Year 6, Day 22: Exploring the Black Holes and Finding Revelations within

Year 6, Day 22: Muse – Black Holes and Revelations

Track List

  1. Take a Bow
  2. Starlight
  3. Supermassive Black Hole
  4. Map of the Problematique
  5. Soldier’s Poem
  6. Invincible
  7. Assassin
  8. Exo-Politics
  9. City of Delusion
  10. Hoodoo
  11. Knights of Cydonia
  12. Glorious (Japanese release only)

About the Album

Black Holes and Revelations is the fourth studio album from English rock band, Muse. The album was recorded from August 2005 through December 2005 and released on July 3rd 2006 through Warner Brothers Records. The album peaked at number on the UK Albums Charts as well as peaked number nine on the Billboard 200. The album is certified platinum by the Recording Industry Association of America (RIAA). Single Starlight peaked at number two on the Billboard Modern Rock Tracks.

Thoughts on the Album

Let’s close out this week with a bang… and a big one at that. Like I said in a previous post, 2006 was an excellent year for albums. Like supermassively excellent. English alternative rockers, Muse, made a contribution that year to help make it just that awesomely excellent. 2006 was when I just starting to discover alternative rock, and Muse‘s Black Holes and Revelations helped solidified it as one of my more prefer genres of music to listen to. And it’s right off the bat from the beginning of the album why one can see how this album became so (super)massively popular: it’s experimentation.

Right from the opening, you pick up Muse experimenting with some pop sounds. Lead single Starlight, showcases this new found pop sound experiment, and this experiment easily makes it one of the most popular tracks off the album. The bassline throughout the track rolls and bounces, and I absolutely love it. In fact, a future Green Day song, Last of the American Girls, as a similar bass groove. Moving on, it’s the vocals and guitar work of Matt Bellamy that really shine like the stars at night on this album. Take a Bow showcases Bellamy’s vocals as he does an excellent job of building up the song to a climax before he belts out…


It’s Bellamy’s guitar work that nearly saves Invincible, however it can’t quite overcome a dull first three and a half minutes. But it’s at that point in the song where the tone shifts and takes one 180º turn and Bellamy whips out arguably the best guitar solo on any Muse song, ever… of all time. But it’s first half of the song that makes Invincible one of the weaker songs on the album.

All is not lost however, as Assassin comes in an steers the ship back in the right direction. In fact the final songs on Black Holes and Revelations are arguably the strongest on the album. Assassin leads off the second half of the album strong with some heavy drums. It’s a heavier sounding track and the drums absolutely power it… like a dynamo. However, it’s the excellent, massive, and downright awesome Knights of Cydonia that closes out the album with fireworks. It’s “galloping triplets”, tremolo picking, and power chords are fantastic and a bitch to try and play. It’s a track that is clearly influenced by the work of Freddie Mercury and Queen, because it’s on a scale all its own when it comes to epicness. Bellamy’s opening guitar riffs and vocals are excellent. It just builds and builds and builds until about the 3:18 mark where the band launches into a Queen-influenced sound singing…

No one’s gonna take me alive, the time has come to make things right, you and I must fight for our rights, you and I must fight to survive!

It’s this Queen-inspired vocal bridge that builds with the synth triplets and then those infamous galloping triplets enter on guitar and then all hell breaks loose. Bellamy and the rest of the band kick down the door and kick out the motherflipping jams.

(Side note: the music video for Knights of Cydonia is pretty awesome. Seriously, laser gun cowboys. Who doesn’t love cowboys with laser guns? #pewpew)

For the Japanese release, the album closes out with Glorious. After the epicness that is Knights of Cydonia, it is the perfect song to follow up and end the album with. It’s excellent and gorgeous.


