mainstream. Metallica came out of the Bay Area thrash movement and is the figurehead for the scene. Many bands came out of that one with massive acclaim and soon enough became heavy metal icons, but none even got close to the fame of Metallica. 1983 saw Metallica releasing the perfect Kill 'Em All, their rawest album to date, and one that is purebred thrash metal. That album has got to be my favorite one. I love the young and raw Metallica, a band that had no idea they were going to change the whole world. This is just a bunch of kids playing fast and rough, wearing their influences on their sleeve. From that moment on, they released one after another classic heavy metal album. In 1986 they released Master of Puppets, thrash metal's first-ever platinum record. That one got their name out there across the whole globe like hot cakes. In a time when MTV was fronting a false metal and the idea of mainstream heavy metal groups was something more tame, closer to hard rock, Metallica showed that which is even heavier can find a market. They practically overnight redefined heavy metals' presence in mainstream music. A legendary album, and they didn't stop there. Their next two studio albums are legendary, especially their self-titled album in 1991, which holds a spot of infamy. It was the first heavy metal album to ever hit diamond status (10 million copies sold) and is still one of the highest-selling metal and rock albums of all time. With that in mind, it was the Black Album that saw Metallica "selling out". They cut their hair, brought in more ballads and mellow stuff, and left the "no life til leather" days behind them. Shit, you have an album selling that well, and tell me you wouldn't try following it up. Even if their next 5 albums completely flopped, they were set for life just from that one album alone, not to mention the many before, which sold excruciatingly well. So they had wiggle room. Their next three didn't flop at all; each hit the top of the charts and stayed there for a good while. Still, Load (1996), Reload (1997), and St. Anger (2003) furthered the metal community's poor taste of the band. But who needs those that can't see past their nose? I personally adore Load and Reload, and I have never been ashamed to admit it. I will shout it from the rooftops. Even with that, I will admit there is a stinker track or two, something their first 5 studio albums had nothing of. The tracks on those two that are good are fuckin' really good. More hard rock, sure, but that is more than fine with me. It isn't always about pedal-to-the-metal thrash; sometimes you understand a band better when they slow it down. They become normal humans instead of some hellion. But.... I will say that I have always had a strange relationship with St. Anger. I truly wish I could love it more, but there is something about it that has always rubbed me wrong. I have still played it into the dirt, and even thinking about it makes me want to play it again, but I would say that it is their weakest album, in my opinion. Wait. Shit. I forgot about 2011's Lulu. Now that is the one that holds that title.

     I say all of this, but keep in mind one solid thing as you read through these posts: this is all in my opinion. I am not trying to spit on your toes, ya know? Plus, none of it is fact. Art is subjective, and if you love Lulu, then good for you. Maybe make sure your hearing aids are on, and if they are, then I am glad that Lulu has some fans. I dig both Lou Reed and Metallica, but you can't force a triangle into a circle slot. Lulu has gotta be one of the strangest collaborations to come around. Anyway, we aren't here to discuss that oddity of an album. We are here today to talk about the band's return to roots album, Death Magnetic. I don't hate their previous 3 studio albums, but they all get lost in the shadow cast by Death Magnetic. Here we see Metallica coming back to a heavier sound. It isn't a nostalgia kind of album, nor is it a bunch of old dudes trying to play the songs they made at 22; this is Metallica coming back with something fresh. Metallica brought their rough style back around but jacked it up with modern recording. They stayed relevant in the heavy metal climate of 2008. Do you remember when we last talked about the Infectious Grooves? I think in that post back in January I said something along the lines of "If Robert Trujillo is there, that shit is going to be gold". Or was it on another post? Who even knows? That dude got around to laying down the funk. Anyway, this is the first Metallica album to feature Trujillo on bass guitar, and as the rule follows, the album is fucking gold. Metallica has had some of the best bassists in the instrument's history in their ranks, so why stop now? I love Cliff, love him, but I will not deny that Trujillo is right behind him when it comes down to being perfect for Metallica. Death Magnetic has a larger-than-life sound. It wasn't fully in your face thrash metal; there were still the mellow moments. Our song of the day, "The Day That Never Comes", is a good example of just that. Don't get it in your head you are about to hear a mellow track; fuck no, but this song knows when to bring that energy up and when to leave it down. With the song being another haunting, realistic war song, it is to be expected. "The Day That Never Comes" has one of my all-time favorite guitar solos from Metallica. It might not be as impressive as some of the others, but it is thick with emotion. Reaching back to this being a "war song", there is no proof backing that other than the music video, which is a good one by the way. James Hetfield wrote the lyrics to the songs on Death Magnetic, and "The Day That Never Comes" is one of the best sets of lyrics on it. He has said that he loves how this song is open to interpretation. He wrote the song about forgiveness and resentment but left it open to be taken however the listener takes it. Since my first time hearing this song was from the music video, the lyricism always has this war feeling to it. Drummer Lars Ulrich said the lyrics were influenced by a dad & son relationship, which makes this song have a whole new feeling to me. Also, it makes it sort of strange and trauma-laced. Lyrics aside, the album is a good one. Some of the moments when the song amplifies in power give me chills. I never fail to get lost in the song, just one of those intense tracks to get you thinking. It is a long whopper too, coming in just shy of 8 minutes. My favorite part is at the 3:53 mark when the song takes on a whole new feeling. Hard chugging guitar work sets the stage as vocalist James Hetfield comes back into the frame and shows the missing pieces to the puzzle. Soon after that we get the guitar solo I mentioned before. A Metallica song simply isn't complete without a solid guitar solo. That solo turns into the whole band playing with serious synergy and ferocity. Like a lot of Metallica songs, "The Day That Never Comes" never gives the bass guitar too much of a stage, but if you take the time to hear the background of the song, you can feel it there keeping the energy up and serving as the glue for the track. "The Day That Never Comes" was the leading single off of the album, and thus, it is the first studio-released song that ever had the almighty Robert Trujillo on bass, a spot he hasn't left since. Before people say that Trujillo was on St. Anger do your homework. He was on the listing but didn't actually play a single note; that was from producer and bassist Bob Rock. Wanna hear some of the power that Trujillo brought into Metallica? Try out "Suicide & Redemption", which was Metallica's first instrumental track since "Orion" in 1986. "Suicide & Redemption" feels more like a jamming session than anything, but it is a good one for driving fast. The last thing I want to say is how strangely produced Death Magnetic is. I don't know enough about that side of music to be talking shit, but it sure feels different than their previous ones. Not in the best of ways. Anyway, Metallica posts often get out of hand and turn into those 3 giant blocks of random information, so I will just stop while I am ahead. Spin this track, man, you are going to love it! If you don't come back tomorrow. We might have something more to your taste, and if not, then try the next day. That, or go find some songs yourself. Nothing like a solid day of searching for those juicy tracks. I just choose to do the work for you here at AintNoisePollution. Enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 2008
Album: Death Magnetic (2008)
Genre: Heavy Metal, Hard Rock
Mood: Heavy
​Perfect For: Going for a drive, Playing loud, Casual listening, Getting the energy up
Where To Next: "Leave Me Forever" - Testament
Rating: 8 / 10

"South African Crossfire" - Mad Professor

     Welcome! A solid handful of posts ago I mentioned that I am finally expanding my studies. Well, sort of expanding them, that is. For the last 9 years (damn, how time flies), I have been doing my year-by-year studies for rock, heavy metal, and punk. Those year-by-year studies mean listening to any albums I can get my hands on from that time. I write it all out and try my best not to miss any albums, but I do every time. It has seen me finding thousands of top-tier tracks to adore. I started the studies in the year 1920, and for many of the decades, it is just like coming home since I was already an avid fan before getting deep into it. While the studies focus on rock and its offshoots that created their own space, like metal and punk, I had a section covering country music. I preplanned to stop the studies before I hit 1980, simply because that is when country music took an ugly turn. There are still plenty of great albums, songs, and artists from the 1980s onward, but I decided to cut it once I hit 1979 so I had more time to focus on the others. I made a vow to come back and collect all the albums to my taste from the later decades, and the time has finally come. I started gathering up albums from later country stars but realized I shouldn't stop there. So, I am now creating my folk and reggae section, something you are likely to see pop up more. I am not handling it the same as I have my studies of the last many years; this one is core artists and their discographies, and I can take them on at leisure. Both reggae and folk have long and historical histories, something that makes it hard to track and something that makes it sort of hard to stomach. Sure, I love all sorts of music, but I don't have much intention of listening to archival releases that sound like garbage from almost a century ago. A taster, on the other hand, I am there for. I had to do it with country and rock roots, and while it was enjoyable, I don't want to do it again until I take the folk & reggae studies seriously. Where am I going with this? Oh yeah, our song of the day, duh. Mad Professor is a name I have heard before but never got into, and since I am expanding my horizons in the reggae genre, I figured I might as well get my feet wet before taking the deep dive. I adore roots reggae, lovers rock, and the modern sound from the California-based reggae rock sound, but one massive genre of reggae that has always been hit or miss with me is dub. Don't get me wrong, I dig it; that shit sounds good on a solid sound system, but to sit down and listen to it for many solid hours wasn't something I was all too interested in. Mad Professor is one of the biggest names from the dub genre, so I figured it was time to have my first full album of true dub, and I chose his first release, Dub Me Crazy, which released in 1982. It was... An odd album. Not that it is a bad thing. I loved all the instrumental bits, but when his iconic strange high-pitched tuned silly voice came into play, I was always like, "What the hell?" but I can see why people liked it, especially in 1982. The thing about dub, electronic music, trance, or any of the other repetitive atmospheric albums is that the first two tracks sort of have you wanting something to mix it up. Though, by the middle of the album, you find yourself not wanting anything else. The constant rhythm, the guard being dropped since it is the same thing on each song, is honestly kind of enjoyable. It is something for ambiance more than focused listening. What is fun about them is you can totally zone into it and enjoy the hell out of it. It is completely up to you how you choose to enjoy it. Mad Professor has me looking forward to tackling the rest of his huge, and I mean huge, studio releases. I first heard the name from a Sublime remix album that came out in 2021 that featured both Mad Professor and his counterpart and dub pioneer, Scientist. As one could expect, it is all dubbed-out Sublime tracks. So, I guess I did listen to a dub album before, but I hardly count it since it was songs I was already mighty familiar with, just remixed. Anyway, I listened to that and then sampled the other two but hadn't really thought to jump into their discographies quite yet; I had my hands full with my current studies, ya know? I didn't intend to jump deeply into the other genres for another couple of years until I finished my current 3 genres. I wonder why I chose now to do it. Some of it could be due to me realizing that true rock music was decaying in the 2000s and wanting something else to spark that interest again. To fill the void of hearing my favorite genre hit a wall, even if that wall was necessary to keep the name alive.

     Dub is a subgenre of reggae; it features more bass and heavy use of studio effects, sometimes to a fault. It first started popping up in the 1960s, but it was mostly remixes of already recorded songs. Since then the genre has become one of the leading forces in reggae music and, aside from Bob Marley, has almost influenced more within the reggae genre and other genres than any other sound from reggae music. Most of the modern stars tend to have dub tracks on their albums, and if they don't now, their songs will get that dub treatment for "10th anniversary" releases. Mad Professor is one of the last men standing in traditional dub since the genre has transformed so many times. Shit, do you remember the dubstep craze that consumed the 2010s? I know it is still popular now, but that was a cultural phenomenon for a good while there. Dubstep is just the angsty child of dub music, though dubstep was already around for a good while in electronic music before it had its golden years. I often reflect on the dub craze. It is sort of like watching shows or playing video games from the early 2000s when skateboarding was king. It was practically everywhere. Dub aged the same way. Anyway, getting off topic. Reggae in general has a strange history to follow, especially as an American. They have much different terminology in comparison to other straight-shot genres like rock. You know that dub style we hear in this song, the one that seems to be on most any dub song you've ever heard? They call that "riddim", which at first I thought was just an accent thing when I heard it, but it actually has a meaning. There are a ton of those terms that fill the reggae genre. Plus, throughout the years the genre has had varying styles, but in the end they don't shake it up all too much. There seem to be three set sounds. Authentic, commercial, and dance. It just depends on which one grabs you and what vibe is popular in society. Then, like folk and country, there is this strange time where singer-songwriters get thrown into the genre, which just confuses the set style. Sure, it has notes, but I don't think some artists should be part of the core genre; it makes it damn hard for people like me to track. If there is anyone out there that has spent lots of time with the reggae genre, I probably sound like a dumb ass, but I am learning. I am damn excited to get further into the genre. For over a decade I have kept to my comfort bands, not taking time for practically anything else, and it has been highly enjoyable so far. While the history is hard to follow and the sound doesn't change much, it is interesting to see how things changed as a footing was found in various nations. The US never has been a great platform for reggae until modern times and when Bob Marley was doing his thing. The UK ate up reggae, especially within circles, and there were a ton of great groups and artists from the country. We are talking about one of them today with the Mad Professor. He was born in Guyana but moved to London when he was 13. He was called Mad Professor since a young age, mainly due to his intrigue in electronics from a young age. Something you can feel in his music. He collected recording gear throughout the years and eventually opened up his first recording studio, which got bigger and stronger as his material was taking off. It took a good while for people to go out of their way to buy his stuff, but once it happened, he was instantly recognized as a star of the dub genre. So much so that he has collaborated on an obscene amount of albums and helped produce even more. He has a more traditional dub sound on some albums but also has a couple of series with their own style. Our song of the day comes from his Dub Me Crazy series, which seems to be a favorite amongst the fans, and is his largest set of albums. He also has a five-album series called Black Liberation, and his most recent project has been the Dub You Crazy with Love series, which had its last release in 2008. While I am excited to take in his material, I am a little scared by the raw amount of albums released. I wonder when to draw the line. Are the other dub artists going to be this way? Guess we will see. It is strange taking this study on a whim. Maybe I should call this a sample more than anything since I am just going artist by artist, jotting down my little notes, and focusing on the big names' discographies. Our song of the day, "South African Crossfire" has got me excited. I listened to this trippy track a solid handful of times since discovering it yesterday. It is something a little more off the beaten path of our usual flow of songs, but some shaking it up never did anyone any harm. It is a quick sampling of what Mad Professor's dub style sounds like. Literally a sampling since the song is only 1 minute and 30 seconds. Well, I don't know what else to say. You know what to do. Enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1982
Album: Dub Me Crazy (Pt. 1) (1982)
Genre: Dub
Mood: Fun
​Perfect For: Casual listening, Working, Hot summer days, Loading a bowl, Drinking warm beer outside
Where To Next: "Chemistry" - Scientist
Rating: 7 / 10

"The Road Goes On Forever" - The Highwaymen

     We don't only have one musician to discuss today, no sir, we have four. For today, the website is graced with The Highwaymen! For those well versed in country or quality music in general, you will recognize it as the group made up of country legends: Johnny Cash, Willie Nelson, Kris Kristofferson, and Waylon Jennings. Those four have been longtime pals, and all of them had their place in outlaw country music, which makes this an easy goldmine of music. To seal the deal, each member is well known for their great lyrical talent, though the Highwaymen have mostly covers. The group only put out three studio albums, each of them being 5 years apart, but the songs that make up those albums are mostly outstanding. They found massive acclaim with their easily recognizable eponymous song, "Highwayman". This is one of those songs that pretty well everyone will love, and that comes from someone who has tried it on many people. My special lady and I share many memories surrounding this timeless track. I am honestly shocked it wasn't that classic that first graced AintNoisePollution. "Highwayman" was released well before the supergroup even had a name; their debut, which holds that track, is accredited to the individual members, and the same is to be said about their second studio album, Highwayman 2. It wasn't until their third album that it was released under the Highwaymen. Though they couldn't just have the name since somebody was already using that name. For those folk fans out there, you might recognize the name from the folk quintet group of the same name. They actually took Cash, Nelson, Kristofferson, and Jennings to court over using their name, which is fair. Though these four country stars are well known to be nice people, and they didn't even fight it, the case was settled so that the original folk group owned the name but was willing to let the country supergroup use it. The two even played a concert together in Hollywood in 1990. You know, if Johnny Cash is there, that he means no harm. Sure, he broke a heart or two, but overall Johnny Cash is a swell feller. Alright, well, we have talked about each of these musicians before. Each of them means a shitload to me. Johnny Cash and Waylon Jennings are two of my all-time favorite artists, something I am sure we have covered before. Both of them have a discography that I have consumed like a starving dog. While I adore the Highwaymen and their three stellar albums, I tend to listen to each member individually much more often. Could it be since each of them has a massive discography? Yeah. When I have a country playlist of 500 songs, there is no way that the Highwaymen and their 37 studio tracks are going to make much of a dent. Still, when a track of theirs comes on, you know I am reaching for that volume knob. The Highwaymen started the group up as an effort when their career wasn't holding the same weight as it used to. More a collaboration of country royalty trying their hand at the more modern sound of the country of the time. That debut hit the top of the country charts in 1985 and is arguably their greatest album as the Highwaymen. It featured mainly covers, or reworked versions of classic songs already released by one of the members, like Johnny Cash's "Big River". Other artists covered were Woody Guthrie on "Deportee (Plane Wreck at Los Gatos)", "Desperados Waiting for a Train" which was originally recorded by Jerry Jeff Walker, a personal favorite cover of mine with Bob Seger's "Against the Wind", "Highwayman" which is a cover of Jimmy Webb, but let's be real, it is pretty well a Highwaymen song now, much like Johnny Cash did with Nine Inch Nails' "Hurt", and plenty of other covers. Overall, it is one killer album. Not overly country to sway away those that have a random hatred for the genre, but country enough to see these old guns competing with 1980s country royalty on the charts and winning. Their second studio album featured more original material; a lot of the better songs are reused ideas they did with the storytelling songs that ate up that debut. Shit, the Highwaymen have plenty of great storytelling songs, as we will be hearing on our song of the day. That second one isn't as impactful as their debut, but it still is a great album well worth the minutes, hours, or days you sink into it. That one is very... America? A reminiscent set of songs of the better years for the country, which could be why I am a little more hesitant to jump into it as much as their first.

    This leads into their third studio album, The Road Goes On Forever, in 1995. Sort of cool that the group only put out an album every 5 years, but it isn't all too shocking. Each member of the group had their own lives, careers, and families to care for. I mean, shit, Johnny Cash alone was 62 when the album came out. All four of them have had a very successful career and left a serious imprint on the genre, so there really was no need to dish out another one, though each had been doing so on their own consecutively for years, some more than others. The Road Goes On Forever charted quite a bit lower than the other two and only had one single come from it, "It Is What It Is", which failed to chart altogether. Don't go thinking that reflects the quality of the album, since it is still a good one. Not the other two, sure, but still well worth it. Plus, since the group only had three studio albums, there isn't much to compare it to. A simple and fun album, nothing more, nothing less. The album features some original songs and, like the others, covers and songs written for the band. Our song of the day that serves as the title track was penned by Americana/folk star Robert Earl Keen. What do you mean you don't know who that is? Go check him out! I listened to his 8th studio album, Farm Fresh Onions, just a week ago. It was pretty damn good, but if you want a stellar album to start with, I suggest 1993's A Bigger Piece of Sky; that one is blissful. The original version of "The Road Goes On Forever" comes off Keen's second studio album, West Textures, another goodie if you want some sunbaked folk music. It is no shocker that the Highwaymen were compelled to cover the track; it is right down their alley. A great outlaw-laced story, one of those true American tales, and one that the Highwaymen sing wonderfully. Personally, I think the cover is even better, and while Robert Earl Keen is a great storyteller, there is no beating those that have been doing it for a long time before he even learned some chords. "The Road Goes On Forever" is the strongest track off of the album, even if "It Is What It Is", "True Love Travels a Gravel Road", "The Devil's Right Hand", and "Live Forever" put up a serious fight. "The Road Goes On Forever" just gets you hooked, waiting for the next line in a thrilling love story, even if you have heard the song a shitload like myself. The story revolves around two locals in town who don't have much of a future. Sherry is just a waitress in town who likes to live a little fast, and then Sonny is a burnout who couldn't cut it in the military, so he turned to making quick cash selling some pot around town. They were fated to meet when Sonny cracked a dude's skull that harassed her. The two jumped into a pickup and took off, leaving that no-good town behind them overnight. One thing leads to another, and the two get involved in some shady stuff for some cash, which goes bad, and Sherry kills a cop to save Sonny. Well, that is a death sentence, so Sonny tells her to take off, and he will take the heat. They presumably split while Sonny goes on the lam. The story ends the same way it started for the most part; she ends up in the same town, no better than before but with some extra scratch. Now, if you have already listened to the song, I want to talk about that ending. Was Sherry proud of how it all went down? Did she use him? She doesn't seem all too sad about it, and with the repeating lines of "the road goes on forever, and the party never ends" being the ending, doesn't that kind of confirm it? That she will continue on this fast path? She is almost the Bonnie of the story. The lady who never catches the public heat due to her sex. I mean, she got away with it. Clyde was supposedly tempted by pretty words and soft skin and did some dumbass things and then got riddled with bullets alongside his temptress. His fault too, but some men just fall victim to the wicked side of the fairer sex. Like some sort of turned-on drone, doing it all for love, or more likely, lust. I don't think she had any intentions of it going the way it did, but Sonny did get the death sentence, and she got a new Mercedes-Benz. She didn't need to turn herself in, but that ending has always rubbed me wrong. Now, another view of it is the time from incident to arrest. In the line "the Cubans grabbed the goodies, Sonny grabbed the jack", they didn't leave with anything other than maybe some whiskey when Johnny Law kicked down that door, "jack" meaning Jack Daniels, which isn't worth hardly anything. Unless they mean like "applejack", which is a term for crack, but I doubt that is it. Let's say it means crack cocaine; then Sherry could have sold it all and made enough to get herself that flashy car, but that is likely what the Cubans ran off with. Now, money is mentioned a couple of times. The song has some glaring plot holes. The part where they really needed some money, so he conjured up a clichéd briefcase full of dough to go make a deal. Obviously they didn't need much more money, but I guess if you want to keep up a lifestyle neither of them had even been experiencing, then you would need more than a briefcase full of it. Where did that money come from? Then they get away, and he gives her the money they left? You know, "jack" has been used for money a couple of times within the last hundred years. Like in "jackpot" and some gambling terminology of "winning some jack". So, in that case, it is just a case of her walking away with all the money and getting back on with life. Still, that money appeared out of nowhere. More than likely, I would say that they got nothing more than a couple thousand. Being a waitress doesn't bring in much money, and nor does being a pot dealer in a small town. Shit, all Sonny left in that tip jar was a single dollar bill when they met, so he wasn't Richy Rich. So how does Sherry have that car? In 1989, when the original was written, the cheapest new Mercedes would still be like 32,000 bucks, and that is from that time and economy. I think it is set up to show that she turned him in for the reward money. I can't really think how else she got that kind of money. The specified months that it took for him to get fried likely means there was a manhunt. Therefore, she is sort of a snake in the grass. Sonny wasn't living on the straight and narrow, but if it weren't for coming across Sherry in that bar and her chasing after him and starting this whole crazy ride, he would have never been in that mess. His foolish male pride had a hand in it all, so he isn't a saint, but in a way, Sherry was the whole damn problem. It focuses on Sonny quite a bit in the story, but if anything, he is a side character or a tragic hero. He got the electric chair while she got herself some beer, a new car, and a newspaper to read about his demise. Then she went on down the road. A black window returns to her web. Honestly, I am probably looking too hard into a simple fugitive story trope. The story has its strange plot holes to make it a compelling one. My final take is that they made it out with some fair but minor amount of money, enough to get Sherry home and some for him to get running. The manhunt commenced, and Sherry banked off of it by being a squealer sheeler, and bought herself a car with the bounty. Her story still continues, and the party never ends. Still, that ending always has me wondering if Sherry is evil. Alright, enough about all of that. This song is a great one and a perfect final song to be put out on an album from the Highwaymen. Give it a spin, will ya? Let's see what you think about the ending. Enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1995
Album: The Road Goes On Forever (1995)
Genre: Country
Mood: Reckless
​Perfect For: Casual listening, Taking it as a cautionary tale, Going for a drive, Working, Drinking in a dive
Where To Next: "The Legend of Bonnie and Clyde" - Merle Haggard
Rating: 10 / 10

