The song wasn’t the weirdest I’d ever heard, but “Sarah” was definitely weird, specifically the peculiar vocal delivery. I had to know more about this artist, Alex G. Thanks to “Sarah,” I fell down the Alex G rabbit hole and kept falling and am still falling to this day.
Looking back, Weezer’s The Blue Album qualifies, in my mind at least, as one of the great albums of the 90s. I return to it often. I expect these songs will be in the public consciousness for a long time to come, and for that, we can be truly thankful.
If you have an audiophile comrade who happens to be one of 20,000 people who purchased this set, get into their man cave and hear this for yourself. Believe me, the Jimi Hendrix UHQR gets you experienced.
The 80s would be an interesting time for KISS, a decade defined by lineup instability, the near-death of the band, the removal of their trademark makeup, and a return to gold and platinum level success. Yes, in rock’s glitziest decade, once gain, KISS found themselves in a familiar, yet frustrating position as a band who needed to prove their worth to both critics and fans alike.
Some last wise words have been left by João Rodrigues, from Portugal to the world: “If you have something interesting to say, an interesting perspective on the world, it is crucial you write songs. If I die, show those three songs— “Identidade,” “Tiro no Escuro,” and “Se Nunca Mais Nos Virmos” – and I won’t feel embarrassed.”
If any single grouping of musicians in the history of rock has systematically polarized both fans and critics alike, it’s the favorite sons of NYC, Ace Frehley, Paul Stanley, Peter Criss, and Gene Simmons.
One has its own definition of time, and for Nelson Moreira, making his way in music at the age of nineteen is rather late to start.
Bob Kulick was an outlier, a maverick, a renegade, and a true blue, dyed in the wool heavy metal master, whose fingers screamed up and down the fretboard with style, and pizzaz that few – if any – have able been able to do since.
As for Revenge, while ranking KISS’ studio albums proves difficult, I can safely say that it’s top-five, perhaps even top-three, and aside from maybe Creatures of the Night, Revenge is handily KISS’ heaviest record, and definitely, its nastiest. Retrospectively, Revenge has got all of the ingredients required for a great KISS album, more so, it’s got all the ingredients for a great album in general. I will always remember this record fondly, and on the album’s 30th anniversary, I say cheers to all those involved in creating it, you did well here, and that’s something I think fans of all shapes and sizes can agree with.
I suppose it all depends on the perspective you take. If you take it for what it’s purported to be – a celebration of Eddie and Van Halen’s legacy – it could be fun. On the other hand, if you take it for what it may well be – an obvious cash-grab, and complete bastardization of a once-great band, by a group of players who together have no business calling themselves “Van Halen,” or “Van Hagar” – you might have different feelings on the matter entirely.