Black Holes and Revelations could be one of the best albums of the previous decade. It’s an incredibly great album that while not quite perfect, it is a masterpiece. The first half of the album is pretty solid, though weaker than the second half, which is pretty weird because usually the second half of most albums are weaker than the first. An incredibly solid effort that was the right direction for a follow up album after Absolution. It’s the second half of Black Holes and Revelations that make this album. Come for the six minute epic that is Knights of Cydonia, stay for everything else. But seriously, a wild west motif and laser guns. Who says no to that? #pewpew

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Year 6, Day 21: Don’t Stop Me Now and Queen

Year 6, Day 21: Queen – Jazz

Track List

  1. Mustapha
  2. Fat Bottomed Girls
  3. Jealousy
  4. Bicycle Race
  5. If You Can’t Beat Them
  6. Let Me Entertain You
  7. Dead on Time
  8. In Only Seven Days
  9. Dreamer’s Ball
  10. Fun It
  11. Leaving Home Ain’t Easy
  12. Don’t Stop Me Now
  13. More of That Jazz

About the Album

Jazz is the seventh studio album from British rock band, Queen. The album was recorded from July to October 1978 and released one month later on November 10th 1978, through EMI Records in the United Kingdom and Elektra Records in the United States. The album peaked at number six on the Billboard 200 in the United States and number two on the U.K. Albums Charts. The album is certified platinum by the Recording Industry Association of America (RIAA).

Thoughts on the Album

It’s finally Friday again and don’t stop us now, cause we’re having a good time. British rock band Queen were legends of the 1970s and 1980s with their trademark epic glam rock, rocking arenas all around the world. So when 1978’s Jazz came out I can see why some people were thrown off by it. It’s an album that alternates styles and, well, for lack of a better word, screws with their special brand of campy humor. Here’s my question: shouldn’t a diverse album be good if works cohesively? But then again, I guess having fun isn’t allowed. Rock has to be “srs bsns” as the kids say.

There is no introduction to the this diversity as the album just jumps right into it with the opener, MustaphaMustapha, has lyrics that are primarily in Arabic. It gives off a vibe like it’s going to be this Middle Eastern jam, but the pounding and pulsing rhythm section kicks in, reminding you that Queen is in fact, taking the stage. One of highlights of this track is that it shows off Queen‘s prog rock roots. The prog rock elements here work, paying off in big and diverse dividends. However, Queen‘s class arena rock style stay, it just gets played around with in the sandbox and experimented on.

Of course, you have some of the more famous rockers on this album, like Fat Bottomed Girls and Bicycle RaceFat Bottomed Girls is one of most memorable and familiar to most from this album. Combining the band’s trademarked vocal harmonies and melody, you get a song that one can shout along to. Roger Taylor‘s drum fill is one of his best and most memorable. Bicycle Race takes that campy humor and fuses it with cleverness. Telling a story of a man who just wants to ride his bike. With lighthearted and fun lyrics that are designed to make you laugh, Bicycle Race is a heavy bass and drum powered song. The guitar solo is one of the better in Brian May‘s arsenal.

However, I would be remiss if I didn’t talk about Don’t Stop Me Now, arguably on the biggest Queen songs ever written by Freddie Mercury. It’s fast paced rocker that’ll have you pounding your fist in the air or smashing a zombie with a pool stick in synchronization with the song.

The piano, bass, and drum work are absolutely fantastic. Absolutely top. On Don’t Stop Me Now, guitarist Brian May lies in wait. Like a ninja assassin waiting for a trap to spring. That is, until the trap is sprung and the a crescendoing piano and drum fill at the end of the bridge explode into a guitar solo that just burns through the sky, traveling at the speed of light. If you can listen to the (With Long Lost Guitars) version. The With Long Lost Guitars version of Don’t Stop Me Now just launches this song into the stratosphere.


Diversity IS a great thing. Experimenting with different sounds and styles is also a good thing. That’s what Queen does on Jazz. They experiment with different styles and combine them with their trademark arena rocking glam rock. It’s an album that shows off the musical ability of the band, albeit with some swings and misses. So key up the jukebox, grab the nearest pool stick and start smacking around zombies. No but seriously, Jazz is a great album despite is weaker songs.

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Year 6, Day 2: Time to Join “The Black Parade” with My Chemical Romance

Year 6, Day 2: My Chemical Romance – The Black Parade

Track List

  1. The End.
  2. Dead!
  3. This Is How I Disappear
  4. The Sharpest Lives
  5. Welcome to The Black Parade
  6. I Don’t Love You
  7. House of Wolves
  8. Cancer
  9. Mama
  10. Sleep
  11. Teenagers
  12. Disenchanted
  13. Famous Last Words
  14. Blood

About the Album

The Black Parade is the third studio album from American rock band, My Chemical Romance. The album was recorded from April 2006 to August 2006 and released on October 23rd 2006 through Reprise Records. The album, is a rock opera that centers on a dying character with cancer known as “The Patient”. The songs tell the story of his death, his experiences in the afterlife, and his subsequent reflections on his life. The album debuted at number two on the Billboard 200 in 2006. The album is certified platinum by the Recording Industry Association of America (RIAA). Lead single, Welcome to the Black Parade, is/was the band’s only top 10 hit, peaking at number nine on the Billboard Hot 100Welcome to the Black Parade and Teenagers can be found on multiple Guitar HeroRock Bandand Rocksmith video games.