"When the Night Falls" - Iced Earth

     There are times on AintNoisePollution I feel sort of guilty for sharing a certain song. I don't know if guilty is the right emotion, but it sort of works. Anyway, while I can choose the same song twice and cover it twice, I have been lucky enough for it not to happen. It hasn't even tried to happen yet, which is a trip. So, when one of my all-time favorite songs comes around, I worry that this is the one shot. I have a fair amount of people stopping by the website, especially when I get back to advertising, but I want the whole world here for the songs that I adore. Selfish? Maybe. But who wouldn't? Iced Earth has plenty of tracks that I hold dear. Their brand of heavy metal is one of my favorite styles. The hard galloping rhythm, the harsh yet understandable vocal work that jumps between serious and silly, great lyrical content, kick-ass album art, and everything else you could really want out of core heavy metal. "When the Night Falls" is one of their best songs, and it means the world to me. When I was first getting into heavy metal, truly into the genre, "When the Night Falls" was one of the first songs to stick its fangs into me. That venom is still coursing through my blood! It is one of those songs that helped form my young musical taste, and even after hearing it likely thousands upon thousands of times, I never tire of it. When I switched over from my trusty iPod (I still wonder who stole that thing) to streaming services, I was highly shook to find that the version of "When the Night Falls" I knew and loved was nowhere to be found. The version on Spotify is still great, epic, and wonderful, but it didn't have the grimey nature of that original version I heard. I haven't been able to find that version again. I am not sure what it even was, but I stand by it being a better version. Truth be told, when I take the time to pull it up from my... totally... legit... not pirated hard drive full of music, I find myself sort of torn. I think that the original version I knew and loved is preferred due to the memories tied to it, since the more I have listened to the one featured on streaming services, the more it feels like the one we have here today seems to be the true version of the song. I must have had some rough around the edges demo. That, and I sort of liked the original American artwork for their self-titled debut more. The kick ass one we see below matched the band's style wonderfully, but that original had a discarded angel falling from heaven into an arctic wasteland. The logo work was sharper and it had that edge of heavy metal mythos that I adore. I do love how the two album covers tie into each other. The original one that I knew happens right before he falls into a pit of ice spikes and is now being devoured by a sinister beast shown on the remastered album cover. Wonderful artwork. Both covers are better than the original European release. If you are interested, you will just have to google it. Anyway, "When the Night Falls" was a long time coming for its place on the website. It would be one of the first tracks to come to mind to explain who I am musically. Sure, country has plenty of songs; folk certainly does, and my precious rock 'n' roll has plenty. Metal has its fair share, but "When the Night Falls" is in my top 10 favorite metal songs of all time, and that has hardly been challanged since I discovered it at 9 years old or so. Man, do I love this song. Iced Earth has shown up on AintNoisePollution two other times so far. First we had "Angels Holocaust" which we covered in April of last year, and then more recently we touched on the haunting "The Phantom Opera Ghost" in last December. Iced Earth has never once shied away from themed albums, and while they are damn cool and wonderfully written, I sort of like the ones where there isn't a bigger meaning aside from blood-frenzied lyricism backed by mean and tight playing from the whole band. Sadly, as we have covered before, the bandleader of Iced Earth ruined the whole damn thing with his place in the 2021 State Capitol Attack. He has since moved along to his next project, the sadly disappointing Jon Schaffer's Sons of Liberty. Super America, in a gross way. As you know, I check bands' websites before I jump into a post. The whole thing was overrun with this stupid project of his, and yes, there is plenty of right-wing merch. Fuckin' politics ruined one seriously great band, and I will never forgive the right for it. Make Jon Schaffer great again! Also, don't sell a bunch of Iced Earth themed face masks one year and then turn around and sell "save freedom" shirts right after. Make up your mind, man.

     Alright, we aren't here to talk politics; there is enough of that around in the first place. Plus, I simply don't want to taint a post regarding one of my favorite songs. I keep sitting here staring at the screen since I simply cannot find the words to express my fondness for this damn track. So, instead, we will talk about something else. This post is in tribute to my dear truck, Lil' Pup. I finally got the nerve to sell him off. You see, the mechanical problems were getting too big for my britches and especially for my wallet. This truck of mine drove me across the state many times over, I am talking hidden nooks and crannies. It kept my girlfriend and me safe countless times. Through wicked storms, practical blizzards, on some seriously high elevations with the cliff a couple of inches away, and through the equally dangerous commutes to work, he was there. Man, I will miss that truck, especially the sound system that I cherished so. That precious Ford Ranger was the last true piece of my old life. It feels weird, but all good things must come to an end. I keep telling myself, I know how these things go. That rockin' Ranger was similar to a lot of the greatest bands. There are the prime years, a handful of albums that are exciting and well put together, the kind of albums that memories are made of. Though, some bands still push on after that, forever chasing that same feeling. Fans such as myself will keep on listening, even when the well has obviously run dry, but that isn't always the best path. To me, bands that know when to call it quits always leave their legacy intact. So, for my truck, it follows the same suit. Sure, I could run that thing into the ground, but why would I? He deserves to have his legacy be kept in tact, not for some dude to be chasing glory years behind his wheel. The last song I listened to in the truck was Iced Earth's epic "When the Night Falls", and it sounded wonderful. The perfect track to close up a part of my life that I saw drive away from me today, and all I could do was watch. "When the Night Falls" will have its place in every vehicle I ever own, and the wandering Wrangler is next up for its glory! This is the kind of track that when it starts, you get the feeling that something was put into your engine. Some unholy power radiating from the engine bay. The outside world gets fogged. I mean, just hear that intro, man. Swirling wind noises, something wicked this way comes. It keeps this unsettlingly beautiful feeling of being stranded in a cold forest that you know will soon be your tomb all the way until the 1:17 mark, where it is finally released with a fuckin' kick! That part always gives me chills. Though, this is just the beginning since at the 1:42 mark is when the song fully kicks off. The song turns from something wicked in the distance to something now in your face, and man, does it smell of decay. The song doesn't chill out for a good while until it moves into the revolving ice-kissed parts of the track before ramping it up again. The whole track is made up of ups and downs and lefts and rights, but it all returns to that galloping fever again. "When the Night Falls" is the final (and longest) track off the band's immensely underrated self-titled debut album. This precisely crafted jewel originally released in 1990, but alongside the band's other two early albums, Night of the Storm Rider (1991) and Burnt Offerings (1995), was rereleased in 2001 with freshened-up quality and new album covers. That original version of "When the Night Falls" was likely from the original 1990 release of this album. Anyway, I still cannot find the right words! It is pissing me off. I just dig the track so much, and here I am dropping the ball. Honestly, there are some songs that just need to be experienced. "When the Night Falls" is an epic piece. Its playing time is just shy of 9 minutes on the version we have with us here today. Jon Schaffer was the lyricist and composer of this track, and he knew exactly what he was doing. An excellently crafted metal classic that people don't seem to be ranting about enough. Plus, it really is the perfect song to end the album. These kinds of tracks will leave you completely drained. I adore the rest of the album as well. I should have listened to the whole album for the trucks' last ride and played it really loud, headache-inducingly loud. I know this brand of metal isn't for everyone, but I implore you to take this song in with serious listening. It hits best while driving late at night. And as one might expect, it hits best when it is played loud! Alright, I guess I will stop being a freak about this song; I just love it so. Diamonds are great, and the same is to be said about gold, but for me it is this sweet music that I behold. Enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1990
Album: Iced Earth (1990)
Genre: Heavy Metal, Power Metal
Mood: Chilling
​Perfect For: Playing loud, Night drives, Night walks, Snowy nights
Where To Next: "Cremation" - King Diamond
Rating: 10 / 10

"Landslide" - AC/DC

     After some solid choices that aren't quite that sweet, sweet rock 'n' roll, we finally come home to AC/DC. If there is one band that explains the lifeblood of the genre, then AC/DC is it. They have red-hot rockers, cocky struttin' heavy hitters, and even some softer ones for the ladies. AC/DC is easily one of the most essential bands to ever hit the genre. Their style is well known, and through not really altering their sound all too much throughout their 17 studio albums, 3 live albums, many hit singles, and solid compilations, they set themselves as a cornerstone to the hard rock genre. They are the epitome of "if it ain't broke, don't fix it". Still, you cannot blame them for that. Even with their copy and paste style, they somehow still brought something fresh to each new album. Also, why even bother changing your style when your next album is bound to sell damn well? AC/DC hasn't had a single studio album not chart high as hell somewhere in the world, and the majority of their main releases always hit over the top ten mark in most of the world. Nobody loves AC/DC more than their fellow Australians, who always had their releases at the top. The band has sold over 200 million albums worldwide; 50 million of that came from Back in Black alone. Back in Black is the second highest-selling album of all time. Michael Jackson holds the title for the highest-selling album of all time with Thriller, but if you have been keeping up with the website, you already know that from yesterday's post. Anyway, yeah, it is easy to say that AC/DC is rock 'n' roll royalty. No other group has released hit albums in 5 different decades with the same sound. That sound of theirs became likely the most recognizable hard rock style in the history of the genre. I mean, who doesn't know AC/DC? Even if you lived under a rock, you know about the band and likely jam to them. Shit, you might be right now. This is only the fourth post of AC/DC since the website started, a strangely low number for the band that gave the website its name. Previously we have covered the underrated "House of Jazz" from 2000's Stiff Upper Lip. The iconic rock anthem from 2008, "Rock N Roll Train". Another hidden gem from the band on "What's Next to the Moon" which came off their heavy hitter, Powerage, in 1978. So, what do we have in store for today? Well, if you somehow missed it at the top of the post, we are talking about "Landslide" from one of AC/DC's few weaker albums, Flick of the Switch. I guess it isn't fair to call it one of their weaker ones, since Flick of the Switch still has plenty of good tracks. Still, it would be one of the last albums I suggested to a new fan. It just doesn't wear the same shoes as the band's previous albums and the majority of their future albums. It still beats the following release, Fly on the Wall, that album is a blatant disappointment. As a massive, massive AC/DC fan, it breaks my heart to admit it to the world on my little website, but I don't want to lie to my readers. You can't spray perfume on shit and tell someone it smells good. Still, I stand by that Flick of the Switch isn't as bad as some of the others; I still stop by regularly for some of the tracks on it. Songs like "Landslide", "Flick of the Switch", "Guns for Hire", and "Deep in the Hole" are damn good songs. Aside from those ones, there is plenty left to want. Plenty of the songs sound like a cliché. It matches the same feeling as putting your last dollar into a vending machine and it eating the money. Disappointment. No matter how many times I try forcing this album, I just cannot get it to click. Still a good album, I won't lie, it is worth the money to the fan but not worth it to someone having their first go at an AC/DC album. I will say, Flick of the Switch brings something interesting to the Brian Johnson era of the band. AC/DC approached the album with the intent to give their sound that raw energy it had with Bon Scott. Sinful, sleazy, and mean. It is interesting to see them give it a go, but that ship already had sailed. The sound they found within Back in Black and For Those About to Rock was perfect for the 1980s, and it suited Brian Johnson's vocals perfectly. Bon Scott was built for the rough around the edges rock 'n' roll; shit, he helped write the book. 

     AC/DC wanted their old style back, to show the world they were more than cannon noises, but it was too late. The inner workings of the band were crumbling as well. They gave the original drummer, well, I guess the first drummer to be on the albums, Phil Rudd, the boot. He had it coming, I suppose, with his worsening drug and alcohol addiction. Many wouldn't think it, but the brothers Angus Young (lead guitarist and much more) and Malcolm Young (rhythm guitarist) were tough leaders of the band. They kept their ship tight and tidy, and Rudd was shaking that ship quite a bit, especially with Malcom Young, who punched Rudd in the face after showing up two hours late to a show and couldn't even perform the encore. I get it, while rock 'n' roll is fine and dandy, it is still business. Granted, it didn't gain AC/DC any favors with the masses. Phil Rudd was replaced by Dio drummer Simon Wright for the following two studio albums. Rudd ultimately came back for the 1995 album, Ballbreaker. The band played on. Some of what might have been missing from AC/DC during their commercial decline starting with Flick of the Switch might have come from missing their drummer. Not that Rudd was the most amazing drummer, honestly, the other two blow him out of the water, but he was a piece of what made AC/DC so damn good. He had that synergy with the band, and that is something that technical ability simply cannot outshine, especially in a simple cut hard rock sound like AC/DC has. Alright, let's talk a little bit about the song that has brought us all together here in the first place, "Landslide". It is strange to hear AC/DC cover Fleetwood Mac, ain't it? I think that the Smashing Pumpkins did a better one, but what do I know? All jokes. While the two songs share the name, they are two completely different beasts. No daydream-inducing music from Fleetwood Mac here today. For today, we lose it to that almighty rock 'n' roll beatdown from AC/DC. Honestly, I don't think AC/DC needed to go this damn hard for "Landslide". This song is intense! More than their regular stuff. Some boogying guitar work eventually kicks into overdrive! Fast and hypnotic guitar work from Angus gets your legs shaking, heels stomping, and head banging. The kind of track you would expect at your local bar, the raceway, and from your rude neighbor that doesn't understand what quiet hour means. Truth be told, I would much rather that than the white-girl mania music that comes from my neighbors. As Brian Johnson tells you at the start of the song, "Landslide" is a story of the Satan, rock 'n' roll! It is for the bad boys. Leather-clad rebels who drive slick motorbikes. For those suckers that spent more on jukeboxes than taxes. The lyrics were written by Angus Young, Malcom Young, and Brian Johnson. Angus tends to be the dominant songwriter for AC/DC, and with the lyrical content of "Landslide", it is safe to assume he had a heavy hand in its writing. AC/DC never has the kind of songs that are meant to get you thinking. They are solely there as a stage for the band to play fast and rough on. I will say I still love some of those early AC/DC lyrics. I am talking about songs like "Rocker", "Dirty Deeds Done Dirt Cheap", "Let There Be Rock", "Whole Lotta Rosie", amongst others. Anyway, while "Landslide" comes off a stinker of an album, it shouldn't discredit this song as being one of the powerhouse tracks from their 1980s discography. It is one mean son of a bitch. Sure, AC/DC might have been running out of ideas leading up to this album's recording, but they still pulled through with a couple of tried and true lyrical themes, song structuring, and raw bravado. Guess we will see what you think about it. You know what to do now. Load that sucker up! Enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1983
Album: Flick of the Switch (1983)
Genre: Hard Rock
Mood: Intense
​Perfect For: Casual listening, Getting amped up, Going out for a drink
Where To Next: "I Speed at Night" - Dio
Rating: 8 / 10

"Never Can Say Goodbye" - The Jackson 5

​     The cycle continues! One day we have something heavy; the next we have something mellow. That is one of the main things you should expect out of AintNoisePollution. It isn't the type of place to stop by if you want the same thing on repeat. We are a one-stop shop for all things music. Alright, for today, we have the AintNoisePollution debut of the marvelous Jackson 5. There have been a ton of choices on the website so far, but none have been from a group that is all family. Sure, Heart might have sisters in the front. Gojira, Pantera, Van Halen, and so many more siblings are seeing their childhood dreams come true. Then there is the Jackson 5, a band that had a wise array of Jacksons come through its doors. Sisters, cousins, and great-great uncles all had their chance to jump into the funky party. The majority of the Jacksons had their solo time as well, but as you already know, none even got close to the success of Michael Jackson. Man, I don't think anyone hit that high of a high. The Beatles got close, but there were 4 of them to devour. Elvis Presley likely hit the same pinnacle of fame, but his fame was different due to the time that he had it in. Plus, Elvis had his ups and downs, and his downs were brutal. Ever since Michael was part of the Jackson 5, his life was set on a path of glory. Something us mortal fools couldn't even understand, no matter how much we think we do. It isn't shocking he got all mentally messed up. I couldn't imagine being even a fraction as famous as Michael Jackson. He is the most famous entertainer of all time. I am talking about having the highest-selling album of all time with Thriller. He is the only artist to have a top-charting album in 5 different decades, something I don't think will get hit again, especially with how music is taken in modernly. Not only that, he is the only artist to have a strong top-of-the-chart single for 20 years straight. Fucking crazy. Anyway, we aren't here to talk about Michael Jackson alone; we are here to talk about the Jacksons. The original 5 of the Jackson 5 are Marlon, Michael, Tito, Jackie, and Jermaine. Later we saw little Randy joining the ranks in 1975 when he took the spot of Jermaine. We already know about Michael; I mean, that cat is the king of pop, but how about the other brothers? Marlon Jackson only released one solo album in 1987 called Baby Tonight. The album did well enough, but he never followed up with it. Instead, he got into broadcasting and enjoyed his time away from the infamous turbulence of the Jackson family. Today he is at the head of the Study Peace Foundation, which he founded to help communities find peace and unity. Tito Jackson didn't have his solo career until the last decade, something much more bluesy and jazzy than anything the Jackson 5 ever put out. He stayed out of the limelight for the most part once the Jackson 5 / the Jacksons fizzled out. Alongside Michael, he is the only other dead Jackson from the five. Jackie Jackson was the only continuous member through the Jacksons' ups and downs. He was the oldest out of the Jackson 5 section of the family. Jackie had an early solo album, Jackie Jackson, that released in 1973. Michael was still the first to have a solo album with Got to Be There in 1972. Jackie released 2 studio albums, his self-titled one in 1973 and then one more just shy of 16 years later, Be the One. Neither of them made too serious of a dent. Outside of his music, he was the founder of two record labels, helped on some Jackson-related shows, and had a few other business ventures. I have always liked Jackie; his voice has soul. "Wait" is a hidden gem from the Jacksons' collection of songs. Jermaine was the Jackson 5's second lead singer, and while he isn't Michael, he sure is a powerhouse of his own that helps along the Jacksons. When it comes to solo works, his is second to Michaels in sales. Though his is technically longer with 14 studio albums. I have only run through half of his discography, and most of them are decent. Nothing out of sight, but still a good time. Jermaine, outside of his music, had his hand in shows and movies. Randy Jackson has a shorter list of achievements. His time in the Jacksons was an important one, but he never really took off once they stopped putting out music. His band, Randy & the Gypsys, only put out one album, which failed to chart. His is a sad tale, but I guess it is a downward spiral when you beat your wife. No sympathy. 

     Alright, I am sure all you wanted to talk about when coming to the website was the Jacksons. We could fill a whole page with this kind of talk; they are one of the most famous families of performers, if not the most famous, in the United States. Let's zone in on our song of the day and the album that holds it. Maybe Tomorrow is a Jackson 5 classic out of 1971, especially if you like the ballads. I tend to get stuck in the Jackson 5's first 3 albums, I won't lie, but I still like to come to this album from time to time. I am especially fond of the cover of Martha and the Vandellas' "Honey Chile". There are plenty of goodies on this one. The album was the first non-Christmas Jackson 5 album to not rest above the 10th spot on the US charts. I mean, it peaked at 11, so we might as well count it. They got back to it pretty quickly Lookin' Through the Windows one year later, which peaked at the 7th spot. Even with it not hitting the top ten of the mainstream charts, it dominated the soul charts for 1971, where it spent 6 weeks at the top. "Never Can Say Goodbye" is our chosen song for today's post. The track was released as Maybe Tomorrow's first single. It hung out at the top of the singles charts for a good while. For me, I find it to be the best track off the album, both in quality and lasting appeal. The lead vocals are handled by Michael Jackson, but the lyrics were written by Clifton Davis. Davis had intentions for it to be sung by the Supremes, but the Motown label thought it would be a better fit for the Jackson 5. I mean, I bet that the Supremes would have performed the song wonderfully, but then we might not be talking about the Jackson 5 today. It fits the Jacksons' style quite well, but like usual, it is strange to hear a little kid sing about such deep love. What the hell do you know, kid? I guess Michael was 12 at the time of the songs' release, and when I was 12, I thought I knew it all about it too. I guess it is different when you are a performer, especially to the degree of the Jacksons. He is more singing sets of lyrics than something from his heart. The performance that Michael brings to the studio makes you believe he wrote, lived, and understands the lyrics. A heartfelt ballad that can complement any date night, there is no doubt. The lyrics are fine and dandy; I mean, it is a love song. Those things are a dime a dozen. I am more in love with the intro and the steamy atmosphere that doesn't chill for even a second. When "Never Can Say Goodbye" released as a single, it sold over one million copies within the week. I get why, this track is sublime. Plus, these dudes were one of the hottest names of the time. Even with the success of "Never Can Say Goodbye", it was still held back by the end-of-year placements by Three Dog Night's "Joy to the World". No shame there, that song is a sensation! Even thinking about it has it stuck in my head. "Joy to the World" is for drinking by yourself, while "Never Can Say Goodbye" is practically built for having some wine in front of the fireplace with your special lady. It has got that soul! I chose the song while I was watching through some Jackson 5 performances with the wonderful dog Mocha. She was mighty impressed. So impressed that she slept through the whole damn thing. Rude. Anyway, I watched a couple of performances from the Jackson 5 on the Flip Wilson show. Whenever I am in the mood to watch some performances, the Jackson 5 is one of the first places I go to. They are just a joy to watch! Rock 'n' roll is all fun, but the way the Jackson 5 command your senses with flashy clothing and dancing is something completely different. I can see why every show out there wanted them to stop in. Even if you aren't a fan, you will find yourself entranced. Plus, it is always a trip to see a little kid belting stuff that even very few adults can hit. Aside from the performance, there was even some comedy with Flip threatening to beat up little Michael for a spot in the band. Silly and certainly from the time. That old TV just hits different. Anyway, I guess I will just let you get into the music. Enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1971
Album: Maybe Tomorrow (1971)
Genre: Soul
Mood: Steamy
​Perfect For: Casual listening, Date night, Makin' loooove, Relaxing, Going to bed
Where To Next: "Just My Imagination (Running Away with Me)" - The Temptations
Rating: 8 / 10

​

"Open Up" - KoRn

     Time for another top-tier song to grace your ears! When people hear the name KoRn, a lot of images might pop up. A broken person painting emotion in audio, creepy imagery, strange dubstep collabs that go strikingly well together, and many other things. For today, we are taking a look at the KoRn that touched into pop a little bit. No, I am not calling KoRn pop, not in the slightest, but on our song of the day, "Open Up", we will be looking into a sound that casual fans sometimes jump over. What makes "Open Up" and some of the songs off of their seventh studio album, See You on the Other Side, a little more poppy is KoRn collaborating with The Matrix, a group of producers that were there for some of the biggest hits to come out of 2000s pop, pop-rock, and R&B. It's silly to think that the Matrix helped Avril Lavigne one day and KoRn the next and then jumped over to help Shakira have a couple of hits. There is no denying they know what they are doing, because this side of KoRn has a strange, hopeful sound to it, which, for KoRn, is a strange statement. KoRn isn't known for happy, maybe nihilistic hope, but not straightforward hope. For those spinning the song right now, you are probably thinking, "This song is hardly happy", but I am talking about the atmosphere rather than the lyrical content. The Matrix is made up of producers Graham Edwards, Lauren Christy, and Scott Spock. Out of the three you might only recognize Lauren Christy, which is fair since she had a little more of a successful run than the other two. Still, we cannot discredit the others; they all played their role in giving KoRn a new set of paint for their sound. A sound that has been running on the same mean groove for the last 10 years. Things don't always have to change for a group's sound; some bands like AC/DC proved that, but KoRn has kept on the charts and in our hearts since the 1990s for a reason; they know how to stay relevant without kicking the fans in the teeth. When I was younger, KoRn's dubstep album with Skrillex was a shocker, but more so out of youthful angst and heavy metal fervor. When I got older and actually took the time to listen through that album, I was pleased as punch with how hard that one hits. Nothing like their early stuff, I will add, but that is likely to taste. Anyway, I have been a long-time fan of See You on the Other Side, and it tends to be one of the first KoRn albums I reach for when I need to scratch that itch. That album cover literally gave me nightmares when I was a kid. My dad always had this album and Slipknot's self-titled on his nightstand, both of which used to scare the fuck out of me. I loved the sound on those discs, but I practically had to close my eyes and yank it out real quick and promptly hightail it to the CD player lest the creepy kid might consume my being. Even now I get lost in the despair in the kids' eyes and can't help but get a chill from that ugly horseman and the rabbit. Just a trippy album cover and one that is very KoRn. The album artwork was done by David Stoupakis, a gothic artist that loves these kinds of mind fucks. He has more art featured in the inner slip to the album and some merch. I always considered See You on the Other Side the counterpart to the band's previous album, Take a Look in the Mirror. Those two have a special sound; some of that is due to being recorded in vocalist Jonathan Davis's home studio. They have this hazy feeling to them. The kind of tracks you can't tell if you need to turn them up or turn them down. Still, those two albums get plenty of love and hate from the fanbase, but I find those two to feature some of the band's greatest material. They are less angsty, and instead of dealing with internal turmoil, they take some time to look at the state of the world around them. See You on the Other Side was the last album with KoRn dishing out their original sound, even if it altered a little bit as it went. Two years after its release, we saw KoRn release their second self-titled album in 2007, which featured a more industrial style. Still good, but different. See You on the Other Side has many ups and downs, and it also holds a spot in KoRn history for massive transition.

