Monday
Dec312018
The Best Albums of 2018
Monday, December 31, 2018 at 07:09AM Here's my favorite albums of 2018 - in no particular order. Hopefully you've heard some of these. If not, check them out!
Judas Priest - Firepower
Halestorm - Vicious [Explicit]
Saxon - Thunderbolt
Stryper - God Damn Evil
Lady Gaga and Bradley Cooper - A Star Is Born Soundtrack [Explicit]
Favorite single of the year:
"High Hopes" from Panic! At The Disco and their album Pray For the Wicked. This is just one hell of a catchy tune. I know it because of college football - it sure got played a lot on TV this season!
Reader Comments (67)
1. Avatar-Avatar Country
2. Godsmack-When Legends Rise
3. Kataklysm-Meditation
4. Judas Priest-Firepower
5. Halestorm-Vicious
Honorable Mention: Greta Van Fleet-Anthems of The Peaceful Army
In no order, I enjoyed the following:
Ghost - Prequelle
Coheed and Cambria - Unheavenly Creatures
The Night Flight Orchestra - Sometimes The World Ain't Enough
Royal Tusk - Tusk II
Clutch - Book Of Bad Descisions
Check it out and thank me later.
1) Hank Von Hell - Egomania
2) Judas Priest - Firepower
3) The Night Flight Orchestra - Sometimes The World Ain’t Enough
4) Diemonds- Diemonds
5) Striker - Play To Win
6) Crying Steel - Stay Steel
7) Shiraz Lane - Carnival Days
8) Saxon - Thunderbolt
9) Station - More Than The Moon
10) Riot - Armor of Light
11) The Poodles - Prisma
(More to come … Gotta get the partyin’ and hangovers out of the way … Stay tuned for more “Best of 2018” lists in this space soon!)
(What can I say, I was drunk!)
1) Hank Von Hell - Egomania
2) Judas Priest - Firepower
3) The Night Flight Orchestra - Somtimes The World Ain’t Enough
4) Greta Van Fleet - Anthem of a Peaceful Army
5) Ghost - Prequelle
6) Diemonds - Diemonds
7) Striker - Play to Win
8) Crying Steel - Stay Steel
9) Shiraz Lane - Carnival Days
10) Saxon - Thunderbolt
11) Station - More Than The Moon
Note: Riot and The Poodles are now relegated to a “Runner-Ups” list which probably has quite a few bands that could make the “Best of 2018” on any given Sunday, there are so many great bands to choose from. Look for my “Runner-Ups” list and more coming up … Just gotta sleep it off first, haha!!
My Best of 2018 List:
Yes, it is a bit short considering all the other gems that people on here are noting (and persuading me to grab). But I can’t speak of what I don’t know. And, yes, this isn’t a glam- or metal-exclusive list either. Then again, we all range across genres, don’t we? Nor are all/most of these new. Again, what can I say? The ears want what the ears want.
The Top Four (in order):
Megadeth, Killing Is My Business...And Business Is Good: The Final Kill. This is a substantially improved version of the album that a lot of us loved back in 1985. Yes, we can quibble about this version of “These Boots.” But the bonus live tracks and demos, coupled with the refreshed ferocity of the original songs, once again remind us of the snarky and erratic brilliance of Mustaine, no less the talent of Ellefson, Poland, and Samuelson.
The Lazys, Tropical Hazards. Fun, easy going, songs with catchy sing-a-long choruses? Check. A more refined sound than their previous release(s)? Check. A move to a home base closer to the States, though a sound that still plies the grooves of their Australian roots? Check. This isn’t a ponderous set of songs. Sometimes that is just what the doctor ordered!
Chris Cornell, Chris Cornell 4-CD Deluxe Box Set. A fit, career-spanning, retrospective of the late and great singer. Equal parts greatest hits and tribute, it reminds fans that Cornell—even when he missed the mark—was willing to push himself in different directions. The unreleased “When Bad Does Good” reiterated the torture/pain at the base of much of Cornell’s his lyrical output. But other songs, with some distance, surprise. “Part of Me (feat. Timbaland; Steve Aoki Remix)” from the disastrously received Scream (2009) points to the fact that, say what you will about this foray outside of rock, Cornell had a voice that could range far beyond what fans expected (or, perhaps, wanted). A true artist who is greatly missed.
Ghost, Prequelle. Divisive and delightfully so, this album pushes Ghost further towards the pop-infused arena rock that Forge has been hinting at since day one/Year Zero. Don’t fear the reaper? Then don’t fear Ghost either. They offer throwback sounds, delightful theatrics, and a contemporary sheen that promises to draw in larger and larger crowds.