Thoughts on the Album

Day 2 of our sixth year comes out swinging for the fences. The Black Parade by My Chemical Romance  was arguably one of the biggest and important albums of the mid-2000’s. This album demands a lot from the listener and one can see how someone could dismiss it. The Black Parade is like a fine wine or art that one gets better and better given time and age. It’s a heavily intricate and detailed album that received regular play from me on my Sony PSYC Walkman CD Player throughout my junior and senior years of high school. It’s an album that embraces the glam rock theatrics of Queen while putting a modern punk rock/pop punk spin on it. It’s MCR‘s magnum opus.

Here’s the thing. If you talk to any gambler or investor, they will tell you that with greater risk comes the possibility of greater reward. Think about it, if there were no downside to risk, we’d all be richer. What The Black Parade does is takes big risks and the rewards are massive. One of the reasons that there is such massive payoffs from the risks MCR takes is because of the musical influences. You can hear every single influence the band has ranging from Pink Floyd to Queen. Hell, you can even hear the theatrics of David Bowie to the anthemic arena rock of Bon Jovi. While the songs are influenced by many artists as such, there isn’t one specific artist that’s ripped off.

Call it a “concept album”, The Black Parade is truly a rock opera. One that is in the same vein as The Who‘s Tommy or more recently Green Day‘s American Idiot or 21st Century Breakdown. You get a great look at just how theatrical the album will be with the opener, The End. which is a sub-two minute song. Frontman Gerard Way acts as a Master of Ceremonies of sorts in what is an effective great acoustic track. It’s a track that just builds momentum and explodes into the second track, Dead!Dead! is a raucous rocker that serves as a perfect partner and accompanying piece for The End. Dead! breaks new ground as it takes Queen‘s stadium/arena style glam rock and crushes it with a melodic punk style. The album wisely, takes the rock aspect and soars it to new levels with This Is How I DisappearThis Is How I Disappear is one of the heaviest songs on the album and ironically, one of the most catchiest songs on the entire album. Take the seventh track, House of Wolves, you can see MCR show off some of their improvements from the previous albums. They are able to successfully (and subtly) adjust from punk rock influences to more arena style hard rock. They keep up the intensity, while showing off greater variety, influences, and accessibilty. A trait that not many bands have.

Of course, the centerpiece of this behemoth of a rock opera is the fifth track and pseudo-titled lead single, Welcome to the Black Parade. It’s almost as if the first four songs of this album were building up to this moment. Welcome to the Black Parade begins with some subtle and effective piano and Way’s vocals before a marching band style drum line propels the song forward. The crunching power chords of the guitar kick around the one minute mark and heavy pounding of the marching drums power the song into an almost breakneck pace at around the two minute mark. It’s a track that patiently bides it’s time before letting the home run swing rip. And boy does it knock it out of the park. It’s got all the makings of a song that was heavily influenced by Queen (think We Will Rock You or We Are the Champions).

Then there’s Teenagers and Famous Last Words, two tracks that have heavy mainstream play-ability. Teenagers is one of the most fun and catchy songs to listen to, despite it’s anti-youth message. I wouldn’t say it’s “anti-youth”, as much as it highlights what the older generations dislike about the younger generations. The guitars, heavy on distortion, absolutely power the song. It’s a song that you could easily find yourself singing along to. Famous Last Words, the true ending to an absolutely thrilling and wonderful album (not including the hidden track Blood), shows off some keen pop-punk/pop-rock hooks while being more of a hard rock jam.


I was astonished back in high school when I first listened to this album. Most punk bands can’t put a complete album together, let alone half of one. What My Chemical Romance did with The Black Parade is simply amazing from start to finish. Many rock opera and concept albums fall flat, sometimes because of a lack of cohesiveness, sometimes from trying to do too much, or sometimes from trying to experiment too much. However The Black Parade is the complete package. It’s epic and spectacular.