     Brian "Head" Welch, the band's original guitarist and backbone of the band, left before the recording of the album. For those that don't know, he found god, and I mean really found god. So, he left the group to follow his own quest for faith and understanding. Nothing wrong with that, but it left KoRn as a four-piece, and he brought a special part to what KoRn is. It is easily felt, but the band still kept on in stride, relying more on moody pieces than heavy hitters. There are still the mean tracks, ones like "Twisted Transistor", "Liar", "10 or a 2-way", "Coming Undone" amongst others. Our track for today isn't one of the heavy ones, and it is one that held infamy due to the pop touch of the Matrix production team. It is still KoRn, but there is, without a doubt, something missing. The chorus is the biter, and the lyrics are bitter and might be reflective of losing Brian Welch. The sound doesn't have a dull moment, and there isn't even a moment of silence. Layers of sound comfort Jonathan Davis like a heavy and wet blanket. "Open Up" is a strangely poppy track that had critics taking quite the jab at the band, but as time told, the fans still dug it. Not everything has to be full frontal anger; there is still a spot on an album to catch your breath. "Open Up" comes before "Coming Undone", so we really need the break. Especially with that mellow yet eerie part at 2:34 that always has me holding my breath. Even with the mixed critical acclaim and some fans jumping ship, the album still made it to platinum status. It peaked at 3 on the US charts but fared worse than their previous couple across the globe. The band took the loss of Brian Welch as a moment of make or break, and KoRn isn't the type of group just to give up. So, they put out something new, something fresh, and whatever might come, they went into it with their heart showing, something that is easily felt on the album. "Open Up" is easily one of the boldest off the album stylistically. The random break-offs of eerie sound, the strange outro that features Taz the Tasmanian devil on vocals (not really), and the pop-based chorus leave "Open Up" as a stand-apart track from the album. That is a lot of its appeal for me and why I come back to it so often. It is the kind of song you can throw on a metal playlist, and it won't shout too loud, but you can still easily throw it in with the hard rock sound of the 2000s without much of a hiccup. Just a good, rounded track, nothing incredibly special, but highly enjoyable in the simple nature of it. Intense highs give you chills, and those chills are quelled by tranquil moments. It was a nice teaser of KoRn's soon-to-be sound. I have never understood the hate this album gets; I think it is as good as their others, but that might just be a me thing. This was one of my earliest KoRn albums I could get my hands on as a kid, which I think has a lot to do with it. First my dad had the CD, then I found my mom did, and then eventually I did. Probably stole it from one of them. It was one of the first albums I downloaded to my iPod, and before then, songs like "Twisted Transistor", "Coming Undone", "Hypocrites", and "Throw Me Away" were pirated onto my MP3 player. See You on the Other Side seemed to be there for my whole life. As I slowly but surely approach my 2005 section of my studies, it is the album I keep seeing in my head that gets me excited for that section of the studies, as does every upcoming KoRn album, no matter how many times I have played it and played it again for years. Now here we have it on AintNoisePollution. I know we have plenty of KoRn fans out there reading this right now; they are one of the most successful hard rock/heavy metal bands out there and are easily the most important from the nu metal scene, so chances are you might already have your own opinion of See You on the Other Side and our song of the day, "Open Up", but that shouldn't stop you from playing the song again! KoRn is timeless and is one of those groups that just never grow stale no matter how many years you sink hours into their tree of great songs. Enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 2005
Album: See You on the Other Side (2005)
Genre: Hard Rock
Mood: Intense
​Perfect For: Casual listening, Depressive days, 
Where To Next: "Land of Confusion" - Disturbed
Rating: 7 / 10

"My Name Is Murder" - Brendon Small

     Alright, I think we have had enough mellow choices recently. Well, fairly mellow since we had Montrose rockin' the nation below. For today, we have something a little more sinister and in your face with Brendon Small. For those of you here that are into cartoons, TV shows, and overall metal media, you might recognize that name. Brendon Small is the co-creator of the Adult Swim animated show, Home Movies. That show used to always feel plain odd, but that seemed to be the usual with Adult Swim shows. Though that is not where I got into Brendon Small; that is for his place in co-creating his second show, Metalocalypse. Man, that show is a trip but has that core heavy metal mythos in a death grip! Short episodes that pretty well serve as a lead-up to music videos by the metal virtual band, Dethklok. While Dethklok is pretty much a parody on heavy metal bands, I unashamedly adore the fucking band. They honestly have no right being as good as they are. The kind of death metal that a casual metal fan can jump into. Brendon Small is the dominant performer on Dethklok's material. He is the vocalist, guitarist, lyricist, and keyboardist. The only thing he doesn't do is the drums, and we have the unsung Gene Hoglan for that and then later have Bryan Beller on bass. While I would love to keep talking about Dethklok, this most isn't about them, even if it might as well be since Brendon Small's solo work is just about the same beast for his second album. When it comes to the show Metalocalypse, it is pretty good, but I only watched the first season or two when I was younger. What I lack in knowledge of the show, I make up for tenfold with abusing the fuck out of Dethklok's first three mainline studio albums. Brendon Small always confuses me with how he looks. Now, that ain't a jab at the man, but after mainly seeing the cartoon characters who depict Dethklok, I expect a big burly motherfucker behind that microphone. Instead, we get some common Joe, but as soon as he starts into any song, all those preconceived notions are dropped with his sheer power. So, yeah, Brendon Small is one intense individual that seems to be balancing many things at the same time. His moderately successful run with Home Movies, which he wrote and performed all the music for, and then Metalocalypse, which became a monster of its own and saw him writing, performing, and recording seriously potent albums that he then had to tour for at some points. Dethklok came to SLC this year in May, something I was interested in going to until I saw the price tag. They came with Amon Amarth and Castle Rat, two other bands I have been obsessing about recently. Man, I wish I went, but with the price of tickets modernly and paychecks never really getting all that much bigger, it is a matter of picking and choosing which few concerts you can go to within a year. Got to love the modern day, am I right? Anyway, Brendon Small amazes me with how much he has done in his life. After practically living and breathing Dethklok's first three albums for a good while, I was shocked to find that Smalls had his own solo work that I overlooked. I was glad to find that his solo material was fuckin' great, but I was maybe a little bummed to find it sounded pretty well the same as his material from Dethklok for half the material. Not sure what I was expecting, but even with the minor disappointment, I got over it pretty damn quick and got to banging my head. I would have missed it if it weren't for the random set of Batmetal videos that popped up on the internet years ago. Batmetal was Batman-themed videos over Dethklok classics and, much like Dethklok, had no reason to be that fucking good. When they would come across my feed, I always took the time to watch them again. Shit was stupid, but that was some of the fun. For the video of Batmetal Forever, where Batman and the band perform "Awaken", the video started out with a song I didn't recognize from Dethklok's discography. What confused me was how close it certainly was to Dethklok, yet I didn't know the song. So, after a quick Google search, I found it came from Brendon Small's second solo album, Galaktikon II: Become the Storm.

     Now, I don't suggest going to watch some Batmetal, but that one is always memory lane. If you are into metal or Batman, then yeah, I do suggest it. Plenty of pop culture references, sleazy fanservice, Batman, and most importantly, heavy fuckin' metal. Anyway, thanks to that video, I discovered the man behind Dethklok has his own material! To make it even better, they are concept albums revolving around science fiction, a theme I knew that Small's would do wonders with. So, like any good metalhead would do, I loaded up his two studio albums and got to work. Throughout my many plays of those two albums, there is one track that will always rule supreme, "My Name Is Murder". If you couldn't tell from the title, this isn't the kind of song you listen to while on your way to Sunday school. The song starts off just as aggressive as it ends, much like the majority of Dethklok songs. For Galaktikon II: Before the Storm, Brendon Smalls teams up with his buddy Gene Hoglan on drums again and Bryan Beller on bass. Gene Holgan has been around with those drumsticks. Showing up on albums by Testament, Death Angel, Fear Factory, Death, Strapping Young Lad, and plenty more bands that need some serious kick on their drum kit. Bryan Beller has been involved with some great groups too, artists like Steve Vai, The Aristocrats, Joe Satriani, and many more. While both of them have had plenty of great parts of studio albums from legends and nobodies alike, I would say their greatest hours were the part they had in Dethklok. So, it isn't all too shocking they came along with Brendon Small for his venture into the world of sci-fi on the Galaktikon duo. Some of what made this album so Dethklok-like, aside from the members, was due to it pretty well serving as the next Dethklok album. Smalls lost the rights to the Dethklok name and thus couldn't release any new material from the virtual band. It was Gene Hoglan who suggested Small's just treat this album like the next big one from Dethklok. It has the same style, energy, and face-melting qualities of Dethklok's previous albums, so I would say it tracks. Dethklok came back with their most recent studio album, Dethalbum IV, in 2023, so we got another one in the end. Dethalbum IV was released along with the Metalocalypse film, Metalocalypse: Army of the Doomstar. I haven't seen the movie, and while it pains me to admit it, I still have yet to set aside the time to listen through the album. Don't you worry, I will get to it; I simply have to since I adore their previous 3, silly as they might be. Anyway, "My Name Is Murder" is Brendon Small's most famous solo material song by a long shot. It shows up as the fifth track on both the CD release and the vinyl release. Those two versions have different tracklisting orders. From what Smalls has said, the vinyl version is meant for the story, while the regular release is simply meant to be a brutal set of songs. The version we have on Spotify is based off the CD track listing. I have listened to the album in both orders, and I gotta go with the vinyl release having a better flow. All heavy. All enjoyable. I just like me a story. "My Name Is Murder" is a mean song. Lyrically, it seems to follow a story, but if you are someone who just likes choruses, then "My Name Is Murder" has plenty to love, especially if you are someone who likes that violent touch in lyricism. If after hearing this song you decide to go back to hear his first album, you might be shocked to find that it isn't nearly as heavy as the material on this album we are talking about today. Still good, but view it as Bathory's discography. The solo debut matches Bathory's later material, where heaviness was dropped for atmosphere, and then today's choice reflects Bathory's early material that has your ears ringing by the end of it. I am more fond of Brendon Small's Galaktikon II: Become the Storm than the debut that came 5 years earlier. Still, both are good; it just depends what kind of mood you are in. Space-age serenade or murder brigade? If you come to his solo material from Dethklok like I did, then yeah, you will likely like the second album more, but still stop off for that debut. It is a trip to hear him sing normally in comparison to his place as Nathan Explosion in Dethklok. Alright, that is enough out of me. Give the song a spin! If you dig it, then you have plenty of routes to go. Hear some Dethklok, watch some Metalocalypse, go back for his solo debut, or even go watch that previously mentioned Batmetal video. All of which are grand, but maybe not made for playing loud while at work. Enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 2017
Album: Brendon Small's Galaktikon II: Become the Storm (2017)
Genre: Death Metal
Mood: Aggressive
​Perfect For: Driving fast, War, Smiting unbelievers, Playing loud
Where To Next: "The Gears" - Dethklok
Rating: 9 / 10

"Penitentiary Blues" - David Allan Coe

     Today we have a true outlaw, and a visionary in country music, David Allan Coe. Now, this man is a wild read, but he is much more than just that. He seems to be one of the boldest country musicians that ever came along, and for those that started up the song and are reading along, you might be thinking, "Is this even country?", and no, "Penitentiary Blues" is not country music. David Allan Coe started off with a blues sound, one that goes along with "voodoo blues", which is a piece of the Louisiana blues scene. His strange yet fun debut came out in 1970, but Coe didn't get any real recognition until his fourth studio album, Once Upon a Rhyme, which was released in 1975. That album holds one of his most famous songs, "You Never Even Called Me by My Name", a bonafide classic from country music. David Allan Coe is a dude who sings lyrics he typically personally knows about. His plentiful prison songs are from a dude who served his time. David Allan Coe was born in 1939 in Akron, Ohio. He grew wild pretty well right off the bat, and by the age of 9 he was shipped off to a reform school, and from there he followed the most likely path of being in and out of jail until he ultimately landed himself in the Ohio penitentiary. It was there that he met Screamin' Jay Hawkins, who urged him to get into music. It seemed a lot more beneficial than serving time for burglary. Furthermore, it was in there that Coe supposedly wrote the lyrics to our focused album that is fittingly titled Penitentiary Blues. Coe got out of the can and got himself signed to SSS Records, a secondary label under the Plantation Records family. SSS Records wasn't a label known to sell well, which is a good thing since it gave Coe a chance to try his hand at putting out an album. Penitentiary Blues is a bold album; its lyrical content was a lot more in your face than most anything else out there at the time. There are the silly tracks like my beloved "Death Row", which sees David Allan Coe telling the warden he is ready to die once he has his last meal, but the meals are something unreal that he would likely live the rest of his life for. Exotic dishes like he explains on the lines

"I want fresh teardrops from a new born child in a glass made in Timbuktu
If you can't get that, try a stewed polecat smothered with catfish brew
Take the ears from a rat-tailed monkey mixed with a spider's left eye
And make me a salad of jungle roots and I'll be ready to die"

Which I guess is fair for a man about to die. Coe is known for his humor throughout his whole career, and his early material is no different. If anything, his early stuff is even more wonky. Penitentiary Blues has plenty of strange sets of lyrics, all of which are backed by loose playing. It is honestly a mess of an album, but a strangely compelling mess. A dumpster fire of blues that gets close to rock at some points but is pretty damn far from what he would later be famous for in the country world. I won't lie, I rarely come back to Coe's early stuff. I know it is there, and I stop off when I want a loose chuckle, but overall, it is fairly weak in comparison to his high-caliber, outlaw-laced, country madhouse material of the 1970s and 1980s. Well, we aren't here to talk about that later stuff, but if you are interested, we covered his catchy as sin song "Honey Don't" back in December of last year. Go check it out! Fuckin' great song! For now, let's get back into our focused album and its title track, "Penitentiary Blues". This is the song that kicks the whole thing off, and man does it set the album off. This one is tied for my favorite track off the album, the other being "Death Row". "Penitentiary Blues" is one rough around the edges blues track. The song starts off with a very bluesy piano from David Briggs, a pianist who worked closely with Elvis and was there for a good chunk of his career. The lyrics were written by David Allan Coe, like the majority of the songs aside from "Walkin' Bum". The song comes from someone who spent all his time in the clink, and if claims are to be believed, he wrote about his blues while behind bars. The song covers him missing his good time pals and gals, but from his little habit with dope, he keeps ending back up in jail. A tale as old as time. Coe approaches the lyrics with honesty, something that you can feel and understand. After this song gets your expectations high for the following songs, it gives way to "Cell #33", a boogie blues track that is a shitload of fun. The song helps keep the energy up for the remainder of the album, which I will admit has its ups and downs. Though, from the standpoint of a big David Allan Coe fan, it is one that easily shows that Coe was unlike anyone else in music at the time and will soon command the underbelly of country. He has this "fuck it" mentality, something that never left his style, but he needed to wear a bigger hat and boots and join up with country music. If it weren't for the rise of outlaw country, Coe might have had a harder time busting into the big time since his style is so damn loose. "Penitentiary Blues" is certainly not the best place to start into his discography, but it is a fun one for those wanting some blues or for those that have already beaten up his popular albums and want something different. Coe would only release one album with this bluesy sound; his next album, Requiem for a Harlequin, sees Coe taking to the studio to do a highly peculiar psychedelic blues album. It is mostly in spoken word and only had two tracks, but that one is pretty damn funky and well worth a listen for someone who wants a solid 30 minutes of storytelling. He is a fuckin' weird dude. After his first two, Coe moved into his country style with the highly enjoyable The Mysterious Rhinestone Cowboy in 1974. Then, with his fourth album, Once Upon a Rhyme, he had his first huge hit single and hit album. The rest is history. Coe passed away just two months ago, but during his 86 years of life, Coe raised some serious hell. He released 42 studio albums, most of which I have made my way through, and I can tell you that each is worth a bucket of gold and beer. We will talk about him more as the wesbite choogles along since there is a lot to talk about with Coe. His place in the outlaw country movement and helping give the genre its name. His many wives, his many arrests, his many hit records, and even his time putting out material with the band Rebel Meets Rebel, which had him playing next to Dimebag Darrell and Vinnie Paul of Pantera. For now, we get to look at his peculiar yet fun start. Enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1970
Album: Penitentiary Blues (1970)
Genre: Blues
Mood: Sinful
​Perfect For: Casual listening, Getting stoned, Waking up hungover, Serving time
Where To Next: "Alabama Wild Man" - Jerry Reed
Rating: 8 / 10

"Rock Candy" - Montrose

     Montrose is one of those bands that people recognize but can't put the name to the song. Well, that is for the casual rockers, of course. For those of us that can't get enough of that rock n roll hoochie coo, Montrose is a house band within our heart. For the music historians, it is a point where we get our first full taste of rock icon, the red rocker, Sammy Hagar. Though, don't go thinking this is Hagar's band. I mean, it isn't called "Hagar". The band was put together by the rock guitarist underdog, Ronnie Montrose. He is a respected picker, but he never gets the same love as some of the other guitar gods that consumed 1970s rock music. There was some steep competition during that time, but Montrose stood strong on plenty of studio albums he helped along and his two bands, Montrose and Gamma. Montrose might have been a sleeper hit band, but Gamma hardly got any love even though they have 3 solid studio albums in 1979, 1980, and 1982. Gamma even released one more in 2000, but I have yet to hear that one; it seems I accidentally skipped over it while I was trudging through the year 2000 for my studies. Anyway, Ronnie Montrose is underrated as all hell, and I would say his biggest claim to fame is "Rock Candy" and other kick-ass songs that comprise Montrose's self-titled debut in 1973. Ronnie Montrose's second biggest claim to fame is the classic rock instrumental, "Frankenstein", which he played the guitar on for the Edgar Winter Group in 1973. That is one of the most essential rock instrumentals out there! Edgar Winter Group is another that just seems to have been forgotten by the test of time, aside from "Free Ride" and "Frankenstein". Sad stuff, man, sad stuff. That is a good chunk of the reason I started up AintNoisePollution, to not let these phenomenal bands and songs get forgotten. Sure, I am talking about it to like-minded folks, but I still hold that little bit of faith I will bring something to the table that gets someone completely into a new band or sound, hopefully one of which that needs it. Modernly, Montrose doesn't need the extra love; some of their songs are 1970s hard rock essentials like our chosen song today. Still, those that know "Rock Candy" might now be inclined to listen to the full album, and from someone who has listened to this sucker so many times I know each word like I was born with the knowledge, you really should listen through the album. A diamond-studded rocker that never grows stale. Easy to get into, difficult to put down. Those are the kinds of albums I dig the most. Straightforward rock n roll, baby! A fun little fact about the band's debut is that it is regarded as the United States answer to the British dominance of rock music during the early 1970s. Led Zeppelin, Deep Purple, Black Sabbath, Pink Floyd, The Who, Wings, Elton John, and so many other Brits were simply astonishing rock fans at that point in rock history. The US was just getting on its feet with the southern rock craze, though that didn't hit the UK all too hard, so we needed something, someone, to show that the United States has their own brand of hard rock, and Montrose rose to the occasion. While that debut was a sleeper hit, it soon enough hit platinum status and also became a classic album from the year. It was an album very much in American style; it had this cool, sleek grease to it. While the Brits might have had the fast and agile cars at the time, Montrose came around as American muscle. Loud, in your face, and so damn pleasant to see shooting past you. The style isn't too far off the mark from that of the heavy hitters in the UK at the time, but there was something different within the sound. The US would move into their glory days of rock as the 1970s moved along, but Montrose was one of the first to set the pace. A good chunk of that power came from the guitar playing of Ronnie Montrose; that dude can fuckin' play fast as lightning. Plus, he has one of the best motor noises made by a guitar with "Bad Motor Scooter", and man, I love how Sammy Hagar comes into that song. He always had this swagger to him, not in the way of David Lee Roth, who he took the spot of in Van Halen in 1985, but with this more aggressive bad boy strut. It doesn't hurt that Sammy Hagar can hit some impressive notes and is easily understandable while he gives it his all, especially in Van Halen on songs like "Dreams".

