New album: Apocryphon
Artist: The Sword
Label: Napalm Records
Rating: 4 out of 5
Like all forms of popular music, metal has been through many upheavals over the past 20 years. Between thrash bands that can play 400 mph and the doom metal crowd that de-tunes guitars down to q-sharp, bands such as The Sword that deal in the heavy groove have had to fight for their spot at the table.
It’s a little known secret that within the pages of the Associated Press stylebook there’s an entire chapter that requires all music writers to compare all metal bands to Black Sabbath.
In truth, there is no such chapter in the AP book, but The Sword does possess some of that good ol’ Sabbath swagger. “Apocryphon” is not a rehash of Sabbath’s “Master of Reality,” but the two are definitely sharing some DNA.
Led by vocalist/guitarist J.D. Cronise, The Sword always has walked the line that divides the thinking man and the dirt bag. The thinking man wants songs with a little meaning, while the dirt bag wants something to pump his fist and bite his bottom lip to. Ingeniously, “Apocryphon” tracks such as “Seven Sisters” and “Arcane Montane” will satisfy both camps.
Lyrics about inner earth and religion flow gloriously along with the best new old-school metal jamming you’ll hear this year. It’s enough to make one wonder why this type of music (allegedly) went out of fashion in lieu of Poison and the Bullet Boys.
Drummer Santiago Vela turns in a noteworthy performance throughout. His ability to mix the swing of Bill Ward with the precision of Judas Priest’s driving 1980s attack colors the personality of “Apocryphon” more than the casual listener might notice. Bassist Bryan Richie and guitarist Kyle Shutt know when to lock into a groove and when to counter it. The lack of unnecessary overdubs gives Shutt, Richie and Santiago plenty of room to dance around Cronise’s mammoth vocals.
“Hawks and Serpents” is a great road tune in the tradition of “You’ve Got Another Thing Coming,” and the album’s closing title track crams enough memorable riffs and chord progressions for 20 songs into a five-minute space. It would be misleading to describe this closing track as having a prog influence, but just imagine the multi-sectioned songs of early Deep Purple retooled for the 21st century to get an idea of what The Sword is up to with this track. There are no noodling or middling solos; just great part after great part.
“Apocryphon” is not a retro work, but rather proof as to what grand things can be accomplished with the tried but true guitar/bass/drum setup. Metal fans are as loyal as NASCAR fans, and The Sword appears to be one of those bands that’s in it for the long haul.
If you’re a fan of heavy music and have been looking for a new band to follow, you’ll most likely be happy with The Sword.
Classic album: Tales of Mystery and Imagination
Artist: Alan Parsons Project
Label: Mercury
Rating: 4 stars out of 5
Alan Parsons made his name as an engineer and producer who worked on such landmark albums as Pink Floyd’s “Dark Side of the Moon” and The Beatles’ “Abbey Road.” Instead of plowing headlong into a production career, Parsons spent much of his time recording albums with songwriter/vocalist/producer Eric Woolfson under the “Alan Parsons Project” banner.
The first album released by the Alan Parsons Project was an odd collection of music wrapped around the work of Edgar Allan Poe. Since Poe’s prose was blanketed in death and madness, it’s no surprise that “Tales of Mystery and Imagination” didn’t turn out to be a collection of catchy pop tunes about babes and partying.
The album did and does have its detractors, but if the idea of creating a soundtrack to some of Poe’s most celebrated works doesn’t set off your personal pompous alarm, there is much on this album to enjoy.
The sonics of this album are nothing short of stunning. In the days when giant stereos graced every living room and/or basement, the shimmering, lush keyboards of “A Dream within a Dream” projected a regal awesomeness. Much like the long, keyboard heavy introduction of Pink Floyd’s “Shine on You Crazy Diamond,” “A Dream within a Dream” shut off the distractions that may have been bouncing around the listener’s head and created a mood for what was to come.
Although it’s hard to digest now, in 1976 it was possible to land a song titled “Doctor Tarr and Professor Fether” in the top 40 singles chart. The concept of the “Tales” album may have given off the whiff of bloated 1970s rock indulgence, but Parsons and Woolfson were keen on creating pop singles.
Like prog, these songs were bursting with layers of musicality and superb production, but they were still songs that worked on the radio. It’s as if these guys were the first to figure out how to take what was musically interesting about progressive music and condense it into a digestible format. Remember, this is the same band that went on to have a pop hit with “Eye in the Sky” and created the song the Chicago Bulls would take the floor to (“Sirius”).
With Parsons and Woolfson forming the nucleus of the band, many guest musicians were invited to take part in the “Tales” sessions. Arthur Brown — who had a hit in 1968 with the bizarre but great “Fire” — contributes vocals to “The Tell-Tale Heart.” A remixed edition that appeared in 1987 features readings from Orson Welles, while U.K. singer/songwriter John Miles makes an appearance on “Dr. Tarr ...” On paper it may look like a train wreck, but the album flows like a flawless soundtrack to a Broadway musical.
Through the cynical lens of 2013, “Tales of Mystery and Imagination” may be seen by some as a work of its time that doesn’t translate to future generations. While the album surely will never have the street cred of The Sex Pistols, the album continues to sell year after year. Surely there must be a good reason?
Jon Dawson’s album reviews appear every Thursday in The Free Press. Contact Jon at 252-559-1092 or jon.dawson@kinston.com. Purchase music, books and candy cigarettes at jondawson.com.