And if we are being completely honest with each other, there’s a scene kid within us all, just waiting to be embraced. And maybe, just maybe, be should be brave and embrace our inner scene kid and be bold like My Chemical Romance was with The Black Parade.

Tracks to Listen to: Welcome to the Black Parade, Teenagers, Famous Last Words, I Don’t Love You, and The End./Dead!







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Year 5, Day 15: Celebrating St. Patrick’s Day with some “Teenage Kicks” with The Undertones

Year 5, Day 15: The Undertones – The Undertones


Track list

  1. Family Entertainment
  2. Girls Don’t Make It
  3. Male Model
  4. I Gotta Getta
  5. Teenage Kicks
  6. Wrong Way
  7. Jump Boys
  8. Here Comes The Summer
  9. Get Over You
  10. Billy’s Third
  11. Jimmy Jimmy
  12. True Confessions
  13. She’s A Runaround
  14. I Know a Girl
  15. Listening In
  16. Casbah Rock

About the Album

The Undertones is the debut album from Northern Irish punk band, The Undertones. The album was recorded early in 1979 and released on May 13th 1979 through Sire RecordsNumerous polls in 1979 that were conducted placed The Undertones as one of (if not) the greatest albums of the 1970s and one of the Top 40 Punk/New Wave albums of all time.

Thoughts on the album

Happy Saint Patrick’s Day everyone! While looking for an Irish band to feature today, I had to dig deep through my music library and even my dad’s music library for something to feature. Lo and behold, I found a classic. A gem. A diamond in the rough. You get it. Today’s album is the legendary, The Undertones by none other than, The Undertones. Now I know I say “legendary” or “quintessential” or “genre-defining” a lot. I get it. But this album is a classic, given the time period it was released and the war in it genre of music that was going on.

The Undertones as an album, musically, could have traveled down a couple paths. One path being influenced by disco, and becoming a mishmash of punk/new wave. Another path the band could have taken with their sound was into a hardcore punk a la The Sex Pistols. Or they could have went the route of The Jam and fused a version of the mod movement into their punk sound. With this album, you get an excellent showcase of The Undertones‘ sound, style, and conviction. The album itself is the definition of what modern pop-punk is: three chord power pop… except in this case it is crammed into lightning fast two minute songs. The songs are unapologetic on their worldview, of course that should be a given considering the songwriters weren’t even out of their teens yet! The Undertones highlights the influences that The ClashThe Ramones, and the Buzzcocks had on the band.

The Undertones scored massive success with their first single, Teenage Kicks, which I would describe as a precursor to a modern day punk rock anthem. It’s fast, loud, and carries some serious clout with a massive sing-a-long chorus. Most importantly, having heard a lot of punk bands of this time period, I can say one thing: it’s a fun song. Instead of criticizing the government or talking shop about politics or whatever the bands of the era did, they went the opposite direction and talked about teenage love and wanting to hold the hand of the girl you love. Aww…. how sweet. Ironic that this topic would be picked (back) up by pop-punk bands of the 2000s. The singles Get Over You and Jimmy Jimmy are equally as fast and fun. Jimmy Jimmy, despite being a fast paced and fun song tackles serious subject matter in suicide and depression, though it does deliver a message of optimism that their contemporaries did not.

Perhaps, it is because of Feargal Sharkey’s quivering whine that makes Get Over You and Teenage Kicks less Neanderthal and more cute and fun. Or maybe it could be because of the O’Neill brother’s chipper schoolboy-like harmonies. Either way, this is a album that has aged incredibly well and it’s formula is very simple: easy four chord punk tracks all executed with enthusiasm. The album is lightning paced and finishes at around roughly 30 minutes long with the longest track being 2 minutes and 45 seconds long. There is no variation or variety, but is to be expected. The lyrics aren’t anything grandiose, complex, or heady. Sometimes, simple is better and it works here.


The Undertones follow a simple methodology with The Undertones, their self-titled debut album: K.I.S.S. or Keep ISimple Stupid. The eternally youthful single, Teenage Kicks transcends time as it continues to be model for simple three/four chord pop-punk tracks of today. You arguably thank the punk movement for the return of the three minute track! Some tracks on the album may just be cheesy as hell, but it works. The album continues to stand the test of time and serve as a veteran vanguard for those who venture into the realm of three/four chord pop-punk.

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Year 4, Day 37: Van Halen – 1984

Van Halen’s “1984” is a massive and smash hit that puts the band’s instrumental prowess on display.