     Sammy Hagar in Montrose has this younger feeling to him; I mean, duh, this album came 10 years before he even joined Van Halen. I like the tone he uses more in Montrose; it is rock n roll, youthful power to rock the nation. While prime Montrose had the red rocker on vocals, he was only with the band for two studio albums, the one we are talking about today and the second studio album, Paper Money, which was released almost exactly a year later in 1974. Hagar left the band following the European leg of the tour supporting Paper Money in 1975. It was a classic case of infighting and the even more classic case of the band not seeing eye to eye on where they want the band to go. I mean, it was Ronnie Montrose's band, so he could do what he wanted, but there is no doubting that Sammy Hagar brought a lot of that fire, and not to mention Hagar helped write some of the band's most essential tracks like "Bad Motor Scooter", "The Dreamer", "Space Station #5", and "Make It Last". Following the departure of Sammy Hagar, Montrose went on to release two more studio albums in the 1970s, Warner Bros. Presents Montrose! in 1975, and Jump on It in 1976. Both of those fared fairly poorly, and the band didn't release any new material until 1987's Mean, which had an all-new cast of characters aside from Ronnie Montrose. As one would assume, Mean didn't shake any ground and charted at #165. During that gap from 1976 to 1987, Ronnie Montrose was busy with his new band Gamma. It must have stung a little bit when he saw how damn well Sammy Hagar was doing with both his solo career and especially with his infamously kick ass place taking over Van Halen. Still, all musicians have roots, and I am sure that Sammy Hagar learned a crap load during his time with Montrose. The band was pretty well his diving board into the inner rock world. Before he joined up with the band, he was just another musician doing covers at bars and the like, so his place in Montrose certainly weeded him out of the singer garden that consumed California at the time. Vocalists were a dime a dozen, and Sammy Hagar was one of the best-smelling flowers in that joint. Anyway, there is your little history lesson. Let's take a stronger look at our song of the day, shall we? Montrose released in 1973 and spawned 3 singles: "Rock the Nation", "Space Station #5", and "Bad Motor Scooter". Surprisingly, they didn't release what was to be their most famous song, "Rock Candy". Now, "Rock Candy" shows off the purest form of American hard rock in the early half of the 1970s. It has loud and mean drums at the start before Ronnie Montrose comes in with simple yet heavy guitar work. With the bass cradling and helping set the rhythm, in comes the strong vocal work from Sammy Hagar. The background of the song is just as impressive as the forefront. There is a menacing, grimy bass line holding the whole thing together from start to finish. There isn't much room for imagination in the track; Montrose as a whole commands your attention for its full 5-minute running time. Some of that special sound is due to the band recording the song in a room that used to be a meat locker. Nothing by metal and stone, which helped the tone be larger than life. Loud and mean and not much other noise than what the band is putting out. A song that seems pretty simplistic to the naked ear is actually pretty intense when you take the time to listen to each instrument in singularity. The drums play around with the bass the whole time, Ronnie Montrose sings his own song with that wailing guitar, and then we have Sammy Hagar giving you the imagery with his in your face vocal approach. The intro to the song is based off the intro to Led Zeppelin's legendary drum-forward instrumental, "Moby Dick", which is a song you just gotta hear if you dig loud drums. Denny Carmassi isn't John Bonham; nobody is John Bonham, but he still comes in hot and heavy. Denny Carmassi is one of those hidden legends of rock drumming; that cat was on plenty of great albums. Montrose, Sammy Hagar, Cinderella, Whitesnake, Gamma, Joe Walsh, Heart, and so many more groups were graced by the slamming and kicking of Denny Carmassi. The only artist from the original lineup of the band that didn't have too crazy of a career after their time with Montrose was bassist Bill Church. He was there for Sammy Hagar's solo work from 1976 to 1985, but nothing much aside from that. I wonder why? He is a piece of what made that debut from Montrose have that special slap. Anyway, that is enough out of me. Hope you dig the song! I mean, you likely already know this one, but that shouldn't stop you from playing it again! I have likely listened to this song thousands of times throughout my life and still enjoy it like the first time each listen. Enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1973
Album: Montrose (1973)
Genre: Hard Rock
Mood: Hard, sweet, and sticky
​Perfect For: Playing loud, Rockin' at home, Sex, Riding motorcycles, Casual listening
Where To Next: "Four Horsemen" - Gamma
Rating: 9 / 10

"Our Generation" - Marcy Playground

     You wanna talk criminally underrated? Well, let's talk about it then! Sure, Marcy Playground gets their plays, but overall the group gets thrown into the graveyard of 1990s one-hit wonders with their phenomenal "Sex & Candy". On Spotify alone, "Sex & Candy" has 348,790,000 streams, and then their second most streamed song, "Saint Joe on the School Bus" has 23,000,000, which is still a grand number, but that massive dip is there, and it dips more with each next song. While the streaming generation of music honestly has damaged more than helped, there are redeeming things to it, and people taking a chance on more Marcy Playground is one of them. I, personally, don't consider Marcy Playground to be a one-hit wonder. They are immensely underrated and have some good albums, especially their debut self-titled and their second album, Shapeshifter, which we will be covering later. There is no denying how amazing "Sex & Candy" is and how it rightfully is way above all the other tracks, but that doesn't mean those others should be counted out. Marcy Playground shares a strange relationship with me. "Sex & Candy" was one of my first favorite songs when I was very little. At that time, I knew nothing about sex, but I did indeed know a lot about candy. It wasn't the lyrics that had little me getting entranced; it was the strange, homey feeling of the song. Something you might hear someone strumming along to around a campfire, or better yet, what you might hear coming out of your lonely and drunk neighbor's garage. That track is one I never tire of, and I will never skip. It is just one of those tracks. As a kid, I hardly moved further into the group. It wasn't until I was 16 or so that I went back and downloaded their 1997 debut to my iPod that I fully fell in love with the band. Tracks like "Poppy", "Ancient Walls of Flowers", and "Saint Joe on the School Bus" became classics of mine as a teenager, and the same statement stands today. Is there really beating "Sex & Candy" from their discography? No, not really, but the others sure put up one serious fight. Something I learned as I moved through the band's small discography the first time is that while that debut is their claim to fame and is a 1990s classic, their true gems shine from their other albums, namely that second release of theirs, Shapeshifter. Man, I still remember my first time giving that album a solid listen. I was probably 16, just recently got my hands on my first set of wheels, a 1997 Jeep Cherokee Country. That thing was practically my home, and it smelled like it too. During this stage of my life, I was intensely into Harvey Danger, Blind Melon, Eve 6, Marcy Playground, and pretty well anyone connected to them. So, after I got that Jeep, I had the jeepin' creepin' feeling that I wanted to go try out its off-roading capabilities. I called up my cousin, but he had to work. Then, I tried some other buddies, but my last-minute Saturday plan of driving up a dirt hill must have lacked that allure, and they all said they had other things going on. So, it was just me, the open road, and whatever album I wanted to play. Luckily for me, I just downloaded plenty of new stuff to dive into, one of which was Shapeshifter. I left my mansion (also known as the trailer park) and started heading towards Fivemile Pass over near Fairfield. A known area where I grew up to be intermediate off-roading, something for the newbies, and something for the pros. I knew what I was doing; well, I watched it at least, but the thrill of adolescent adventure was in the air! So was that good ol' reefer smoke. I listened to The Flys Holiday Man on the way there and sadly wasn't all too impressed; now there is a band that couldn't hit the same high with their biggest hit, "Got You (Where I Want You)". As I set my tires upon the dirt, then came the first song from Shapeshifter, a high-energy track that somehow melds a grunge addled rock sound with... yodeling? I quickly checked to see who the hell it was and then went, "Yeah, that makes sense". But that fun feeling of the track matched one of my first solo off-roading experiences. I won't lie; it was half stress, half fun. Windows down, dust in my teeth, and the feeling of success. I was almost an adult, you see, I had my wheels and nobody to desire hanging out with me. If that isn't the adult experience, I don't know what is. Loneliness is real! Go get a beer with a friend!

     Sorry for the story time, especially one that didn't have much of a purpose, but what do you do? Shapeshifter is an album that I don't reach out to often, which has nothing to do with its quality; I just gotta be in the mood. Not every single song is great, but all are good. There are the ones that are indeed great, and with those, it is an album I think almost any 1990s alternative rock fan would enjoy. "Wave Motion Gun", "All the Lights Went Out", "America", "Love Bug", and "Our Generation" are moody tracks, ones that are perfect for the awkward transition between winter and spring, and from my own experience, perfect for the awkward transition between boy to man. As a full-grown man now (I have ear hair now, which means I am there, right?) I still try coming back to the album any time I need something fun yet moving to make it through a workday. When it came along in my 1999 studies, I was overjoyed. It felt like seeing a good friend that I hadn't seen for a long time. One of those friends that you could stop talking to for 7 years, but then y'all reconnect like nothing ever changed. The album didn't fare nearly as well as their debut; it was actually a pretty big commercial failure. Some of that could be attributed to the band almost taking 3 years to put the album out, and the other piece is that there was no "Sex & Candy" single to see the album through. Shapeshifter still had a strong single with "It's Saturday" which hit the 25th spot on the Modern Rock Charts. "It's Saturday" is a shining track off the album, but if I had to choose just one to keep forever, it would be the final track on the album, "Our Generation". As you will see if you check the playlist, it comes with the hidden track "Ol' Time Pigeon Farm", which I wish it didn't. It might be an unpopular opinion, but hidden tracks always annoy me. It hinders a great playlist and, for the most part, is usually something silly after 10 minutes of silence. They could have filled that space with something! Like.... A drum solo! Who doesn't love a good drum solo? "Ol' Time Pigeon Farm" is one of those silly ones. I may be a stick in the mud, that is something I will admit, but I don't need some silly song to hinder such a grand song such as "Our Generation". That part starts at 7:15 after "Our Generation" stops at 5:10. Anyway, "Our Generation" is a peaceful track, the kind of song that sets your mind at ease even on the worst day of your life. It matches the energy of that album cover with ease. It is strange, mystic, sunbaked, and unifying. The lyricism is strange but highly enjoyable. It would have worked wonderfully during the summer of love, but some messages simply never go out of style. Peace. Unity. Singing "la, la, la, la, la, la to the human race", ya know? Speaking of that album artwork, this one was done by Mark Ryden, a man known as "the godfather of pop surrealism". I am not all too familiar with his regular art, but I do know the name as being someone who has done the covers for plenty of great artists. The most impressive of which is found on Michael Jackson's Dangerous, which has gotta be his best album cover. Anyway, aside from that dumb outro track, I think this one is a hidden gem. This album in general is a hidden gem so far as 1990s alternative rock goes. Marcy Playground would never find that fame again after their debut, but there are still plenty of fans out there. Hopefully through this song and your already knowing of "Sex & Candy", we can get them another fan. Their next two studio albums aren't anything too special, even if it pains me as a fan to say such things, but there is truth there. Redeeming songs? Indeed. Though, they are nothing you need to run to your local music store to go get a copy. Also, good luck finding a copy out in the wild on a whim, they didn't sell too well. Stick to their first two, and you will have yourself a DAMN good time. Those later ones are worth it, but only after their first two, if you ask me. Alright, enough ramblin' on about the band. It is your turn to give the song a go. I hope it helps you relax. Enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1999
Album: Shapeshifter (1999)
Genre: Alternative Rock, Neo-Psychedelia
Mood: Peaceful
​Perfect For: Going for a silent drive, Walks with headphones in, Relaxing, Casual listening
Where To Next: "The Background" - Third Eye Blind
Rating: 8 / 10

"I'm Coming Home" (Live) - Commander Cody and His Lost Planet Airmen

     Welcome back! There are moments on this website I think I am too busy pushing the stuff everyone is already buying or albums that people were buying in bulk many years back. While that is fine and dandy—I mean, those songs are that way for a reason, I still like to uncover those forgotten relics that more advanced rockers are on the prowl for, ya know? I always wonder what I would think about my own website if it wasn't already my baby. Probably that this guy likes to talk about himself a lot, and while that is true, I think I could get over that if he was selling what everyone else didn't have on their table. Well, for today, we have one of those tracks! I want to point out that Commander Cody and His Lost Planet Airmen do have a following, especially surrounding their version of "Hot Rod Lincoln", which is a testament to rockabilly. So, no, this isn't your hidden gem that comes in the form of your aunts uncles neighbords local band that released an EP and then faded back to their day job; this is more a coverage of a cult classic. Commander Cody and His Lost Planet Airmen are a shitload of fun. I can think of few bands that meld rock with country music like they do. Second on that, I can think of few bands that have such a good collection of live albums! For many groups, the archive releases are good, but nothing I would suggest. Great stuff for core fans, but there is usually a reason they weren't released until after the band had their prime years. That is not the case for Commander Cody, no sir, this man and his Lost Planet Airmen have a ton of great live albums! Each time I jump into another one, either released during their prime years or those aforementioned archive releases, they are damn good. I would have loved to see the band live. It would feel like that line from "Longhaired Redneck" by David Allen Coe: "Where bikers stare at cowboys, who are laughing at the hippies, who are praying they'll get outta here alive". Pretty well, anyone who wants a good time is invited to the hootenanny that Commander Cody puts on. Why do I talk so much about live albums? Well, didn't you see up above? We got a live one here with us today. We will get into the album soon, but first, who are these cats, and why did they decide to come back into music with an outdated style? The band formed up in Michigan and was known as your local dive bar band. The group is headed by Commander Cody (George Frayen IV) which might have you thinking he is the main singer, but you would be wrong. Commander Cody does co-sing, but he is the man behind the keys who gives the songs this barroom feeling. The vocal duties are shared, but a solid chunk comes from the Commander. Anyway, yeah, the band formed in Michigan and played shows there for two years before moving west to sunny-skied California, where they set their roots in Berkeley. They started playing shows there and surprisingly got approached by Paramount Records for a deal. Their debut, Lost in the Ozone, is an album I cannot suggest enough! Easily one of the most out-there albums out of 1971. Its style is rooted in western swing, something very few tried their hands at since back in the day, and even fewer did it with a rock band. That album holds their two most popular songs, the cleverly written, comical tearjerker "Seeds and Stems (Again)" and their main claim to fame, "Hot Rod Lincoln". Man, I love every version I have ever heard of "Hot Rod Lincoln", but nobody does it like these boys. That track was originally released by Charlie Ryan in 1955. That one is a hidden gem, a bona fide rockabilly classic that has had plenty of covers. It is pretty much the same as the 1950 song "Hot Rod Race" by Arkie Shibley, which it was an answer track to. Not to get further down the hot rod rabbit hole, but "Hot Rod Race" was a page note for the budding rock music world. It influenced tracks like "Maybellene" from Chuck Berry, "Race with the Devil" from Gene Vincent, the numerous hot rod racing songs to come out of 1960s surf rock, all of which then furthered the lyrical theme, and it became a classic style for greasers, wrench monkeys, motorcycle rebels, and rockers for decades to come. Some things just don't go out of style, and hot rods are one of those. They are fuckin' beautiful! Anyway, "Hot Rod Lincoln" is Commander Cody and His Lost Planet Airmen's most famous song, and for all the right reasons, it is a song we all need to hear once in our lives, and the same is to be said about Lost in the Ozone.

     Their debut did decent, better than you would expect from such an oddity album out of the time of Led Zeppelin, Black Sabbath, Deep Purple, and Carole King. It was their highest-charting album, aside from maybe Country Cassanova, which hit the 47 mark on the US country charts for 1973. If you were to load up an album right now to feel the boogie, then start with their debut and move forward. While the band never got their name at the top of the charts, they never expected to get to the top anyway. What they did succeed in was putting out some of the most essential country rock albums out there. Each is a gem, and I don't mean that lightly; each one is a damn good time. While I have abused the Commander Cody and His Lost Planet Airmen discography, I haven't gotten too far into Commander Cody's solo material, if you can even call it solo material. I bet it is still one hell of a ride. I love how Commander Cody brings forgotten tracks and those classic hits alike into the light with a fresh sound and puts their own presence in the song. Songs like Eddie Cochran's "Twenty Flight Rock", "Riot in Cell Block #9" from the Robins, "Truck Drivin' Man" originally released from Terry Fell, a personal favorite from Rusty & Doug, "Diggy Liggy Lo", and so many other classics. It is easy to see why Commander Cody and His Lost Planet Airmen are legends in the country rock world, most putting them up there with the Flying Burrito Brothers, Asleep at the Wheel (which are their buddies), New Riders of the Purple Sage, and the Ozark Mountain Daredevils with importance to the genre. I could go on and on, but let's take a look at the album that holds our song of the day, Live from Deep in the Heart of Texas. This was the band's first live album, and man, did they show that their live work is just as good, if not better than their studio material. Like the majority of Commander Cody album covers, this one instantly grabs your attention with its oddness. I have always loved the album cover to Live from Deep in the Heart of Texas; armadillos have been a long-time favorite animal of mine. Easily in my top 5 cute little animals. And here they are singing into microphones, drowning the stage with armadillo waves. Armawaves? Wavadillos? Don't steal my name ideas, Pokémon! It is a very Texas album cover, in that there is no doubt. The artist who drew the album art is Jim Franklin, an artist known for his armadillo artwork, and with that in mind, I didn't know that he became an icon in the hippie movement out of Austin, Texas, where people would rep armadillos. First off, that is pretty cool. Second off, I didn't know Texas had their own movement. Third off, I didn't know that there was a series of album covers that he did, which, yes, has an obscene of armadillos. The armadillo practically became the mascot of the counterculture of Texas through Jim Franklin's trippy psychedelic armadillo art. If you have a second, you should Google some of his tour poster art. I think I found my new computer wallpaper! Alright, back to it. Live from Deep in the Heart of Texas has a perfect flow for a live album. To make things interesting, there are only two previously released tracks on this album, "Seeds and Stems Again Blues" & "Diggy Liggy Lo". The album is mostly made up of plenty of great covers. I think the best cover on the album is their take on "Riot in Cell Block #9", which I always look forward to, or maybe "Crying Time" since it is a country classic from Buck Owens in 1964 and Ray Charles in 1965. Our song of the day is "I'm Coming Home", a song that is allll about that truckin', yessir, some piston pumpin', gear jammin', truck drivin' son of a gun country music! Shit, the band has a whole trucker album called Hot Licks, Cold Steel & Truckers Favorites in 1972. What a strange time for country music, but I won't lie that I love it! Some of the best travelin' tunes that came out of country music were during its romance of trucker songs. With that said, Commander Cody has a ton of good ones, and we are hearing one here today. There is some fun guitar work to help paint the image of a hard-driving man heading home to get some lovin' from his special lady. The song was originally put out by Johnny Horton in 1956, but in Commander Cody style, the cover blows the original out of the water. Plus, it is a lot more "trucker" in style since the Johnny Horton came a little bit before the trucker country craze had a set style. The track is pretty simple, yet keeps the boogie goin' the whole way through. Once "I'm Coming Home" comes to a close, the band moves into their classic "Seeds and Stems (Again)", which is titled "Down to Seeds and Stems Again Blues" on this track listing. For this one, the studio one is the winner, but I sure do love that country sound on the live version. Anyway, this post is turning into a long one, so I will leave it there. There is just too much to say about the band, truckin', armadillos, and Commander Cody and His Lost Planet Airmen's phenomenal live albums. Do yourself a favor and load that sucker up if you are so inclined. Enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1974
Album: Live from Deep in the Heart of Texas (1974)
Genre: Country, Country Rock
Mood: Fun
​Perfect For: Casual listening, Eating at a roadside diner, Coming home after a long drive, Cooking dinner
Where To Next: "Blood-Shot Eyes" - Asleep at the Wheel
Rating: 7 / 10

"The Motown Song" - Rod Stewart w/ the Temptations

     I love it when artists put out material reaching back to the stuff that made them want to make music in the first place. Rod Stewart has many songs of just that, especially nearing the later days of his career when hits weren't being plucked from the tree he had in his backyard. Rod Stewart has hits, man, I am talking hits! He is one of the highest-selling artists of all time, up there with some of the biggest names in music history. Unlike some of those artists who came and went, Rod Stewart never slowed down since he started his conquest of the charts. We talked about that already, I think, back in the previous Rod Stewart post for "Man of Constant Sorrow" in January. If you are interested in a little history, go check it out! I am sure we will touch on it once again, and for some of you reading this, you might not even need a recap since Rod Stewart is a man for the history books. The man is making some waves in the media right now with playing hooky for his own show. He canceled a concert due to laryngitis but then was seen getting drunk and attending the World Cup in Scotland right after. I mean, I can see why fans were pissed! Though he is an old chap, and he deserves his soccer if he so inclines. Granted, yeah, you probably should go to the show you were supposed to be at. Not everyone has Rod Stewart kind of money, ya know? Lastly on that, performing on a hot stage and having a drink while watching soccer are two different things. Easy for me to say, though, since I wasn't holding tickets for that show. Anyway, Rod Stewart has one long and celebrated career. Before he jumped into his solo career, he found fair success in the Faces and the Jeff Beck Group and was in a couple of groups before those that didn't pick up. Rod Stewart released his first solo album in 1969, a mellow ditty called An Old Raincoat Will Never Let You Down. Since then, he has released 31 other studio albums, 4 live ones, a solid chunk of compilations, and more than his fair share of hit singles. His most recent studio album, Swing Fever, released in 2024. I have only sampled that album, but the swing style fits the older vocals of Rod Stewart like a glove. Crazy to think that Rod Stewart is even still putting albums out and is still touring to boot, even if he cancels his own show to go catch a game. He is 81 now, an age where the grand majority of rock stars tend to be enjoying the easy life after decades of touring and having failed albums. Though, those guys aren't Rod Stewart. Surprisingly, Rod still manages to make it in the top ten of the charts with every studio release in the UK. I doubt that will change any time soon. He still sounds good, even with the aged voice. I have only run through Rod's studio discography from start to finish once in my life, and overall it was a pleasant ride, though I will admit that I rarely come back to any of them that were released past 1995's A Spanner in the Works. That isn't because they're poor albums, but mostly since I am just obsessed with 1969-1998 Rod Stewart, and especially fond of the Faces and his work with the Jeff Beck Group. Anyway, for today, we plunge into 1991's Vagabond Heart. This one holds some of Rod's most successful singles of the 1990s. We got songs like his cover of "Broken Arrow" which was originally recorded by Robbie Robertson, and while it isn't as good as the original in my opinion, it is still a classic Rod Stewart track. There is "You Are Everything", another cover but this time from the Stylistics, and once again, it doesn't hold a candle to the original, but he achieves impressive results on it. One of those Rod ballads, for better or worse. The most successful single off the album is "Rhythm of My Heart", and if you wanted one single song to walk away with from Vagabond Heart, this is the one! A great heartfelt track that has this stomping rhythm that shows that Rod Stewart has still got that magic. It is one that is just meant for taking a midnight train to nowhere. That one is fine and dandy, but if you want something fun, not moving, then you can find few better tracks from Rod Stewart's discography for a good time than "The Motown Song". 