Alice in Chains, Rainier Fog. The post-Staley band is not interested in breaking new ground. And they hew closely to the Cantrell-forward sound of post-reunion releases even as there are moments where new lead(-ish) singer DuVall shines. Still, the band is not running from its past so much as adjusting themselves to the times in which they live. A solid product.
Late Addition:
Trent Reznor and Atticus Ross, score for the movie Bird Box. Susanne Bier’s steady direction of this Sandra Bullock-starring Netflix release can’t completely erase the feeling that it is over-stuffed and overly familiar. But the film satisfies viewers (including Stephen 'fricking' King!) not demanding too much, and surprises with a perfectly placed score that juices the moments where the movie engages in some genuine moments of dread and empathy. Not yet available in a proper release format, online selections from the score are enjoyable listening independent the film itself. The duo’s NIN release, Bad Witch, ain’t too shabby either and/or more fitting for a list like this.
Missed Opportunity:
Venom, Storm the Gates. No one is expecting Cronos/Lant to reinvent the wheel while competing against his own band’s history and being compared to Venom, Inc. But the wheels are off the Satanic (I mean, Black Metal) Bus. Lant and his newer colleagues can still pull off some acceptable songs. But none of them live up the cheesy and rough grandeur of their classic era (or the hilarious, Baphomet-adorned, cover that adorns this latest release).
When Good Enough Isn't:
Judas Priest, Firepower. When it sounds like a band copying itself to lesser effect, you know that something is a bit off. Priest are rightfully acknowledged masters of metal. But the time to consider packing it in has arrived. With nothing left to prove, and less and less to offer, Priest have every right to bow out gracefully. And they should. Far past their prime, even Nostradamus could have predicted that their energy would flag at this point in their storied career.
I hope everyone has a great 2019!
East side Gamblers - the Big machine
Red dragon Cartel - Patina (Much much better than their first release)
DOOMSDAY OUTLAW - Hard Times
Dizzy Reed - Rock 'N Roll Ain't Easy
DREAM CHILD - Until Death Do We Meet Again
SNAKES IN PARADISE - Step Into The Light
BAD TOUCH - Shake A Leg
Dead Rebel Saints - Throwing Stones
DOLL HAZARD - Transatlantic Meltdown
HAMMERHEAD - Oblivion
Voodoo Sheiks - Unstoppable
BLOOD OF THE SUN - Blood's Thicker Than Love
Hardcore Superstar - You Can’t Kill My Rock N Roll
Thanks for adding to the list, Bob. I agree about RDC. The new album certainly sounds more cohesive (understandably so). I only wish JEL would still mix in Ozzy songs while touring. And I like some of what Dream Child are doing. I just think they push the 'ode to Dio' aspect of their sound to the edge of gimmickry.
BK, have you checked out the East Side Gamblers? good solid bluesy hard rock IMHO.
I knew not everyone would dig the dizzy Reed album. It covers a lot of different ground, and doesn't always try to rock hard, which is one of the things I actually like about it. Anyway, lots of cool music to check out thanks to all of the great comments from the posters on BBG. Happy New Year everyone!
Currently checking out the East Side Gamblers, liking it so far.
Hoping everybody has a great New Years.
Dj, I find Ghost fascinating. I own all their stuff. They traffic in theatrics, but bring solid song-writing (both) courtesy of Forge. It trends towards the pop side of things, but still has plenty for those who love metal and classic rock. The BoC comparisons are obvious, as are their "shock" influences. But I get that they engender very split reactions from people.
In the same way, Greta Van Susteren divide people. I also get why. And I am noticing them shifting, somewhat, in the whole "Led Zep" influence discussion. They are now owning it a bit more. Which begs the question asked by George Lynch (paraphrased, recently): why not just own it? Why initially hide it or deny it? I pointed to places where they did just that in a post a month or so ago. Just embrace it. Kingdom Come never did and Wolf suffered for it. Other bands did and they lived or died by the way they took that influence and worked it, revised it, and carried it forward. Personally, I don't like the affectations they bring to their live performances. That's just me. I certainly think they have talent (fed, in part, by their upbringing and a tasty selection of LPs in their dad's wine crates). But what is next? Part of the allure of Zep was that they moved about, while liberally cribbing from a lot of people. So, yeah, Fleet are part of a proud tradition of taking and making. So what will they make of it? I am interested. But I don't faint at the sound of a bunch of boys in tie-dye digitally spitting back to me songs I heard years ago. Kingdom Come said get it on, and then fizzled. Greta (poor old lady getting all that attention) better bring it and show the kids why rock matters. Selling old goods to nubes usually guarantees you a short shelf life. Nowadays, you will get spit out.
Bottom line: both Ghost and Fleet are serving old wine in new skins. One of them just does it better, and with more to show for it.