Year 4, Day 37: Van Halen – 1984


Track List

  1. 1984
  2. Jump
  3. Panama
  4. Top Jimmy
  5. Drop Dead Legs
  6. Hot for Teacher
  7. I’ll Wait
  8. Girl Gone Bad
  9. House of Pain

About the Album

1984 is the sixth studio album from American rock band Van Halen. The album was recorded in 1983 and released on January 9th 1984 through Warner Bros. Records. The album has sold well over 20 million copies in the United States and is certified 10x Platinum by the Recording Industry Association of America (RIAA). 1984 reached (and peaked) at number two on the Billboard 200 (oddly enough, right behind Michael Jackson‘s Thriller).

Thoughts on the Album

We are down to the wire here on the project with the final four albums of 2016. So let’s throw it back to the 1980’s where the cheese was strong in rock (and music in general). The decade of the 80s was filled with bands releasing massive hit after hit and receiving massive radio airplay. So today’s album is none other than one of the decade’s biggest hits, Van Halen‘s 1984.

The album opens with the primer to one of the biggest rock hits of decade (Jump), with 1984. The eponymous track is more than just a spacey sounding filler track. It sets up Jump perfectly as an instrumental. The 67 second instrumental gently introduces you to the synthesizer riff of Jump. The result was a four-plus minute massive rock hit that is nothing more than pure pop/rock bliss. Jump is a massive arena rocker that can still be heard throughout sports stadiums and arenas everywhere. The emphasis of the track is less on the guitar and more on the synth riff.

Jump is immediately followed up by the equally impressive Panama. While Jump draws on the more pop sound of the decade, Panama brings it right back to the rock. It’s a straight-up rocker. Compared to classic Van Halen rockers, Ain’t Talking About Love and The Cradle Will RockPanama stacks up incredibly well. Of course, then there is Hot for Teacher, one of the band’s most recognizable single/music video. The track builds with a sense of urgency until it releases that energy in explosive choruses.

Drop Dead Legs is a track that is driven by some gritty hard rock guitar chords and some pounding bass drum stomps. Driven by both of those and colored with the group’s seemingly effortless harmonies. I’ll Wait, the second single from the album was co-written by Michael MacDonald. It is a pulsing track rife with prominent keys and Rototom drums, along with a synthesized bass line. The album closes with the metallic sheen of House of Pain.


1984 puts the instrumental prowess of Van Halen on display. It s arguably the best showcase for the band’s songwriting ability. Hell, it may just be the band’s best album period. Complete with 1980s cheese rock, pop hooks, and  1984 is a product of the decade; which is not necessarily a bad thing. Van Halen‘s 1984 is a colossal commercial success, as well as a massive music success.

Year 4, Day 4: David Bowie – Young Americans

Year 4, Day 4: David Bowie – Young Americans

Track List

  1. Young Americans
  2. Win
  3. Fascination
  4. Right
  5. Somebody Up There Likes Me
  6. Across the Universe
  7. Can You Hear Me?
  8. Fame

About the Album

Young Americans is the ninth studio album by English glam rocker, David Bowie. The album was recorded in parts from August 1974, November-December 1974, and January 1975. The album was released on March 7th 1975 through RCA Records. The album peaked at number 9 on the United States Billboard 200 chart and is certified Gold by the Recording Industry Association of America.

Thoughts on the Album

David Bowie has always been a huge influence on my taste in music. Of course, as an artist he was both irreplaceable. He was unique. That’s what makes his passing in January that much more painful.

Today’s album is his 1975 release, Young Americans. Fun fact about the album, majority of the album was recorded at (the now defunct) Sigma Sound Studios in Philadelphia. The album, much like the rest of the late Bowie’s catalog is unique. Young Americans is a movie in the direction of R&B and blue-eyed soul. You can tell just how much influence that the “Philadelphia Sound” had on Bowie. The album was produced in the same studio where Kenneth Gamble and Leon Huff were creating the unique Philadelphia soul, but Bowie did not work with them.

The album is just another new foray in a new direction, for an artist who made a career out on a ceaseless search for new directions. While there is nothing like the apocalyptic visions found on Ziggy Stardust or Diamond Dogs, the album is just as unique and smart as anything Bowie recorded prior. The album contains parts from a then-unknown Luther Vandross.