     "The Motown Song" sees Rod Stewart reaching back and showing love to Motown Records, one of the most important labels to ever hit music. Chess Records might have had a heavy hand in popularizing R&B as a whole, but Motown Records really showed what the genre could do. There were some top guns in its rankings, and those guns helped create the Motown sound, which sold like hotcakes and would go on to inspire the majority of later big names in rock music, especially those out of the UK. This song even has some of those top guns in the form of the Temptations, though while the Temptations were part of the Motown Records movement, they had their stuff released through the Motown side label, Gordy, named after Motown Records founder, Berry Gordy Jr., a visionary in the music industry. Anyway, we can dive deeper into that when we get a pick from that label, which is only a matter of time. For now, we will poke at it as we jam along to the catchy "The Motown Song". This was the second biggest hit single off the album, chomping at the heels of "Rhythm of My Heart" on plenty of charts. Modernly, I hear "The Motown Song" in the wild much more often than that of "Rhythm of My Heart", but that is no shocker since it is the kind of "good timing" song that people love to hear when shopping or going on summer drives. You have to feel the feels on "Rhythm of My Heart", but there is no obligation for anything on "The Motown Song". It was created to make you smile and to give love to the Motown sound. I never saw the music video for "The Motown Song" until this morning when I accidentally clicked on it when going to listen to the song again when I woke up. It is a silly one, but a cool one. The thing is mostly made up of cartoon characters, including Rod and the Temptations, throwing a party on the streets of a city. I am assuming it is supposed to be Detroit, the home of Motown Records, hence the name Motown (Motor & Town) since Detroit is called Motor City due to its place in the automotive industry. Though there aren't any definitive buildings to show it is in Detroit. Anyway, all you need to know in the song and its accompanying music video is that the song is about a block party. Putting speakers in the window, turning that dial up high, and everyone has a good time jamming in the street. That would be a trip, one of those movie moments, but the reality of it would have people yelling "shut the fuck up" out the window more likely than not. If you tried it now, people would think some old chap went senile and took the lyrics too seriously. Anyway, it is fun mental imagery. This is one of many Rod Stewart "city" songs, something he has a ton of starting near the end of the 1970s. Honestly, he does it damn well, so no need to bitch about the abuse of city slicker songs. I feel the soul of Salt Lake City each time I pass through downtown. What is with that electricity? The strange unity? Downtown is all cheap thrills and expensive cocktails. There are those that think humanity is meant for the country, being one with the land, and while I do agree, I can see why so many are drawn to those city lights. I am one of them and crave a much bigger city than Salt Lake City, even if I do love my city. Usually. I have so many favorite songs about city life and want to live it out! I want to see what all the hubbub is about, but I think that ship has gone and sailed for this lifetime. Plus, that would be an immense culture shock, something I am willing to partake in but cannot expect anyone else to take that shot. The reality is that there won't be some silly-haired dude blaring some Motown soul out of his window. Anyway, getting off track. "The Motown Song" is the 7th song on Vagabong Heart, an album that was released in 1991 and was his second-to-last international hit album until he started his bold but enjoyable "American Soundbook" series of albums from 2002 to 2005. Vagabond Heart was still very much dipped in the pop rock style of the 1980s, but unlike some of the decades, the late 1980s and early 1990s intertwined until grunge came along and threw a rock into their crystal palace. I still find the album to be a Rod Stewart classic where he does great covers and still has strong original material. Much less rock, but that rocker Rod Stewart thing got dragged through the mud with all his pop hits in the 1980s. He is a versatile artist; that is something he has proved plenty of times, and each side of his discography still has something to love. A living legend. For today, we have a fun pop-laced track that is meant to give you a good time. So, if you are reading this post on Monday, I think it is a damn good song to start the week off right. It has me dreaming of running away to the big city like some starstruck 18-year-old girl. There's a soul, in the city, watching over us tonight, saying everything's gonna be alright. Spin the track already; you got nothing to lose but everything to gain. Enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1991
Album: Vagabond Heart (1991)
Genre: Pop Rock
Mood: Fun
​Perfect For: Block parties, City lights, Bar hopping, Shopping, Casual listening, Chores
Where To Next: "Hot in the City" - Billy Idol
Rating: 7 / 10

"Trey's Song" - Sublime (feat. H.R.)

     Welcome! We got a fresh one for you here today! Sublime just released another studio album after 30 whole long years. When I was younger, I always wished there was at least one more Sublime studio album, especially since the original vocalist and guitarist, Bradley Nowell, died just before the release of their immensely popular self-titled third album in 1996 which featured a little bit different of a style, some tracks even being more alternative rock than reggae or punk. That self-titled is perfect from start to finish, and it is one of those albums that help define me as a person. So, naturally, I was sad to not have anymore, even if I came across it over a decade after its release. Well, the day came, but sometimes when bands come back, it is a waste of an album. That might sound rude, but it is simply the truth. Who can come back after 30 years of change, growth, and position in life and expect to have even close to the same magic they had as young adults? Well, I am glad to say that Sublime came back with some serious power. In a strange way, the album feels like hearing a ghost since the current lead singer for the band is Bradley Nowell's son, Jakob Nowell. There were so many stars that had their kids follow in their footsteps. I wouldn't be shocked to hear of Hank Williams V if I make it to an old age. More often than not, the kid can't hold a candle to the parent, but there are times that it isn't the case, and for Sublime, I would say that Jakob is an exception to the rule. He sounds strikingly like his father, almost to a fault. There are moments that I wonder if they snuck some previously recorded songs in the track listing. With some mighty big shoes to fill, Jakob fills them wonderfully. He wasn't even trying to step on the legacy set by his father and has even said that Until the Sun Explodes is more of a tribute album to his father than Sublime's 4th studio album. So, he did well, but how about the rest of the band? Drummer Bud Gaugh and bassist Eric Wilson are both in their 50s now. You know those boys partied it up in their youth; just spin any Sublime track and that will be clear as day, so did time slow them down? Honestly, it seems to have made them even sharper. That funky Sublime "stylee" is still alive and well. I have been impatiently waiting for the release of Until the Sun Explodes since Sublime first released the great "Ensenada" in July of 2025. When I first heard that Bradley's kid was taking over the vocal duties, I will admit that I was a little worried. It had been a long time since any new Sublime material came out, and moreover, I know too many groups that have kids take slots and drop the ball. I feared it would be the same case for my precious Sublime. But "Ensenada" really blew me away. My confidence in Sublime coming back with something great was strong from that moment on. Then I hardly heard anything new for a while and got a little worried. I knew that if they even had 2 more songs that were even close to as good as "Ensenada" then it would be one I would be obsessed with. An acoustic version of "Ensenada" came along in October, which indicated that Jakob even sounds like his papa on the acoustic tracks. The title track, "Until the Sun Explodes", was a heartfelt track that was released in March of this year, a song I have been spinning regularly since it dropped. Then came in the fun "Can't Miss You" in May, and finally "Gangstalker" which also dropped in May. Now, it was simply time to wait until the album was released on 06/12. Through the release of those singles, my hopes for the album grew and grew. There was "Ensenada" which reminded me of "Don't Push", the acoustic "Ensenada" which is similar to the acoustic version of "Boss D.J.". Then in came "Until the Sun Explodes" which reminded me of "Wrong Way", but honestly that one is a Sublime track of its own, a perfect place to show Jakob's style he brought into the mix, even if it is still immensely reminiscent of his father. I could go on, but it would be one long post. What I am saying is each next track released reminded me of another Sublime song, almost to a perfect match, and within that I found myself getting more and more ready for the album's release.

     The day came yesterday, and it was the first thing I listened to when I got to work. It starts off with the already highly familiar "Ensenada" and then moves into the new track, "Wizard", which is a goodie. By the middle of the album, I was highly impressed. It was worth the wait, to say the least. Yes, it is sort of creepy having Jakob there instead of his father, much like hearing a ghost, but eventually you get used to it and just enjoy the new material. One of the new songs on the album was "Trey's Song", which I think could have easily worked as one of the singles leading up to the album's release. Sublime had some great guest musicians show up on the album. We have Skeggs on "Favorite Song", which is a band I have highly enjoyed getting into within the last year and need to get further into. Zac Carper on the song "Backwards", he comes from the band Fidlar, but I have admittedly never heard the band, I don't think. G. Love & Special Sauce show up on "Come Correct". But the two I was most excited to see on the album were Pennywise on "247-369", which their place being there wasn't very shocking with their heavy presence on Sublime tribute albums, and then we have our song of the day, "Trey's Song", which features H.R. (Human Rights) from the hardcore punk legends, Bad Brains. Man, I love the Bad Brains, and you know that Sublime did; how could they not? Their styles are similar with the reggae meets-punk-meets-dub monster mash. Sublimes is just a little more tame and party-driven. Anyway, I could have chosen pretty well any track off the album, even some of the spoken word songs for our song of the day, but it was "Trey's Song" that got me that day. The song starts off damn peaceful. It reminds me of sunny teenage days loading up a bowl to get stoned and hang out in my Jeep while I was supposed to be in school. "Trey's Song" is one that wasn't written by the band; the credits go to Willard Pangborn, a name I am not familiar with, but he wrote a pretty good set of lyrics. It matches that raunchy yet real Sublime style wonderfully. The part with H.R. is incredibly muddled, but Sublime is known to love their studio effects. This track shows off a lot of the great parts of Sublime; it has that high-octane punk rock ending, the peaceful intro, the airy atmosphere throughout the majority of the song, real lyricism, and just about anything else you need aside from maybe some random voice lines added in there. I just can't get over how much he sounds like his dad; it is a fucking trip. It is something people will be saying for months, but it truly is uncanny. If someone said that this was unreleased material, I wouldn't even doubt it for a split second. This album feels a lot like the band's debut studio album, 40oz. to Freedom, it has the ups and downs, but even the downs are something fun. The strange tracks, the humor tracks, plenty of party songs, and some to go for the heart. What I thought was really cool was how they did another thank you track called "Thanx Again". For those that haven't listened to the band's debut (which... like.... you should), that album ends on the same note with the song "Thanx", thanking all of those involved in the album and those that supported and influenced them to keep pushing. A nice nod to the fans who have been here the whole time. Sublime is a piece of music history. Never has there been another band to come along with such a bold style that melded so many different sounds, all with sleazy lyricism, and came out on top. It was a slow rise, and the critics hated Sublime until their third studio album dropped, but they are now one of the most recognizable bands out of California music. I would say out of punk or reggae or rock, but there is simply no defining the band, though their home is within reggae music, something that still stands true with our song of the day. They were really one of a kind and helped usher in a whole movement in the United States for reggae music, for better or worse. I was overjoyed to finally listen to the album and was so fuckin' happy that it turned out well. I will be going back for seconds when I get to work on Monday. I need to know these songs just as well as I knew their previous material. There are few bands out there that I have abused their discography like that of Sublime. Well, here we are, you know what to do now. It is your turn for the song, you lucky ducky. Enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 2026
Album: Until the Sun Explodes (2026)
Genre: Reggae Rock
Mood: Chill
​Perfect For: Summer drives, Dating, Chilling at home, Casual listening
Where To Next: "Somewhere" - Long Beach Allstars
Rating: 8 / 10

"On My Rockin' Machine" - L7

     Man, I hate my new neighbors. Not the ones I share a unit with; those guys are chill, but the ones in the other unit. It blows my mind how daft people can be. What do you think causes people to become inconsiderate? Nature? Nurture? Who knows, but as someone who is usually pretty calm, they sure make my blood boil. A feeling I need a playlist for, and that playlist will have one artist in abundance, L7. You see, it would be easy enough to throw some KoRn on there with some peppering of Agnostic Front, Pantera, Godsmack, and other similar artists, but L7 has a special art to it. There is still that feeling of reality, not of just anger, but more the audible version of slashing someone's tires or shoving a potato in their exhaust pipe. I don't want to hurt those neighbors; some people are just born ignorant, but it might feel nice seeing them staring at a messed-up vehicle wondering what they ever did to deserve it. For all intents and purposes, this is not a confession, and I am not some punk kid, so I will just stew in silence like a good little awkward adult. Anyway, L7 is a fairly angry band, but in a dingy way, something we can all get behind. Not only that, they balance the angry songs with uplifting ones, though both share their same signature sludgy style. The last time we discussed L7 on AintNoisePollution was all the way back in June of last year. I guess June is just the time for L7. Last year we talked about the band and their mean "The Bomb", which comes off the band's fourth studio album, Hungry for Stink. For today, we cover one of their lesser celebrated albums, but one that is just as grand, Slap-Happy. Alright, I can't say it's just as grand since some tracks are lacking, and overall the album has a much different feel to it. Though, we will get into that here soon. L7 formed in 1985 in sunny Los Angeles, but it wasn't until 1988 that they released their first album. L7 was formed between guitarist/vocalist Suzi Gardner and vocalist/guitarist Donita Sparks. The two were in similar crowds within the Los Angeles art-punk world. They hit it off pretty quick, and their synergy with music was an instant match, something that is easily felt in any L7 track you decide to spin next. Anyway, they found a way to meld punk rock with poetry, much like Patti Smith, but unlike Patti Smith, their brand was heavier and much raunchier, as was the style of the time. They added Jennifer Finch to their lineup, so now this duo had a solid bassist to boot. The last thing they needed was a drummer, with the first being in L7 being Roy Koutsky, who was only with L7 for their debut self-titled in 1988. Speaking of that debut, L7 is one band I don't suggest starting from their first album. It isn't because that debut sucks, because it doesn't, but it is full frontal enough to be bland. It is perfect for a night of drinking and is worth the purchase, but save that money and beer for their later albums. Anyway, that debut came out in 1988 but failed to have the fans running the band up a tree. Still, it was something, and it definitely beat the hell out of a demo album. Their drummer bounced, so they got another that also didn't stick around all too long. Demetra Plakas joined the band at the end of their tour supporting their debut album. Not only was she a step up from the past drummers, but she was female, making it the first time that L7 was a full-female band in the studio. Demetra Plakas is L7's hidden power source; she never gets the same mention as Gardner and Sparks, but her drumming is half of what makes L7 the ride it is. Anyway, after leaving the sunny shores of LA, they spent some time in Seattle, where they caught the attention of the legendary Sub Pop records, which was still fairly underground at the time. Still, being part of Sub Pop was being in the right place at the right time at the start of the 1990s. It also got them a spot opening up for Nirvana before the band fully blew up. Their days with Sub Pop were fairly short-lived, but they released one studio album with the label called Smell the Magic in 1990. Now, Smell the Magic is the right stuff; the band was cooking with fire now. It still had some of their punky roots, but they dropped the full-frontal aggression for something more toned down and matching for what was going on in Seattle at the time. They were one of the only non-Seattle based grunge bands to be part of Sub Pop at the time. The album was popular with metal fans, rockers, punks, and grunge fans, but it still failed to chart or blow them into the limelight.

     Do you know the song "Pretend We're Dead"? I am sure you do. Most of us out there have had a reckless time while that song played; it is just one of those songs. That is the song that blew L7 up with a fever! It is a classic track, something still heavy and grungy, but still somewhat poppy, giving the populace a chance to enjoy the band and for the band to get some well-deserved attention after 8 years of hard work. "Pretend We're Dead" comes off the band's third studio album, Bricks Are Heavy, one of their most essential, if not their most essential, albums ever put out. While it alienated some of the fanbase with its stylistic shift towards something more easily accessible, it got L7 at the top of the Heatseekers chart and had a bunch of nobodies finding a home within their from-the-heart sound. I find it to be one of the best grunge albums and probably the greatest non-Seattle grunge album. It wasn't the kind of polished grunge we hear from Pearl Jam on Ten, nor was it the nihilistic feeling style of Nirvana. It was almost closer to that of Alice in Chains, but with a slower and less composed style, giving it a special feeling. That, and being an all-female band was a nice touch, and L7 leaned into it with lyricism that balanced the macho rock genre out. Bricks Are Heavy is where L7 got their strong fame, something that kept them on the charts, albeit low, for their next two studio albums. We will break apart that album, and the next one another time. For today, we are looking at the album that seemed like the end of L7, Slap-Happy, out of 1999. Slap-Happy is still an album you don't want to skip out on, but I will be the first to urge you to jam to the previous 4 before moving into it. Sort of the ugly duckling of their discography, but one that I still dig, especially the songs "On My Rockin' Machine", "Long Green", and "Freeway". What is there not to like? The album is just about another copy-and-paste album from the band, something that had critics tearing them apart. I don't mind when a band keeps a set sound, and with it coming 2ish years after their previous, there was time to breathe between releases. Still, there is no denying that this album is a little more flat than the previous ones and also less inspired. L7 was operating as a 3-piece during this point, and to make things worse, they took to the studio with a cheap album in mind, that DIY approach they took on their early work. This gave them space to just do their thing, but some of the fans wanted another Hungry for Stink, something difficult to do when the fuel was low and there wasn't a major label backing them with a pocket full of money. L7 experimented with a couple of different styles on Slap-Happy, which is fun, but it is no real shocker that the album is mostly forgotten modernly aside from fans such as myself that appreciate all shades of the band. Back in the day, L7 dropped the ball on giving the album a proper release, something that hurt their sales like none other and made it difficult to tour supporting the album since most of the people in the crowd couldn't even find the album in their local shops. One of those awkward shows when the singer says, "Sing it!" and the crowd, aside from two people, is silent. Still, the album still shines as their boldest release in style, and that in itself makes it a worthwhile listen. Our song of the day, "On My Rockin' Machine", isn't one of the strongest on the album, and I, personally, find it to be the best song on the 12-song track listing. It is a great one to play reaaaal loud! And unlike some of their other tracks, both on this album and on the others, I can add it into both punk and metal playlists without it sticking out too hard. Now, try putting "On My Rockin' Machine" on a rock playlist, and it will stand out. The song is fairly heavy, hard-driving, and overall simplistically intense. It is one of the tracks that old fans could drink like water between the oddity tracks on the album. Lyrically, there isn't all too much to say; it repeats the same 4-6 lines the whole time. Nothing wrong with that, the song is simply supposed to be a heavy piece that you don't need to think about all too much. Something you play loud while speeding, or a perfect companion on a night of seeing if you can finish two 40s before taking a piss. I come back to the song often and end up staying around for the rest of the album since it has this addictive touch to it. A shining gem on Slap-Happy that often gets overlooked, though it is a great addition to their collection of heavy songs. Slap-Happy was the final studio album from L7 until 2019's Scatter the Rats, which is a great comeback album. L7 went on hiatus in 2001 and didn't reform until 2014. They never really gave a reason, but after getting dropped by labels and having an independent release failure, even if it was good, L7 likely just went broke. Must have been a heartbreaker, but all seems to be well now. They are even coming to SLC later this year, and I need to figure out whether I am going or not. L7 has always been a band that has been on my list of bands I would go back in time to see in their prime. So, come on, I spend lots of time on these posts so you can find some new tunes; how about some concert tickets?! All jokes! I wouldn't take it even if you tried, unless you were making some serious dough, then maybe. For now, we have this studio piece that I think will please your rock n roll soul, and if not, there is always next time! Enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1999
Album: Slap-Happy (1999)
Genre: Hard Rock, Punk Rock
Mood: Mean
​Perfect For: Casual listening, Speeding, Motorcycle rides, Gettin' piss drunk on bottom shelf vodka
Where To Next: "Knot" - 7 Year Bitch
Rating: 7 / 10

"Daily News" - Tom Paxton

     "The more things change, the more they stay the same". Something I learned from the Cinderella song of the same name, and a saying that I have carried with me for a long time. The saying is pretty self-explanatory, but if you need that little explanation, how about just giving this song a play, and you will see what I mean? For a long while I have been trying to find Tom Paxton's Ramblin' Boy on vinyl. It is easy enough to go and buy it online, but I prefer searching for a record in person before jumping online. There is a special thrill that fills me when I find an album I have been searching for. It sort of feels like when you got a random ten bucks as a kid and are on your way to the gas station or GameStop. There is an electric moment that makes you realize you are a sad piece of the consumerist machine. Well, as a kid I didn't think that; all I was thinking about was the almighty sugar rush accompanied by Jak & Daxter, but now I feel slightly guilty going out to shop. But who cares? If I want to spend my money on records, so be it. Plus, shopping local never hurts, especially since my favorite little record shop is worth every dollar I spend to keep alive. If you are located in Utah and love yourself some vinyl, I strongly suggest Daybreak Records in Sandy. Cool dudes. Great prices. An excellent selection for those looking for oddity rock albums like myself. Mainstream ones too. Anyway, I couldn't find Tom Paxton there or any of the others I tried stopping by, so I succumbed to buying that sucker online. I had a copy with minor defects in my hearted list in hopes that they would send me a discounted offer I couldn't refuse, and that offer came through. With shipping, the album was only 10 bucks, which is a crazy steal for such an essential folk album. Tom Paxton is one of those folk musicians you cannot afford to pass up. He is a perfect melding of Woody Guthrie, Bob Dylan, Lefty Frizzell, Bill Monroe, and Phil Ochs all packed into one easy-to-understand package. Our track today is very reminiscent of Guthrie, which is obviously Paxton's biggest influence, but that is one man that we all should be influenced by. Though, much like Guthrie, his music aged in a strange manner. At the time, I am sure talking down on politicians then really was a kick in the ass to anyone hearing it. Though, modernly, it leaves a listener a little confused. For me, it isn't much of an issue since I have had my head in the yesteryear portal for most of my life, so I understand some old references more than that of modern day, especially without social media. But if you were a fresh listener without too much of a grasp of United States history, and better yet, the harsh reality of the common man in America since the bigwigs came and made us all capitalist slaves, then this album might leave you a touch confused. Like you are missing the punchline. "Daily News" is a prime example of just that, though it doesn't really matter when the issues of then are the issues of now. It is just a matter of switching words and names, and you have yourself the same message. It is crazy to think the media has always been vultures. Sad to say, it makes sense. People don't want to hear of the happy stuff; they want to hear of disgrace, disgust, and, most importantly, something that makes them feel like someone is supporting their hate. Well, the media will serve that up and suck up ad revenue on top of it. We all win while we all lose. I am someone who avoids media pretty hard. Not because I am that cool guy who reads a newspaper at a hip coffee shop while sipping 10-dollar lattes, but simply because it is tiring staying in constant fear and hate. There are benefits, and there are even some reputable and strong media presences, but even those guys have their own backing, their own ideals, that they just think the common populace agrees with. If you see it enough, and everyone agrees on it, then isn't it kind of right? It is the victor that writes history. It is society that decides what is true and untrue. Sure, you can fight back and say that 2+2=4, but if society deems it to be 5, then in a strange way it becomes truth. After 100 years of the mass populace believing it and shunning anyone who disagrees, then that is truth, even if the true answer is backed by mathematics or the sciences. It is sad, really, and leaves you pondering one simple question: "What is truth?". Every human out there has opinions, some of which are backed by fact, some of which are backed by emotion, and there are even those backed by plain stubbornness, but in the end, that is what makes this earth so fascinating. It is scary since those opinions can get people rallied and wearing red bands on their arms and flocking to an awful cause, but ultimately, you cannot fully fault them. That is their perception of the world, something that people like you and I cannot even fathom, but we are the ones to fight back against truth; we fight to overcome ourselves before tackling the world, while others want to see the world burn but hardly even know who the person in the mirror is. Damn, getting off track. Yes! Tom Paxton, the folk singer, the rambling boy, a man who has impressed me more with each album I have listened to from him.