The title track and opener, Young Americans, is a combination of then contemporary soul (thanks to the Vandross-led backup singers), some 1950s pop, and then up-and-coming rocker, Bruce Springsteen.

Tracks 2 through 5 are what make this album great. The combination of Win, Fascination, Right, and Somebody Up There Likes Me is the life and heartbeat of the album. I mean, at one point during Win, the backup singers, brass, and Bowie are all happening at once, like a cosmic singularity that delivers to you everything that music has to offer.

One of the highlights, is Fascination, co-written by Luther Vandross and features legendary sax player David Sanborn. The keys, sax, and rhythm guitars on Fascination are seemingly perfect as they compliment each other and Bowie’s vocals.


I understand why some David Bowie fans have hate for Young Americans… they fell in love with the glitz and glam of previous work. But Bowie’s foray into Philly Soul is an excellent number. Opening with Young Americans and the four track sequence of Win, Fascination, Right, and Somebody Up There Likes Me will win you over.


Year 3, Day 39: Europe – The Final Countdown

Year 3, Dav 39: Europe – The Final Countdown

Track List

  1. The Final Countdown
  2. Rock the Night
  3. Carrie
  4. Danger on the Track
  5. Ninja
  6. Cherokee
  7. Time Has Come
  8. Heart of Stone
  9. On the Loose
  10. Love Chaser

About the Album

The Final Countdown, is the third studio album from Swedish glam rock/hair metal band, Europe. The album, recorded from September 1985 to March 1986, was released in late May 1986 through Epic Records. The album was a massive commercial success, going triple platinum in the United States alone. The album peaked at number eight on the United States Billboard 200.

Thoughts on the Album

Welcome to the second-to-last day of the third year of the project; otherwise known as Day 39. We have went on a musical journey across the world, so why not continue that journey? We all have that one album in other music collection that some don’t like admitting they own. Yes, even me. For me, that album is none other than Swedish glam rock band, Europe‘s The Final Countdown. The album is your quintessential, prototypical, and archetypical 1980’s glam rock/hair metal band album: full of cheesy lyrics, big guitar riffs, even bigger synth riffs, and soaring choruses. Essentially, it is the epitome of 1980’s hair metal albums (looking at you Jon Bon Jovi).

Let’s face it, this album wouldn’t be as well received today as it was back then. I’ll admit it, this album is pretty bland and blah rock that it makes the garage band down the street have full Slayer-status. But while we’re at it, also admit that, we’ve probably rocked out to this album at least once or twice.

If you haven’t heard the titular opening track, then I have no words for you. If you’ve gone to a sporting event, or seen a cheesy comedy movie, or played Guitar Hero or Rock Band, then you have heard the title track, The Final CountdownThe Final Countdown opens the album with such bombastic brilliance, such majestic and glorious garbage, that it is the epitome of the 1980s. However vapid and vacuous the song’s lyrics are, the instrumentation is pretty good. The majestic and booming bass synthesizer, brass-like synth riffs, pounding drums, and heavy hitting guitar riffs (and the solo) helped make this song an anthem that everyone knows and sings along to. Of course, The Final Countdown, is probably one of the weaker tracks on the album too.

One of the problems with this album is it’s genre. It’s definitely not hard rock. It’s rock, but not hard rock. This album is more of a stereotypical (radio) pop/rock album of the time period. Of course, while you do get heavy riffs and technical solos on tracks like Rock the Night and On the Loose; and Carrie is your quintessential 1980s hair metal ballad. But everything else is more closer to the synthpop that was predominantly featured on the airwaves during that time. That includes the title track.

Listen to: The Final Countdown for it’s cheesiness; Rock the Night for it’s pounding drums and heavy riffs; Carrie if you are looking for a 1980s hair metal ballad that backs some heat; On the Loose for the heavy guitar riffs and technical guitar work.


Keeping it relatively short and sweet. If there was a “King of 1980s Cheese” music list/crown, then The Final Countdown, both album and title track would rank close to number one on it. But, the album is a product of it’s musical time period were cheese and commercialism ran rampant. It’s definitely not and would not be considered a form of “high art” by any means. If The Final Countdown had less of the cheese and brought more of fire, then I’m pretty sure more would love this album.

I swear, this probably has been the most negative about an album I’ve posted about on this project before.

But all that said, it’s still an enjoyable listen. So give it a listen!