     Our song comes off his essential Ramblin' Boy, which started making its way across Greenwich Village in 1964. As we discussed not too long ago during the Ian & Sylvia post, folk had its heyday in the 1940s all the way until the late 1970s, when the music world changed and left the genre to fend for itself, much like it did with the majority of simplistic yet intense earthy genres across the globe. Money was the king, and folk rarely brought any in unless you were named Bob Dylan, Neil Young, Joni Mitchell, and so many others that found massive acclaim from a folk career, though even they left behind their folk basing for something electric or eccentric. Tom Paxton is a perfect landing place for someone who wants to hear core, traditional folk music but with a modern coat of paint with better recording. Ramblin' Boy holds a good chunk of his most endearing tracks. "The Last Thing on My Mind" is a classic and is so damn beautiful that it always leaves me feeling hollow. Though it is his second most popular song, "I Can't Help but Wonder Where I'm Bound", where my home resides. That is one of my favorite songs of all time! A song written within my soul! I could go on about all the great tracks on Ramblin' Boy. There is only one track that I am not too fond of, and that is "Goin' to the Zoo", but I am sure someone out there digs that puppy. The album serves as a little bit of a time warp, not only in that dated lyrical content, but also in the style of it all. This is the kind of folk that filled the world, even though Bob Dylan was rapidly changing the definition of folk music and doing it well. "Daily News" goes for the throat with a silly little atmosphere. There are plenty of Paxton tracks that use the same tactic. Seem all happy, lure in the listener, make them question the singer's stance for a second, then fully understand he is being sarcastic with a smile and a hidden switchblade. This track is immensely passive-aggressive, and I love it! "Daily News" is a song all about how the media was pushing false info, but that is alright since it has to be true! It is in the daily news for Pete's sake; do you think they would lie to us? Certainly not. In folk style, the track is a pretty short one, coming in at 2:17. But within that short playing time, Paxton touches on a ton of different topics, most of which poke fun at those believing in everything they read. Topics such as the Red Scare, which had true-blooded Americans searching for that evil rusky that lives in their sweet little clean suburb. Human rights?! Leninist Peace? Try communism. The businessmen are our friends and want the best for us. I have a couple of favorite lines from the song. I mean, obviously the chorus is a damn good one: "Daily news, daily blues, pick up a copy any time you choose, seven little pennies in the newsboys hand, and you ride right along to never-never land". Funny approach to poking fun at people. What else do we have? Oh! "Don't try to make me change my mind with facts, to hell with the graduated income tax". We cannot forget "J. Edgar Hoover is the man of the hour, all that he needs is just a little more power", which sounds strangely similar to something we are going through now. Shit, this whole song screams the same message people are spreading today! I guess things never really changed, just the way that we get force-fed this junk. I am sure that Paxton got put on a watchlist alongside other musicians, even if the Red Scare was cooling down by 1964. Though the fight between this American utopia of bootlicking and putting up fences to keep out the outside world, and reality, never really left. Be it the counterculture of the late 1960s, the several civil rights movements, unions, or anything else that even shows a glimmer of hope and progress, there is always a large portion of the country fighting to destroy it all for their own selfish or foolish place on this planet. What place? Well, middle-class living, the American dream. Trade all your time, energy, love, passion, and humanity for a chance of having your own boat and a wife you hate. Ain't life grand? Alright, we aren't here to talk of those opinions that I warned against in the first portion of this post, but this shit gets old. I cannot believe a song from 1964 is just as relevant today as it was then. We are screwed as a species. We have failed. We burn everything worthwhile just for a chance to see the flame eat it all up before we even get to feel the comforting heat. I cannot believe I have to waste my life away while others get to kick their feet up on my back. There are no straps to these boots, nothing to pull myself up by, since it is the same pair of boots that downtrodden people have been wearing for decades. Secondhand world blues. Alright, I think I will end the post there on a positive note. While this is a silly little song, it is as serious as they come. Will we ever change? Will that change ever be for the better or stick around more than a couple of months? What is truth? You might get a taste of that truth from Tom Paxton; give it a spin! Enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1964
Album: Ramblin' Boy (1964)
Genre: Folk
Mood: Comical
​Perfect For: Casual listening, A little bit of a history lesson, Taking a break from social media
Where To Next: "Deportee" - Woody Guthrie
Rating: 8 / 10

"Low Desert Punk" - Brant Bjork

     Man, I still got "Dreadlock Holiday" stuck in my head. But we aren't here to talk about 10cc again; for today we have Brant Bjork, an icon from the Palm Desert scene for stoner rock. I am sure you are learning all kinds of different rock subgenres here, something the genre isn't quite known for in comparison to metal, EDM, and rap. The subgenres of rock are massive and sometimes don't even make as much sense as the others. There are few actual scenes in the rock world; most of them are scenes that took fold across countries more than in set sections. Brant Bjork is associated with the Palm Desert scene, something that is mostly regional, but the scene itself is part of a bigger movement that stemmed from doom metal and traditional hard rock, stoner rock. Stoner rock is the more chill version of its brother, stoner metal, a genre that serves more as an umbrella term and also has little lines dividing bands that have similar sounds. I have never considered stoner metal to be its own entity, but more an evolutionary path from doom metal that, in time, got consumed by stoner rock. Now, stoner rock is made up of bands like Queens of the Stone Age, Kyuss, Sleep, and Fu Manchu, while stoner metal is more bands like Orange Goblin, Electric Wizard, Acid King, and the like. Those two set sounds are mighty similar, but there is no doubting bands like Electric Wizard are both heavier and less commercial than that of Fu Manchu. Heaviness and commercial appeal play a direct hand in placement for some subgenres, and for bands like Mötley Crüe, it is what often strains their ties to heavy metal, even if the roots, imagery, and fast-paced style sound similar to bands like Tygers of Pan Tang. Mötley Crüe has little to nothing to do with stoner rock; I am just using them as an easily placeable name to show what I mean. Anyway, enough about all of that for a second. Who is Brant Bjork? And if he is so famous, why do you not recognize the name like you did some of the others above? That, sir, is because the genre he comes from barely had any true commercial success, but for those within the inner folds of the stoner rock genre, Brant Bjork might as well be one of its icons. Get y'alls notebooks ready since this dude has a damn impressive background of quality groups. Bjork started out as the drummer of the stoner rock cornerstones, Kyuss. That group is one of the most important and essential bands from the stoner rock genre. Kyuss comprised of Josh Homme (Queens of the Stone Age, Eagles of Death Metal, and many more) on guitar, John Garcia (Sloburn, Hermano, etc.) on vocals, Nick Oliveri (Queens of the Stone Age), and Brant Bjork on drums. Those four released some seriously unique stuff for their short career with Kyuss, but that is something I will save for another time. Due to different visions for Kyuss, especially between Josh Homme and Brant Bjork, the band fizzled out in 1995 after only releasing four solid studio albums. Following that breakup, Brant Bjork stayed active and opened up his own label, El Camino Records, which mostly put out albums that he was directly involved in. Bjork got around at this point, playing with many bands and helping put out records for punkers and stoners alike. His next big move was getting together with some of his past bandmates in Kyuss and some others and creating a musical collective known as The Desert Sessions. Those sessions meant playing shows and putting out little EPs, which I have only listened to half of, but they are all fun with a pretty wide assortment of musicians from the rock and metal world. The first EP was released in 1997 and was called Volume 1: Instrumental Driving Music for Felons. Those are some fun and quick pieces of music if you want to hear what core desert rock sounds like. Anyway, while those are fine and dandy, Bjork was having that itch to get into his next thing. That came in the form of a brief time with Mondo Generator and a longer stint with Fu Manchu, which he helped produce their debut and then signed on full-time for the band's 4th to 7th studio albums. Truth be told, Fu Manchu always sounded best with Bjork on those drums, but maybe that is just a me thing.

     Our focus is technically on Brant Bjork's solo career. Now, I hate to admit it, but I haven't run too deep into his discography. I first came across our song of the day and the album it came off, Jalamanta, back when I was 18. After first hearing "Automatic Fantastic", I dedicated the day towards Brant Bjork, even before I knew he came from Kyuss, a group I was also just getting into at the time. Since then, I have been sucking the tracks I gathered that day dry but have yet to push much further in. When it comes to my studies, I frankly dropped the ball with gathering up some Brant Bjork albums and thus, need to wait until my current studies are done and then go back and gather all the good tracks I can stomach. While "Automatic Fantastic" might have been the first song to hook me, it was "Low Desert Punk" that sealed the deal when it comes to loving his style. Jalamanta is my home for Brant Bjork, something I hope to challenge soon. Looking at the stream counts for him, it seems others agree that this is his championing album. I mean, it is fair; this is his debut and came along during the later highlighted years for the core desert rock genre. "Low Desert Punk" is a perfect place for any budding fan of both desert rock and Brant Bjork. The intro takes a full 28 seconds to come into full action. That intro always gets me on the edge of my seat, and when the song kicks off, man, does it give me some goosebumps! You can tell Bjork never lost that thing that he found within his first band, Kyuss, but within "Low Desert Punk" there is certainly that sound he sucked up from Fu Manchu as well. The background work from the guitar is core Kyuss styling, but the bass and drums mixed with the vocal work is something of Fu Manchu. This debut was released in 1999, and while it is a respected album in the stoner rock genre, there weren't too many ripples made from its drop into the mainstream music lake. Pretty well everything you are hearing on "Low Desert Punk" is all Brant Bjork doing his thing. Unlike Kyuss, there is nobody here telling him what he can and cannot do; it is all him. "Low Desert Punk" has strange yet lax lyrics, something the album has in bundles. Jalamanta is a pretty chill ride. Fu Manchu can sometimes get that blood pumping, something perfect for drag racing or skateboarding. Kyuss is intense; they always make me feel like I am walking through the desert on a record breaking hot day. Now, when it comes to the solo work from Brant Bjork, on this album at least, it feels like you are simply cruising. Not holding up the fast lane, you know, but cruising at a fair speed. Arm out the window, feeling the sun eat at your flesh, but the muggy air keeps that skin feeling fine and fresh. I wish I knew where Bjork went next with his sound, but that is something I will have to find out in due time. I do know one thing: Brant Bjork was involved with a solid hidden gem of stoner rock in 2013, a little release from Vista Chino called Peace. Vista Chino only released one album, but that one album is damn good! I accidentally stumbled across it a year or two back and was instantly blown away. Heavy stuff but always balanced by that sunbaked stoner rock feeling. If you want a quick sample of that one, I strongly suggest "Planets 1&2" but Peace is the kind of album you could really start on any track and be pleased with. It is a shame that it is the only album ever put out by Vista Chino, especially having most of Kyuss there for the ride aside from Josh Homme. That guitar slot is filled up by Bruno Fevery, who does an outstanding job. Anyway, I only scratched at the albums that Brant Bjork was involved with. Though, for his solo debut, we have "Low Desert Punk" which is one solid introduction to his material. Stoner rock tends to be a copy-and-paste kind of genre, not that that is a bad thing, and we have had few better additions to the website from the genre than that of "Low Desert Punk". Enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1999
Album: Jalamanta (1999)
Genre: Desert Rock
Mood: Mellow
​Perfect For: Cruisin' but not for a bruisin', Casual listening, Hot as hell summer days, Riding motorcycles
Where To Next: "Saturn III" - Fu Manchu
Rating: 8 / 10

"Dreadlock Holiday" - 10cc

     A couple of days back we talked about prog giants, Gentle Giant, and in that post we discussed a little bit about the progressive rock genre. Well, one thing I would like to add is how the lines between art rock and progressive rock are often blurred. 10cc is an example of just that. Now, I know a lot of prog fans might poop their pants when I throw 10cc into their little selection of unknown and underrated bands, but I feel they deserve a place in the ranks. Sure, maybe in progressive pop more than anything else, but some of their tracks sure use the same styling and atmosphere as progressive rock. Today's choice is certainly not a prime example of that, but the band as a whole has plenty of tracks that fit the grade. Practically their whole second album, Sheet Music, backs up the claim, but once again, those lines are blurred. 10cc comfortably sits in the throne of one of the most successful bands under the art rock genre before it took an even stranger turn once noise rock got thrown into the mix while in the 1980s. For those that didn't put it together, art rock is more of an oddity genre that has plenty of differing names in its ranks. More experimentation than that of traditional music. Some of the bands come in with a psychedelic approach, others use so much shouting and distortion to have you shaking in your booties, there are the bands that meld in all sorts of styles to create a sonic landscape of sound waves, and then there are those like 10cc that use pop as their vessel as they cross the seven seas of sound. 10cc is an odd group, but like those that actually made it into the mainstream from the genre, which is mighty rare, they knew that putting out a couple of radio-friendly hit tracks would do them well. Today, we have one of their ultimate commercial songs with "Dreadlock Holiday". Once you finish your playing of "Dreadlock Holiday", go check out some of the other tracks, and you will find some oddities within. I think this is 10cc's second time on AintNoisePollution, but their first was all the way back in 2024, so we might as well consider this their true debut since those old posts are rough. 10cc is made up of musicians you can just tell love making music. Their lyricism is often silly, their music videos are a joy, and their mental imagery matches their often zany atmosphere. Now, I want to point out that they aren't the kind of silly that is pure comedy, but more an example of how music could be done away from the mainstream rock sound and set lyricism. 10cc formed in 1972 by Eric Stewart, Lol Creme, Kevin Godley, and Graham Gouldman. Those four already had themselves a recording studio, Strawberry Studios, which would see some of the strongest in the alternative sound come through its doors in the 1970s and 1980s, and plenty of other genres, most of which already had a name for themselves. A forgotten gem of a studio, but the first band to actually find strong success in and out of there was the owners, 10cc. Each member of the band came into the studio with skills at multiple instruments, and to make things even easier, they knew their way around the mixing board. All the members main claim to fame is recording artists and their home band, 10cc. Kevin Godley and Lol Creme did have their own little group called Godley & Creme; some will recognize the track "Cry", which I personally fucking adore, more than anything they ever did with 10cc. Godley & Creme has a couple of solid tracks, but overall, there isn't a comparison between the two projects since 10cc was an important part of the background of rock and pop music during their time releasing prime albums. 10cc released their debut self titled album in 1973, a little hidden gem of tasty songwriting. A quirky album that fits strangely well into the musical climate of the time, but at the same time, hardly mixes in at all. "Rubber Bullets" is a go-to track on that album. 10cc was never known to stay in one place, and with all their musical backgrounds in plenty of bands and interests, it is only to be expected. Their albums often feel like a band searching for that key sound but chopping all around it instead of on the spot. That is part of the fun; each song brings in something new. Anyway, that debut is an essential listen for their discography, but nothing that made too big of a ripple upon its release. It was their third album, The Original Soundtrack, that had the band gaining some strong traction. The two albums following sold even better and are some of those albums that you cannot call yourself a 1970s music fan without at least sampling. Lots to love. Even if the band can get odd at some points.

     Our song of the day, "Dreadlock Holiday", comes off the band's last strong hit album, Bloody Tourists. A strange name, but a perfect companion to "Dreadlock Holiday". This was the album we saw the band taking a stronger stance in their sound, even being the first to be recorded with a six-piece band. Bloody Tourists was the band's hottest seller, but in retrospect, their previous 4 have a heavier impact. What made this album sell so well is the single, "Dreadlock Holiday", which released before the album and became a staple on pop radio. You can see why. Truth be told, I wasn't all too fond of this song the first time I heard it. Not due to the lack of quality, but simply since I wasn't in the right place when it first graced these dirty earholes. When I started into 10cc, it was one of the only tracks I knew from the band, and I expected the style to follow suit. I didn't understand at the time that 10cc played by their own rules and rarely stayed in one place. One thing that stayed around is the band's way of keeping art at the forefront. Each next song feels like staring at the cover of some fashion magazine. Anyway, "Dreadlock Holiday" slowly grew on me until it was here to stay forever. A lot of that is from how deep this song worms into your ears and memory. This is the kind of song that gets stuck in your head for a week at least. "Dreadlock Holiday" was on the list for tracks that could have been picked for Sunday's song of the day, but it got beat out by Willie Nelson. All is well since I strangely woke up with a deep desire to spin the track on the way to work Monday morning. Which turned to simply needing to hear it again while I made deliveries for my job. Which, naturally, turned into listening to it again on the way home. Then, as one would expect, one more time while I added it to the sacred playlist that serves as our landing point to each month's song selections. Even today I followed the same order for the most part, but this time I listened to it while doing stupid grunt work instead of driving. I am listening to it again right now, and I hope you are doing the same. To bond with me over the soundwaves. The music video for "Dreadlock Holiday" is a fun one. It follows the story of the song, something that I have always been conflicted about. Does the character really like these things? Or is he trying to get out of getting robbed? I think he came down there for that reason and was treated poorly by the locals. The song's lyrics are written mostly of true events recounted by Graham Goldman when he visited Jamaica and from the stories he was told by Justin Hayward (The Moody Blues) when he stopped by Barbados. While I am sure both of those places are beautiful and a great choice for a vacation, I think I would avoid it from the stories I have heard. "Dreadlock Holiday" is written with a very pop-forward approach. That chorus is damn catchy, some of the reason that this is the band's only #1 international hit, though it didn't do all too well in the US, which was only to be expected since 10cc never found as much success upon our shores, plus we were always apprehensive to play anything that resembled reggae music. A soft rock intro with a reggae feeling. Something easy to dance to, but is equally as easy to have a crappy homemade cocktail midday. Anyway, the lyrics are a little stereotypical, making it a little rough around the edges modernly. Even then, it didn't age all that poorly, more serving as a novelty track than anything. A great track for summer! Well, let's just let you get into the music, shall we? I am doing this post awfully late, and I am sure that the sentences hardly fit together. Guess we will see in the proofreading. Enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1978
Album: Bloody Tourists (1978)
Genre: Pop, Reggae
Mood: Silly
​Perfect For: Summer days, Casual listening, Positive moods
Where To Next: "Now That We've Found Love" - Third World
Rating: 7 / 10

"Funny How Time Slips Away" - Willie Nelson

     Here we go again with some Willie Nelson. I mean, I guess it has been awhile, 24 days or so, which is much too long to not be talking about this American icon. Willie Nelson was a revolutionary artist in the country world. He was a trendsetter, one of the biggest musicians in the outlaw country world, and more importantly, he was one phenomenal songwriter. The last time we talked about Willie was about his 18th studio album, Red Headed Stranger, which hit the shelves in 1975. This stage of Willie Nelson is where many people go when listening to Willie, but for today we are going to his early material, his debut out of 1962, ...And Then I Wrote. I might hold a strange stance on loving his early material just as much, if not more, than his outlaw stuff. I have a soft spot for early country, and Willie Nelson was one of the greatest from it, even if his sales never showed it. While his debut came out in 1962, Willie Nelson was well integrated into the country music industry. Before he released his own songs on a big time label, he had already written top hits for a large chunk of the country stars of the time. He started dishing out the songs he wrote in 1958, mostly for funds to simply keep alive. Though those that he was selling the songs to recognized talent and tried helping him along to stardom. It took a long while, but before he knew it, Willie was writing songs for the stars he was inspired by through his youth. Must have been a trip, to say the least. It sure would be a dream come true. Well, it wasn't only his lyrical prowess that got him noticed; he was also a strong guitarist and was obviously dedicated to all things music. Willie would regular the bars around the Grand Ole Opry and started to meet the stars, something that had him gaining traction fast. He would perform at the famous Tootsie's Orchid Lounge, and it was there that stars were hearing him perform some of his original songs like "Hello Walls" which Faron Young went and recorded after hearing him sing it, and had a big hit. Willie met the husband of Patsy Cline, Charlie Dick, who liked a song of Willie Nelson's that they had playing over the jukebox. After Dick talked to Willie and said he liked his music, Willie gave him a demo tape of "Crazy". Now, for those of you that live under a rock, "Crazy" was a massive (and I mean massive) hit for Patsy Cline. So big that it holds the record for the most successful jukebox hit of all time. And yeah, it was Willie Nelson who first penned it. Things were moving fast; he was meeting plenty of stars who were giving him pointers or scoring big hits off his songs, most of which Willie charged a criminally low amount for. One of the people he met was Hank Cochran, who worked for the publishing company owned by Ray Price, Pamper Music. Willie Nelson eventually got hired on by Pamper Music, and he was getting some solid paychecks coming through, and after Ray Price had a big hit off "Night Life" in 1960, Nelson was invited to take the place of then-bassist in his band, Johnny Paycheck (who would later go on to have a big country music career) who jumped ship. So, Willie went from day drinker and songwriter to being in a touring band, and while he was going around the country playing Ray Price classics and even some of his own songs, all the others he wrote were flying around and people were scoring hits left and right. Not bad for a dude who was on the bum for some time before finding himself in the right place at the right time. Our song of the day is one of those chart toppers that Willie wrote, originally put out by Billy Walker. We will get to that here soon, though. It is one thing to play for someone else, to write songs and rake in some cash while keeping your privacy, but Willie was meant for more. Destined to release his own albums full of all the great songs he already wrote, or would soon write. That chance came in 1961 when he signed on with Liberty Records, one of those labels that some artists take years to achieve. He got to work fairly quickly and put out two hit singles by the next year, "Touch Me" and "Willingly", the first of which had a home on his debut out of 1962, the fittingly named ...And Then I Wrote. 

     Now, for a shooting star the size and shape of Willie Nelson, you would have thought that album would strike the top of the totem pole, but you would be wrong. It failed to even chart on the US country charts but still served as a solid debut. Willie would go on to release 9 studio albums in the 1960s, and in my opinion, ...And Then I Wrote is one of the best. It holds some of the country classics from the time, but this time recorded by the writer of said songs. Not many can do it better than the man who put his heart into the words. The fun playing on words with "Hello Walls" which Faron Young had a big hit from in 1961. The vulnerable and honest feeling of "Crazy", which yes, Patsy Cline stole the show of, sorry Willie, but I am sure you know it to be true. Her version is chilling and so damn beautiful. We could go on about the songs people already recorded and had success with, and the songs that people would cover for the next ten years, all of which came out of Willie and his pen that was seemingly dipped in tears. There isn't a bad track on the album. For the Willie fans that came here expecting a normal-sounding song from the man, you might be caught off guard a touch. It is still Willie; you cannot mix up his iconic voice, but it isn't in a sunbaked bed of Texas twang, though it is still accompanied by his offbeat singing that makes you feel drunk at church. This early version of Willie is hellbent on being part of the crowd, to sing songs like the best country stars were doing it at the time. Though, he kept his core style of singing, something that held him down for years. Funnily enough, his idiosyncratic singing caused issues with the backing singers. They couldn't keep up or see what was coming next since Willie is famous for just jumping into the song at random. Song composition was left at the door, but that is what makes his brand of country stand out. Anyway, we could go on for hours about the strange styling of Willie Nelson, but that would make this one of those massive posts I try to avoid. Our song of the day is "Funny How Time Slips Away", one of the greatest country songs to come out of the 1960s, no matter who recorded it. Billy Walker got his hands on it and released the first version in 1961, a minor yet strong hit that had the song quickly becoming the next big thing to cover. Willie had his own version both on ...And Then I Wrote and his third album, Country Willie: His Own Songs in 1963. "Funny How Time Slips Away" has been covered a ton of times, and honestly, I don't know who has the best version. It is challenging to beat the first version from Billy Walker, but Willie's is just as good. Versions from Ray Price, Elvis Presley, Narvel Felts, George Jones, and Johnny Tillotson keep that country feeling. "Funny How Time Slips Away" also had success in other genres; Al Green had a big hit off it twice, once in 1973 and then again as a duet with Lyle Lovett in 1994. Joe Hinton had his biggest hit of his career with it. Miss Misty Blue, Dorothy Moore, has a damn good version. There are just so many waiting to be ripped apart, and all are good! Well, all the ones I have heard at least. If Willie touched it, more than likely it'll be gold. Anyway, "Funny How Time Slips Away" is best first taken in from the man who wrote it. If you aren't playing it, then what are you waiting for? Get spinning. The song covers a man who has seen his past lover, who he is still not over. I always see the scene in a bar, half drunk, or maybe a coffee shop. Lyrically, it is more set to the tune of Willie (or our character) coming back to a town full of old memories when he sees her. It seems like a normal, lonely day for our character, but here she comes, and even worse, she wants to check in. So, our character has to put on a brave face to reminisce on the things that are tearing him apart. At the end of the song, he lets the mask slip and tells her that she will pay for the heart she broke many moons back. We are left with a reminder of how surprising it is that time simply slips away. Our character is no better than he was when she first broke his heart. I find the Willie Nelson version to best paint the pain, while Billy Walker performs it best, but that man can sing like a bird. Billy Walker is one of the most underrated country artists to date. Each song I have heard him perform is sublime. "Funny How Time Slips Away" is a classic from the country genre, and the version we have here today is one of the best songs to explain the country climate at the start of the 1960s. A little more pop, a little more nightclub than pub, and all of that will change soon with a sound that Willie helped create. I come back to this album of Willie's more often than some of his others. I love all the songs that make up its 12-song tracklisting. Though, I will admit that "Funny How Time Slips Away" is easily one of the best parts of that album. So, load up some Willie and take it all in. This one is meant for wine, not for beer, so drink accordingly and wisely. Some artists and songs are simply too hard to contain in a smaller post and for what I couldn't say, I think the music will do all the right talking. Enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1962
Album: ...And Then I Wrote (1962)
Genre: Country (Nashville Sound)
Mood: Lonesome
​Perfect For: Reminiscing, Having coffee alone, People watching, Casual listening, Rainy nights
Where To Next: "Hello Walls" - Faron Young
Rating: 8 / 10

"Becoming" - Pantera

     Man, talk about whiplash. Gotta turn my hat the other way after just talking about the Bee Gees. Today, we have another Pantera track! Man, I guess I have been really obsessed recently. Pantera is the type of band to get obsessed about, though, and I hope they keep coming! Guess we will see how the post goes since I have talked about the band recently two other times with "Cowboys from Hell" and "No Good (Attack the Radical)". Think of it as a sampling since the previous two followed the order of the band's main studio releases. Today we have one of the best songs off the band's seventh studio album, Far Beyond Driven, their third studio album since the absolute breakout success of the thrash cornerstone, Cowboys from Hell, in 1990. Pantera proved their metal on their previous album, Vulgar Display of Power, in 1992. They were hellbent on releasing an album that could get as close to the extreme metal genre without falling off the mantle of mainstream heavy metal, something they did with aggression and metal prowess. It was an album meant to rekindle hope in the thrash metal genre following the sacrilegious release of Metallica's black album in 1991, an album we adore modernly, but was a big kick in the nuts of the often obsessive metal community. Well, Pantera sure showed that the spirit of the genre was alive and well with the band. Those that were adamant soldiers of the Metallica army jumped ship and joined in with this new and powerful metal army, Pantera. I wonder if I would have. More than likely I would have loved both equally, since both are so damn intense and enjoyable in their own right. Anyway, after becoming the beacon in the dark of mainstream metal, gods of the groove, Pantera had to put out their next studio album or fall victim to being forgotten about by the casual music fan. This came in the form of their 1994 classic, Far Beyond Driven. For many, this is the last true great Pantera album, but for core fans, we will still have two more studio albums after this one. Still, you can tell this is the last with Pantera knowing what they wanted out of the album. From start to finish, Far Beyond Driven is another perfect album from the band. It keeps all that energy from their previous two but allows in some minor experimentation with other heavy metal genres while still keeping their core sound intact. You could easily jump into this album for your first Pantera one and enjoy the hell out of it. In that, it isn't all too shocking this was Pantera's fastest-selling album to date. It practically debuted at the #1 spot on the charts and achieved platinum status in both the United States and Canada. One of Pantera's most famous songs, "I'm Broken", comes off the album, and that goodie is Pantera's highest-charting single of all time. The music world wasn't nearly as obsessed with singles during the 1990s, especially with the massive decline in vinyl sales, but even with that, "I'm Broken" went on to be a definitive metal song of the decade and also was one of the leading reasons that Far Beyond Driven did so damn well, with the single being released 2 weeks before the album dropped. Anyway, reviews were conflicted; some praised the band for this harder sound, while others said that album fell short in comparison to the last two. What do I think? Thanks for asking! I think that Far Beyond Driven is a bona fide Pantera classic, buuuuut it certainly doesn't have the same gripping appeal as the previous two. Not one you should even think about missing out on, but one that you don't need to call up a taxi to go pick up right now. Tracks like "Becoming", "Throes of Rejection", "5 Minutes Alone", "Shredding Skin", "I'm Broken", and "Strength Beyond Strength" are damn good tracks! Though, there are some oddities on this one in comparison to the last two, which had only perfect songs. The first that comes to mind is "Good Friends and a Bottle of Pills", which is a plain peculiar track that I cannot help but listen to in completion each time. That song is like seeing a train full of perverts on fire crashing into a glass factory. Though, here I am still playing it right here right now, just a mess of a track you cannot help but kind of like. Anyway! There are ups and downs on the album, but I still fuckin' love it, and that is something the grand majority of metalheads would say the same. You gotta give Pantera credit for having likely the most extreme metal album to hit the top of the charts up until that point.

     We have discussed the band's previous two albums cover art, so it should be no different with Far Beyond Driven. If you are a Pantera fan, you already know what I am going to talk about. Also, if you are like me, you couldn't help but go look up the original artwork and instantly regretted it. Pantera first wanted the album cover to be a picture of a drill going up some dude's ass. Yeah, not sure what they were thinking either. "We should totally have our next album be some hairy ass with a drill going into it" is certainly some drunken thoughts that everyone chuckles at and then forgets by morning, but nope, they actually wanted to go through with it. Though, as you would expect, the record label said, "How about no?" and, alongside Pantera, got back to reality and started thinking up the actual album cover. I suppose that the whole drill going into some guy's ass still did see the light since the vinyl release of the album features that artwork. Gonna be an awkward time at Greywhale when I go pick that sucker up one day. The record label was worried it would affect record sales, something it likely would have, or like some other groups out there, it might have sold even better. I know for a fact that the main retailers of America, like Walmart, wouldn't even think of putting their album out for sale. Shit, they pulled a Goo Goo Dolls album since some prudish old lady didn't like the look of their album art, so what do you think is going to happen to Pantera? A band that was helping lead the precious sparkling youth of America to sin, though they were already full of it. Everyone settled on having the drill stick around but have it going into some dude's skull instead. A wise choice. I respect the shock appeal of the original album artwork, buuuuut I am glad I don't have to have that sucker displayed on my Spotify when I listen to the album's many outstanding tracks. Pantera really doesn't have the greatest artwork in comparison to some other bands, even if they became iconic ones due to cultural impact on the metal genre. Alright, how about we jump into our song of the day? "Becoming" is a track about Pantera being who they are. According to vocalist Phil Anselmo, other top dogs in the metal world at that time were starting to go down the path of commercial appeal to keep in the limelight. The loss of ideas and freshness just in turn became a quest to stay relevant. Pantera kept true to their creed and kept the fundamentals of heavy metal alive and well in "Becoming". It was a song that Pantera put together to show that they moved on from becoming and have now arrived. Anselmo has also said that it is one of "gloating, puffing your chest out, and being very tongue in cheek", which is damn accurate. As a listener who focuses a lot on lyrical content, bands that have a lot of "I will kick your ass" lyrics have always rubbed me wrong. It seems to be written for the violent losers that fill our streets. There is an appeal there, in that there is no doubt, but overall I don't wanna be always listening to songs that are honestly kind of douchey. "Becoming" is a fuckin' kick-ass song, but man, is it cocky. Pantera has a couple of these types, and Ansemlo took that with him pretty well everywhere he went. Once again, I can see the appeal. It probably feels really good if you think of yourself as a hard motherfucker. "Becoming" once again saw Pantera pushing the limitations on mainstream heavy metal, and with that in mind, it serves as a wonderful entry point for those wanting to move into the extreme metal genres but don't know where to start. I ain't saying "Becoming" is Dimmu Borgir, Cannibal Corpse, or Dying Fetus, but in comparison to tracks on the same radio stations playing Pantera in 1994, like "Black Hole Sun" from Soundgarden and "Closer" from Nine Inch Nails, it is damn heavy. Just hear that intro! Shit comes in mighty furious, and the fun guitar playing from Dimebag Darrell is hard driving and memorable. That little squeal that comes out of that guitar became a minor trope in plenty of heavy metal from that point on. Tough-guy lyrics that fit the atmosphere wonderfully get the show stolen by the guitar work and drumming. That constant thumping and headbanging-inducing drum work from Vinnie Paul is a treat. This track sounds fuckin' great in my truck when played loud, the power of subs, and that is exactly when this song was added into the potential choices for the day. Shit, I guess the deal was sealed at one of the best parts of the song from 2:05 to 2:22 when the drums and guitar beat the shit out of each other. Pantera had synergy, in that there is no doubt, and that is shown best on "Becoming". Fuckin' powerful song that I will never get over. It starts mean and ends grooving, something you should always expect out of Pantera. Alright, I think that will work as the post. Sorry for dropping two on you on the same day, but here we are. Be it Bee Gees or be it Pantera, I will try my best to keep the big hits and the deep cuts coming to please your rock n roll soul! Enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1994
Album: Far Beyond Driven (1994)
Genre: Groove Metal, Thrash Metal
Mood: Proud
​Perfect For: Working out, Playing loud, Working, Banging that head, Smashing heads together
Where To Next: "The Rage to Overcome" - Machine Head
Rating: 9 / 10

"Tragedy" - Bee Gees

     Sorry for not posting yesterday! But when it comes to having a good time and supporting a friend, there is no need for apologies. We are here today; that is what matters. I have two damn good songs to bring to you, though both choices are day and night from each other. The first of the two comes in the form of groovin, night feverin', discoin' legends, Bee Gees. Yes, all of you know the Bee Gees, and today I have one of their most successful and enduring songs to ever hit the charts, "Tragedy". Man, oh, man, is this track a goodie! I won't lie, it is all about that chorus that has you bumping along to it with a natural knack. Anyway, the Bee Gees finally have their home on AintNoisePollution, something that would have likely had me flogged and gagged back in the day due to the rocker vs. disco beef. Though, who gives a fuck? People are too obsessed with others tastes, but as a music historian, I can also see how disco was seriously bad news. Disco, like punk rock, helped put a nail in traditional rock music coffin. Punk showed that you could play fast, recklessly, and without purpose and sell albums like hotcakes, or become kings of the underground. Now, disco showed that you needed something solid and easy to dance to, and people would come flocking to buy up your records and listen to you in clubs. That isn't anything all too new, but it was the ushering in of club culture and party culture when it comes to music. No more earthy notes, no more need for long guitar solos of fire; it was the time of easy to get behind lyrics meeting easy to get behind playing. Nothing wrong with that, but what is wrong with that is how hard and fast it came in, especially with punk gaining so much more power by the end of the 1970s. It forced a lot of bands back into a corner, and those that wanted to keep on the charts had no chance but to change their sound to keep the lights on back home. Eagles did it, Fleetwood Mac did it, shit, a good chunk of the big bands of the time switched up to keep in the room. Granted, some of those disco laced songs of theirs are their most enjoyable, so it wasn't all too bad. Punk got new waved, progressive rock got popped, country got crossovered, and rock started to fall out of the limelight. Though a good thing did come from the disco shock of the mid to late 1970s; some genres decided to go all in on a harder sound, something that spawned hardcore punk, outlaw country, and heavy metal. It caused this rift we can still feel to this day. It was a transitionary point, a necessary evil, and the Bee Gees were one of the biggest names to help usher in that shift. Once again, I am not talking down on them for that, but I am also not praising them for it. I am not the type of rocker to shun disco; there are a ton of artists and songs that I simply adore, and the aesthetic is so damn cool, but at the same time, disco pretty well shot my music baby and kicked my two dogs named Rhythm and Blues. Anyway! In a strange way, the Bee Gees were almost victims of the change themselves and also felt the bite of the genre's final days in the spotlight. The band started out much differently than what they are known for now. First off, some don't know that the Bee Gees are all brothers, and also people might not know that the Bee Gees were a band all the way back in the 1960s and even started up in the late 1950s under the name "the BGs". Their first album came along in 1965, and in style it follows what was going on across the globe at the time. I am talking Beatles-laced rock/pop that hardly sounds anything like their breakout sound. That album is fairly accessible now, but it took the album 48 or so years to actually be released on physical format internationally. Anyway, the band's debut, The Bee Gees Sing and Play 14 Songs, didn't make too much of a dent on popular music upon its release in 1965. It is the only Bee Gees album to be released under "Barry Gibb and the Bee Gees", and overall the album is more of a compilation of their previously released singles. An interesting one to listen to, especially if you go there straight after listening to the disco hits. Still, it was a start. Their second album followed suit, a strange album to go take in, but overall it is good. I prefer their debut, but Spicks and Specks is still a stand-up album, especially if you like the beat brand of rock n roll of the 1960s. For their third album, Bee Gees' 1st, the band finally got their name out there. That 1967 album was the first Bee Gees album to be released internationally, and it was the one that got people talking about this band. Bee Gees' 1st is a serious step up from their previous two. It sees the group taking on a more psychedelic style, something mystic and mellow. Truth be told, tracks like "New York Mining Disaster 1941", "To Love Somebody", "One Minute Woman", and "Holiday" are some of their best songs, and if you are someone who has only heard disco Bee Gees, I strongly suggest going back and checking that album out. It is much better than you are expecting. More pop than rock, but it serves as the Bee Gees greatest tie-in to the rock genre. The group took this newfound fame and ran with the style, releasing Horizontal and Idea in 1968, which kept that same style, but they all fall a little short to Bee Gees' 1st, if you ask me. For their sixth album, 1969's Odessa, the band moved to their third style change, something with a more progressive nature. 1970 saw them going folk for Cucumber Castle, and within the same year they found their home in the pop ranks for good with 2 Years On, which they perfected on the hidden gem out of 1971, Trafalgar, man do I dig that one. From then on, it was ups and downs of pop-based music; sometimes it was rockin', sometimes it was progressive, and they even threw some country and R&B in there from time to time to keep things interesting.

     It wasn't until 1975 when they had their first titan, and their first to show full disco roots, Main Course. For any disco fan, pop fan, and even rockers, this is one essential album. This was the Bee Gees first true big-time hit, and it was the one to really kick-start their career, even if it was their thirteenth album. Talk about hard work for little gain. But..... They made it! Now everyone knows the Bee Gees name, and that is all thanks to Main Course, and following the strong release of that album, each one after just got stronger as they leaned into the now flourishing disco, funk, and R&B genres. 1976 saw the band going full disco on Children of the World, and after the massive success of the movie Saturday Night Fever, in which the Bee Gees comprised the majority of songs on, they were now sensation artists. No longer obscure psychedelic, forced pop stars, or any of those, they were now there at the front of the disco scene, hairy chests and all. Finally, we get to the album that holds our song of the day, Spirits Having Flown. This is one of the Bee Gees greatest showcases for their talents, but like Icarus, they flew too close to the sun and had their wings burned. It was the last album of the Bee Gees to do well in the US; half of that came from the unjust blackout of disco music in the 1980s following the "disco sucks" movement that had DJs, record stores, and music listeners pulling disco from the shelves due to backlash. Strange, huh? Radio programmers preferred the next big thing, new wave and pop rock, and agreed to kill off the genre. Kind of crazy each time I remembered that happened. Truth be told, it makes me sad for the Bee Gees, since they had already been doing music for so damn long, and just like that, they had the rug pulled out from under them due to selfish folk. A tale as old as time. The Bee Gees were the poster boys for disco music and thus got hit by the blackout the hardest. This is just in the US for the most part; other countries still ate up the band for the majority of their career, but they lost the support of the US, which has a lot of music fans dying to spend their money in a consumerist society. Anyway, Spirits Have Flown has a stinker track here and there, but the ones that are good easily make up for the gaps. Today we have a song that could easily sell the whole album, "Tragedy". This is one catchy as hell song, especially in the chorus. The vocals are led by Barry Gibb, but the harmonies brought forth by his brothers Robin & Maurice show off the band's signature vocal harmony sound, something they will forever be highly respected for. "Tragedy" controlled the charts, and it was the 5th of 6 consecutive chart-dominating singles from the band, putting them up there with the Beatles and Elvis, who pulled off the same feat. The track is one of the Bee Gees most successful songs, and that hasn't changed, being the seventh most streamed Bee Gees song on Spotify. You can see why—the vocals are chilling, the power is difficult to contain, the chorus is divine, and even though the song comes from the often copy-and-paste disco genre, it is 5 minutes that keep you hooked with the band putting together a compelling song that, while being obsessive with that chorus, still keeps things interesting minute by minute. Just the other day I heard the Foo Fighters cover, which is plain odd, from the band's offshoot Dee Gees, but it just goes to show that even the most beloved rockers out there still loved them some Bee Gees. Also, it is comical to hear Dave Grohl singing so damn high. It is indeed a daunting task to cover the vocal work of Barry Gibb; he has some high-ass vocals. Anyway, while this song is so crystal clear you would think there was no room for experimentation, just wait until you hear the explosion noise around the middle of the song, which breaks up the repeating chorus with, well... an explosion. I love that part; I always look forward to it, and while you might think that was another sound effect added to a record, it is actually just Barry Gibb blowing into a box that distorted his vocals. I mean, that is nothing all too profound, but it is an example of how production was getting more and more up to modern day, where you don't need to do little tricks to add in sounds. Some of the reason I find modern recording much more boring, is that there is often no soul. You want a certain style, sound effect, or what have you? Just add that shit in, I guess. The modern age is a day of cop-outs, but I am sure you don't want to hear that from some butt hurt dude that is obviously sucked into older music, so take it with a grain of salt. Anyway! I am glad to have this track here, but I will warn you, if you play it right here right now, you are going to have this song stuck in your head for the rest of the week. Enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1979
Album: Spirits Having Flown (1979)
Genre: Disco
Mood: Dramatic
​Perfect For: Dancing, Casual listening, Working, Night drives
Where To Next: "Daddy Cool" - Boney M.
Rating: 9 / 10

"Satisfied" - Rebelution

     Welcome back! You ready for some reggae? When I think summer, my brain always goes to metal. For some reason, I dig metal the most during the summer. Could it be the rage of burning to death? The lively nights? Who knows? But I think that there is no better genre to suit summer than reggae, even if I prefer metal to it. Reggae is made for the sunshine, to enjoy all that is in the light and feel the grass. Rebelution is the epitome of just that. Now, Stick Figure, on the other hand, compliments summer nights. The city lights, the thick summer air, and all that jazz, but Rebelution is made for the sun. Anyway, before we get into who the band is, I wanna shine some light on something pretty damn fun. Now, as I have mentioned once or twice before, I check the spotlighted artist's website before I do one of my posts. It is a good way for me not to miss any news, to see if their merch has any sales, and to gather inspiration. Rebelution did something pretty fun for their new single "Back in Time", which released mid-May of this year. Their whole website is outfitted to look like a MySpace page. When I first clicked it, I swear I saw little kid Caleb sitting in this chair for a second. Sticky cheesy fingers and all. It was a flashback, to say the least. Now, I barely missed the main days of MySpace. I had one, and I decked it out with all sorts of Jak and Daxter, Green Day, and cat pictures, but I was never all too active. I mean, as a kid whose real-life friends had parents that wouldn't allow it, or didn't have internet, there was no reason to be active on there. I think I had a few friends from online games like Gaia Online and the like on there, and being an unsupervised minor, it was probably best I never jumped on. Anyway, Facebook came and stole it all away and also changed the internet forever. Sometimes I reminisce on those early days before social media ruined society. Oh, how we have fallen. Still, there are cat pictures at our disposal 24/7, so I guess social media and the internet ain't all that bad. Anyway! Getting way off track. Yes, Rebelution changed up their website to be a throwback to match the lyrical content and atmosphere of their newest single "Back In Time". I respect Rebelution up and down for actually doing something with their website. I have visited hundreds of artists websites since AintNoisePollution went live, and some of those websites are still from the early 2000s. Some take me to a GoDaddy "cannot find" page, which always makes me a bit sad for the band, and then there are those that use modern website designs hellbent on giving you an epileptic fit. If you are looking for some new merch, Rebelution always has great shirts on sale on their website; go check it out. Just thought I would let you know about the website design if you want to reminisce. Today, we aren't talking about "Back In Time". Today is the day for "Satisfied", which comes off the band's most recent studio album, In the Moment, which was released back in 2021. I won't lie, I get stuck in comfort albums with reggae groups, and Rebelution follows suit. Still, I have listened to that album a good handful of times since its release, and through my listens, I can say that tracks like "Initials", "Places Unknown", "Old School Feeling", and "Satisfied" are just as good as their core early material. Especially "Satisfied" which I often play, and as of recently, have been playing more than any other Rebelution track. I will say, "Satisfied" makes me feel sort of out of place. All of that comes from one simple line in the main chorus, the line "Sticking to the plan to the T, keep it fam, keep them satisfied". I know, it sounds dumb, but as someone who has stayed away from modern lingo unlike those other crazy kids (shakes fist), this is the only track that I have in my collection that talks with that street manner. It sounds good; it keeps the vibes up, and it is a powerful song for the fans and what Rebelution stands for, but it just makes me feel weird when it really shouldn't. Shit, I listen to tracks that use such outdated lingo I should feel odd listening to that more than modern lingo. Anyway, I just wanted to throw that out there, as stupid as it might sound. GET OFF MY LAWN!

     In the Moment had four singles come from it, "Satisfied" being the first, and in my opinion, the greatest track off that album. They recorded the album during the Covid pandemic, and thus it follows suit with a lot of the albums out of that time. Tracks that have you thinking for the future, songs of loneliness and fear, and those of unity in dark times. Overall, the album is pretty damn positive, but that was already a Rebelution thing. Vocalist and primary songwriter Eric Rachmany can always calm the storm within you. Unlike some of the "don't worry, be happy" reggae songs, he seems to be talking directly to you. He approaches hard topics with reality, that yeah, things are tough, but it is for you to decide how to handle it. To find that courage to grow, to find a home within yourself, to keep it real fam. Did I do it right?! Fuck yeah, cool with the kids now. Look at me go! Truth be told.... I am not even sure if that lingo is still used. Shit, the youngest person in my life is my stepsister, and she hardly talks, so I don't even know how it is now. Back to it. "Satisfied" is a joy from start to finish. My favorite part of the song is that intro, man, is that intro a good one! Peaceful from the get-go, and in Rebelution style, it builds a humid atmosphere before the drop from the drum comes in. For the first 30 seconds, the layers build until everyone is there and the chorus kicks off. That chorus is catchy as all sin, and the guitar in the background paints a picture of a smoke-filled room. You practically get a contact high from just hearing it. Lyrically, the track is one of unity, being part of a community of free-thinking Rebelution fans. It moves into Rebelution telling you who they are, a band that wants to give you a good time and to help you along your day, to keep you satisfied. The song comes in mellow and leaves mellow, and then you are left with nothing but a more positive outlook. I just finished listening to it again, and switching back over to Kamelot is sure a strange whiplash. Anyway, I look forward to seeing what the band does next. "Back In Time" was a decent track, and I would like to hear more. It has also been a good while since seeing the band live. I missed them when they came through Salt Lake City for the Reggae Rise Up stuff in 2025, but it was a joy to see them back in 2022 during the tour supporting In the Moment. I remember them doing "Satisfied", and if I recall right, I listened through In the Moment the following day since I was dragging my feet on getting to it. I already knew "Satisfied" since I first added it through my playlists when it came out, but I had still yet to have heard the other tracks. All is well now! Look at where we are today, here with Rebelution. This is the second time they have shown up on the website, the first being back in July of last year with their early gem "Attention Span", which is on their debut. Rebelution shot into reggae stardom instantly with that debut of theirs, and they have become a household name within modern reggae. It is easy to see why. They are catchy and positive with moody beats, and they separate their dub from their standard reggae rock sound, keeping a more mainstream thing rolling. Rebelution helped kickstart the next wave of reggae rock and California reggae. It is 2026, almost 20 years after they released their debut album, and they are still putting out great stuff. They also tried keeping up with current trends, which makes reggae fans like me back up a little bit, but it lures in legions of new fans each year. In the Moment debuted at the top spot on the reggae charts upon its release and even managed to achieve #22 on the album charts of that year. Good for them, and honestly, good for reggae as a whole. In the US, the genre never did strikingly well aside from Bob Marley and the more alternative rock songs from Sublime. But now we have so many top-tier artists making waves on the chats, and the genre is getting melded into the other genres with striking speed. I have been seeing and hearing more "reggae metal" or whatever you would call it popping up and hearing popular artists trying their hand at reggae, giving the genre more coverage than it has had in a long time. I used to get a "Hey man, I like your shirt" very rarely when I rep reggae merch, but now I hear it more often. The last turnout for Stick Figure was crazy, easily one of the busiest concerts I have been to at Utah's largest music venue, USANA, or whatever they call it now, but I refuse to call it otherwise. When pondering what is next for music, which genre would take over, I always had in the back of my mind that reggae might be next up. It just makes sense. But honestly, I don't see that happening. I think it is much more popular now, which is great, but there is no overthrowing the powerhouses of pop, R&B, and rap right now. Maybe when peace is achieved in the United States, reggae will have a home. People want a "feeling myself" anthem right now; it just complements the selfish nature of modern society. Reggae has many questions people don't want to be asked. Well, I guess we will see what the future brings, and I hope it brings a new Rebelution album soon. For now, I give to you "Satisfied". Enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 2021
Album: In the Moment (2021)
Genre: Reggae
Mood: Uplifting
​Perfect For: Driving in the heat, Picnics, Having a beer midday, Getting stoned, Boating
Where To Next: "Best Has Yet to Come" - The Expendables 
Rating: 8 / 10

"Nothing at All" - Gentle Giant

     Alright, we have had some pretty heavy choices this last little bit. Maybe we should cool it on down with some progressive rock. As I have grown older, progressive rock has spoken increasingly to me. Honestly, it does make sense. The genre is known for its more complex song structures and is also respected as the ultimate place to find immense talent. On paper, you think that would draw people in like flies to dead bodies, but it wasn't the case. Very few progressive rock bands made it into the limelight. The grand majority of the progressive rock legends that came out of the 1960s and 1970s gathered a passionate cult fan following but never found themselves with much dough for how damn impressive their music is. Music is all about expression, and that expression is best found in dance-forward music since it is something that feels good on the inside. Prog rock isn't meant to feel good per se; it is meant to be a showcase on how powerful music can be when immensely talented multi-instrumentalists get together to paint with soundwaves. Unlike the majority of rock genres, progressive has a heavy emphasis on studio work and a heavy emphasis on you taking that album home and listening to it intently. Not a spot of angst, not a spot for a simple backbeat, but a place for music fans to get their dose of music like it was performed way back in the day, but this time with screaming guitars, long instrumental breaks, deep lyricism, and often hard rock fundamentals without the hard rock "copy and paste" song styling. The genre had its heyday in the 1970s, and bands like Yes, Rush, Kansas, and a couple of other groups found big time fame during this time. Groups like Rush, Kansas, and Electric Light Orchestra knew when to lay that progressive sound on thick and when to back off to still be able to get radio hits and sell records to casual music fans. Some artists like Kansas, The Moody Blues, ELO, and plenty of others eventually dropped most of their progressive roots in exchange for a more publicly pleasing sound. Behind the big names, there were ten just as potent groups putting out just as impressive material, but they hardly sold albums, and they also hardly played shows, both of which is a good way to have a short-lived band. When punk rock came around, that was the true death for the genre. Shit, punk changed so much about the music world I would need a section just for that. They gave music a mass explosion in expansion, something we are still feeling the effects of today. The big bang of popular music. A necessary evil, but one of the genre's biggest enemies was progressive rock. Punk showed that you didn't really need to even know how to play instruments to put out a hit record. It indicated that expression in music didn't come from moving suites; it came from raw energy that often got more fans that understood and felt the message, even if the message was much duller in the grand scheme. I ain't talking down on the genre; they know what they are, and they are day and night from the progressive rock groups. Think of punk as the orcs and goblins and progressive rock as high elves. Anyway, progressive managed to stay relatively alive into the 1980s. A good chunk of the bands changed their style to meld into pop music of the time, giving a massive rise to the genre progressive pop, and plenty of other groups changed or entered into the still budding progressive metal genre, a formidable and main subgenre of heavy metal as a whole. Progressive even saw their limelight return when Queensryche put out the legendary Operation: Mindcrime in 1988, which gave the progressive metal genre a big boost and allowed it to find a market outside the underground and musical snobs. Since then, progressive has popped up and faded out over and over again, but there are still a ton of great progressive rock & metal groups still out there putting out stuff with some serious meat on the bone. Damn, didn't mean to go on a rant; aren't we here for Gentle Giant?!

     Gentle Giant is the prime example of a progressive rock band that is so damn amazing, but never hit the "hot sellers" shelf at the record shops. To this day the band still lures in progressive rock fans of all walks with their sophisticated sound that had them releasing progressive rock classics like The Power and the Glory (1974), Gentle Giant (1970), Octopus (1972), and In a Glass House (1973). Outside those bombastic bastards are other great albums. They were easily one of the most enjoyable discographies I have ever run through. Each of their albums is a different brand of amazement. Gentle Giant released 11 studio albums from 1970 to 1980. In 1978 the band altered their core style for their second-to-last album, Giant for a Day!, for a pop-forward sound in hopes of grabbing a wider audience. The album sold poorly and alienated their core fanbase. It was no big shocker for their final album, Civilian, that you are hearing a dead band from "Convenience (Clean and Easy)" to "It's Not Imagination". For that one, they approached the studio with a hard rock smack. Pretty much completely dropping who they were for quick and heavy short songs that hardly resembled the band that put out great albums like Aquiring the Taste. Still, you cannot blame them, and even with the changing styles, they are fun albums, but nothing in comparison to their earlier material. Both of them just came off... flat and boring, which is nothing like Gentle Giant's core material. Speaking of that material, we will be taking a look at "Nothing at All" which comes off their self-titled debut from 1970. Now, if you want to see what I mean about a bunch of immensely talented multi-instrumentalists putting out powerful music, then look no further than this track. "Nothing at All" is a goliath, and in my opinion, one of the greatest showcases of the band's talent. I could talk about each member and what they brought to the table, but I want to draw your full attention to the drummer, Martin Smith. Something I would like to note is that this dude isn't super well recognized in the rock world for how intense his drumming is! Some of the things he does with those sticks are unreal, and on "Nothing at All" we get to hear that talent jiving with the band, and not only that, but Smith has his own over 3-minute drum solo starting at 4:20 and ending at 7:40. The whole band does wonderfully on this track. The vocal work is beautiful, the electric guitar is so damn sweet, the acoustic guitar is blissful, the bass guitar twiddles and intertwines with each instrument with a natural grace, the various other instruments keep things interesting, and that little electronic sound that makes unsettling noises in the background is something to marvel at. The whole song is so heavily layered you can listen to it 50 times and notice something new each spin. A studio goldmine of sound. Lyrically, the song is pretty depressing, following, from what I can tell, a woman who broke up with her man and threw it all away, and just now she is realizing she now has nothing, is nothing, and the instrumental parts express what she is feeling inside. The rising and falling of emotions, sometimes sad, sometimes mad, sometimes hopeful, but it quickly gets checked by melancholic fits. The vocal work is shared between brothers Derek and Phil Shulman. The third brother is Ray Shulman, who handles the bass guitar and many other instruments in this song. Wouldn't that be strange, being in a band with your brothers? I guess it would make synergy a little easier, or one would think. "Nothing at All" is one of the greatest tracks off the album, even if the others are wonderful as well. Their debut only charted in Greece, but it did gain a pretty strong fan following in Europe. The album originally wasn't even released in the United States originally, but we weren't the home for progressive rock; it honestly makes sense since progressive always flourished in countries like the United Kingdom. They are more refined, you see, instead of a bunch of crazies who want a straight dose of whatever they are into. Rock, women, dope, buying power, or whatever it might be, we want instant results even if they all taste and sound like each other. Anyway, each piece of this song is something to pick apart. Your senses get attacked by that aforementioned drum solo accompanied by the organ, and then we return to a truly peaceful feeling as the story comes to a close, repeating the opening lyrics. A wonderfully put-together song, and one that is best taken in with full attention. It is fine and dandy to listen to some Gentle Giant at work or out on the road, but to truly feel, to truly understand the band, you need to be cozy and sitting at home and focused into the music. Like what you hear on "Nothing at All"? Well, the album is full up of this kick-ass style, and while their albums alter in sound here and there, there is a ton to love from Gentle Giant. Enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1970
Album: Gentle Giant (1970)
Genre: Progressive Rock
Mood: Melancholy 
​Perfect For: Focused listening, Popping in both headphones, Diggin' that drummin'
Where To Next: "Something's Coming" - Yes
Rating: 8 / 10

"Kill with Power" - Manowar

     Hold your head up high, raise your fist up in the air, and play metal louder than hell. That is the three core lessons to be learned from Manowar. On many of my bad days and my best days, Manowar has stayed a constant ally. Like a friend who is always there to lend an ear or a hand. Easy to say, I am a big fan, even of the weaker or plain strange tracks from their large discography. Even with all of that said, this is only their second time on the website! A true shame! Anyone who knows me knows I live and breathe Manowar. They were one of the earliest bands to show me the glory of heavy metal. They were also the ones to teach me some of the ideology of the core genre, a lyrical theme they abuse into the ground, but I am there for it. One of my favorite lyrical themes is metal mythology. The strange melding of sword and sorcery lyricism with this beast we know as heavy metal and all the glory from this mystical power source. None do that lyrical theme better than Manowar, though many have tried. They are also one of the best stop-offs for mythology lyricism; tracks like "Achilles, Agony and Exstasy in Eight Parts" is one of the first that come to mind. I have been around the block, county, state, and country of heavy metal, and still I haven't heard a better storytelling song that is this long and well put together in the genre. That track is a TITAN, and I look forward to talking to you about it here at some point. Anyway, aside from "metal, metal, metal" and mythology, they are known for aggressive and somewhat violent lyricism and sword and sorcery lyricism. Power metal bands like Blind Guardian serve the role as paladins, Helloween sorcerers, Rhapsody being the warriors, and Edguy the bards, but Manowar? Manowar is certainly the barbarian, the berserkers. Lyrics of ripping apart your enemy with your bare hands out of blood frenzied rage! Pure power. That isn't only expressed in their lyrics; it is in the core sound of the band, especially in their earlier material. I am obsessed with their style of power metal. It is hardly like any other sound out of the genre. It is so damn aggressive and all-consuming you might find yourself gritting your teeth as some of the songs play. Now, for today, we are talking about "Kill with Power", and while this song expresses that well, it isn't my go-to place. It comes off the band's third studio album, Hail to England, a time when the band barely found their sound and place in the metal world. Once power metal finally hit its stride with Helloween, Manowar was there to serve as the diabolical other side of the coin that they helped mint. A band fueled by the love of metal, Conan the Barbarian, and fantasy themes. Their first three albums have some damn good tracks, but when it comes to the album as a whole, it falls short. It pains me to type that out, since I fucking adore every Manowar album, especially the first 8, but it is a simple truth about those first three. Still, I am damn glad to add "Kill with Power" to the playlist and collection of songs that make up AintNoisePollution. 1984's Sign of the Hammer is really when the band started cooking with fire, in my opinion. It just gets better, hitting its peak around 1988 and holding that strength until the end of the 1990s. Manowar is intense, and I mean intense. Sort of dorky, sure, especially with their barbarian stage attire, but there is an appeal there. You see these dudes in fur loincloths and think, "What the fuck?" but when the music starts up, your tone of "what the fuck?" changes instantly to being impressed. They are the soul of true heavy metal. They are a one-of-a-kind band from the power metal genre. Not only that, but they followed their own path until the end, even when power metal took on the epic metal turn nearing the middle of the 1990s. Manowar is epic, but I mean truly epic; no need for orchestration and symphonies when raw heavy metal does it even better. You gotta give credit where credit is due, even if they wore silly outfits in their early days, but let's be real, it was the 1980s, and the same can be said about just about everyone.

     Alright, for some history, Manowar started up in 1980, hailing out of Auburn, New York. Guitarist Ross the Boss (Ross Friedman) and bassist Joey DeMaio were working as stage tech for Black Sabbath during their Heaven and Hell Tour. They were playing around with the idea of starting up a band, and even Ronnie James Dio said they should do it. Ross the Boss was already with Shakin' Street but jumped ship to dedicate himself to this new band in the works. They got themselves a drummer with the name of Donnie Hamzik and a vocalist by the name of Eric Adams. Now, Eric Adams has gotta be one of the most powerful vocalists in all of heavy metal history. Anyway, that was the first lineup for the band's debut album in 1982, Battle Hymns, which is one kick-ass album. Like I mentioned earlier, not every track is a killer one, but songs like "Battle Hymn", "Fast Taker", and "Manowar" make it a worthwhile listen. They were already with a big label for their debut, and now all they had to do was gather the fans. That debut got the name shooting around left and right about this band that is fuckin' odd but fuckin' brutal. They kept the energy up and released their second album, Into Glory Ride, which was a heavy influence on the then-blooming power metal genre, and it is here that we see Manowar starting to find their core sound. An awesome album, but it was still missing that bite that the band needed to take over the whole world! Manowar, born to live forever more, the right to conquer every shore. Into Glory Ride did gain them a serious following, which gave the band enough steam to dish out their third album, Hail to England, an album that was still washed in their early sound, but tracks like "Blood of My Enemies", "Kill with Power", "Each Dawn I Die" and many more showed that Manowar was certainly here to stay and was just starting. The album's title was a tribute to all the fans the band gained in Europe, namely the UK, who really gave Manowar a chance to blow up when their sales hardly made waves in the US. This was the first Manowar album to chart, only at #83 in the UK, but still charting, which is bold since this style of heavy metal was still not off its feet in the slightest. This was the true start for the band, and they released their essential fourth studio album, Sign of the Hammer, within the same year of 1984. The rest is history. Manowar were now strong enforcers for heavy metal, something they took seriously and are still taking seriously to this day. Our song of the day is one of the strongest on Hail to England. "Kill with Power" is a track I have been jamming since I was just a kid. While the song itself is fucking outstanding, I have a serious bone to pick with the song. So much of a pick that I don't often put it up there with my other favorites, even if I play it just as much. That is that beep/squeak/whatever the fuck it is that happens during the chorus. I don't know whether it was intentional or not, but it has always bothered the hell out of me. It almost ruins the song, which might seem like I am nitpicking, and maybe I am, but this song could be so fuckin' intense if I didn't have to turn it down during that part so I don't blow an eardrum. Other than that, it is a Manowar classic! It holds everything that makes their sound so fuckin' kick ass. Hard-ass driving rhythm that keeps chugging the whole way through. A phenomenal intro that builds the tension. Tough-as-nails lyricism meant for splitting skulls in the mosh as much as the battlefield, destined to die for the metal and for the old gods. Manowar paints the image of a troupe of god-gifted warriors, clad in black armor, that are destined to smite thee that the Allfather deems false. Strength comes first to Manowar, much like Conan the Barbarian, who squashed the little bugs who stood in his way, no matter if his goal was just or not. This is the perfect song to explain that Manowar lyricism. Strength, power, merciless bloodshed, mythology, and death. All of which is backed by a sound with the same intensity as the lyrics. I would say that "Kill with Power" is where Manowar found their sound, that grit that had them becoming metal legends. It holds it all, evil laugh of satisfaction and all. It is challenging to follow up Pantera and not get outshone, but Manowar is their own brand of intensity, and their impact on heavy metal is just as important, especially on the more underground side of the metal genre. Manowar never hit the same sales as some of the other lords of heavy metal, but they certainly left their mark in blood. Enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1984
Album: Hail to England (1984)
Genre: Power Metal, Heavy Metal
Mood: War Frenzied
​Perfect For: Moshing, Fighting, Playing nice and loud, Working out, Driving fast, Banging that head
Where To Next: "Invictus" - Virgin Steele
Rating: 7 / 10

"No Good (Attack the Radical)" - Pantera

     There are few better ways to kick off a month than with Pantera! They got the energy you need, a heavy metal fix like no other. We were just barely talking about the band last month, but how about we do it all again? I promise I won't fangasm the whole damn time.... Maybe. Our previous pick was "Cowboys from Hell", a legendary song to say the least, and today we have another top-tier Pantera track, even if it never hit even close to the same notoriety as the previous. "No Good (Attack the Radical)" comes off the band's second-best album, Vulgar Display of Power. I suppose it isn't fair to call it the second best, but if you ask me, it comes second to the one that came before it, Cowboys from Hell. What Cowboys from Hell does lack is how well put together Vulgar Display of Power is. You can just tell Pantera got their perfect, ideal sound on this album. The sound that would inspire legions of metal maniacs across the globe for decades. Vulgar Display of Power holds a good chunk of the band's most famous songs. Metal anthems like "Walk", "Fucking Hostile", "A New Level", "This Love", and "Mouth for War" are Pantera and thrash metal classics! Especially "Walk" and "Fucking Hostile" which practically defined the metal sound of the 1990s. Vulgar Display of Power released in 1992 and was met with a ton of praise and love from fans and critics alike. Pantera aimed to out-heavy their last album, and I would say they successfully did just that. Other than "This Love" and "Hollow", it is a fucking brutal album as far as mainstream heavy metal goes. "Hollow" used to be an almost daily listen for me, and I still adore the living fuck out of it now, even if it brings me right down. It would be a choice for a song played at my funeral. Vulgar Display of Power went on to be Pantera's hottest selling album, and if you ask a good chunk of the metal fanbase, they will likely say this is their best album. I still throw my vote in the Cowboys from Hell bucket, but I will not deny that overall this is indeed a better put-together album. This is also an album I strongly suggest the expanded edition, which was released in 2012 since it adds one of my all-time favorite Pantera songs, "Piss". I am not an angry person, but I always load up "Piss" when I am in a bad mood and turn my speakers up to a level of volume that old man me will be very pissed about one day. Pretty much every song off the album is made to play loud as sin, and if you are doing it right, that is precisely what you will be doing. An album that is commercial in all the right ways, core metal in all the right ways, elaborate in all the right ways, and easy to get into from start to finish. A solid sender album, and much like its predecessor, I cannot suggest enough. If you are a metal fan and have made it this far into life without playing this album, you are missing something big. As someone who has abused the hell out of this album for well over 15 years now, it doesn't grow stale. Alright, let's get into some fun facts. The album title was taken from the 1973 horror classic, The Exorcist, in a line where the priest is talking to the strapped down demon possessed sweet little Regan MacNeil when he says, "If you're the devil, why not make the straps disappear?" in which she/it replies, "That's much too vulgar a display of power", and there you have it. I mean, even if it didn't have a cool backing story, it is a fitting and great album name. It perfectly explains the sound within the album. If that wasn't enough, Pantera has one iconic album cover with this poor bastard getting punched in the face. There was a rumor spread that the guy on the cover was some random guy they paid ten bucks to punch in the face over and over again until they got the ideal image. While that would be very metal, and once again, fitting for the sound within the album, it is not the truth. I sadly spread that rumor when I was a teen, but I didn't know any different at the time. It just sounds cool, especially as a teen. The album cover was put together after the band said they wanted "something vulgar, like a dude getting punched", so the record label got to work getting an album cover together. Also, when I was younger, I read somewhere the band chose it since they loved Anthrax's debut album, Fistful of Metal, which is also not true, but they might have still had some ideas pop up after seeing that one as kids. I love that album, and there was so much potential to have that be a solid album cover, but they fucked up on the dude's jaw in the artwork, and it has always bothered me. Anyway, another time, another post. The dude on the Pantera album art is a model named Sean Cross with an added fist, making him look to be getting hit hard as hell. Wanna see more of people getting hit or pretending to? Check out the fan celebration video for "Piss" which has a whole wide array of people getting socked, all for their favorite band, Pantera. Metalheads sure are a different breed.

     There is plenty more juicy topics about this album, but since I am sure it will be back before we know it, I will save some tidbits for the next post. Our chosen song off the album this go-around is "No Good (Attack the Radical)", one of my favorite songs off this legendary album. The lyrics to the track have rubbed people wrong in the past with their straightforward approach, especially since vocalist Phil Anselmo has had his fair share of controversial white power and neo-Nazi claims put against him, all of which he shut down or apologized for being a dick on stage. A great musician, buuuut he has had his moments where you turn your head. "No Good (Attack the Radical)" is an anti-racism song. The band takes a strong stance in telling things straight, that pushing hate that you found within your own small world and then turning your back on progress is the issue, on both ends of the fence. That those in power pin us against each other to fuel their own revolution. It seems nobody wants to move on, both those that were wronged and the prideful bastards that further the hate because they simply cannot fathom not being a hateful fuck. My favorite line in this song is "a closed mind playing the part of prison cells". So, no, Pantera wasn't putting out a "get over it" song, though some people think that. I wonder if those people actually heard the lyrics at all. It is strangely well put together even if it breaks the traditional way songs are written. Even with the prolonged verses, Pantera puts out one hell of a compelling song. I would consider this one to be one of the most classic from the whole album. It comes across with a strong message of peace. A song to challenge your ego, close-minded thinking, and historical standing. The track is built wonderfully without a single dull moment. Even with the message of peace, it is heavy as all get out. Perfectly situated at the #7 spot on the tracklisting. Serving as a track to keep the energy up, and honestly, a chance to catch your breath after "Rise". It comes after the in-your-face "Rise" which starts off with an extreme blast and is one of the most intense vocal performances put out by Anselmo. That one also has a pretty peaceful set of lyrics covered by a hateful guise to take the power back. Then after "No Good (Attack the Radical)", we have "Live in a Hole" which is a grooving good time that is genuinely, scientifically, and spiritually impossible not to bang your head to. "No Good (Attack the Radical)" is almost the oddity out of the three tracks, but each song has a strong presence on this album, "No Good (Attack the Radical)" having one of the proudest. Man, do I love that song. A great message, a fuckin' awesome guitar solo from Dimebag Darrell at 2:50 which is meant to go for your throat, clear and crisp production, which gives the bass and drums equal footing with the guitar and vocalist, and just goes to show that Pantera is more than a one-trick hound, not that anyone doubted them after the killer Cowboys from Hell. Tracks like the one we are jamming today are what put Pantera on the lips of every metalhead across the world. It got the album double platinum in the United States and strong sales in most other countries out there. It is respected as one of the best metal albums of all time modernly, something that will never be challenged. Vulgar Display of Power had a direct role in helping set the course for the future of heavy metal. Drummer Vinnie Paul has claimed that they were going to do another in the Cowboys from Hell style before they heard the infamous Metallica self-titled (Black Album). Once they heard that, they knew that Metallica had let the thrashers down and came in with something so damn heavy and intoxicating they would fill the gap that Metallica left behind. They certainly did, and in many ways, it blows the Black Album out of the water! Vulgar Display of Power is a bona fide classic and has gotta be the best metal album out of 1992, even with Megadeth's classic Countdown to Extinction releasing in the same year. All of that comes down to taste, and I would say the two are more tied than anything. Once again, if you haven't heard the album to completion, go do it. Time is a valuable thing, so you might as well spend it playing some Pantera, yes? Enjoy!

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Year Released: 1992
Album: Vulgar Display of Power (1992)
Genre: Thrash Metal, Groove Metal
Mood: Empowering
​Perfect For: Playing loud, Challenging bigots to lemonade chugging contests, Bettering yourself, Going to rights rallies
Where To Next: "Davidian" - Machine Head
Rating: 9 / 10