| | Dragonforce Inhuman Rampage CD - Import Dragonforce Discography of CDs
Dragonforce's music, once you're familiar with it, is unmistakable; their triumphant, orchestral power-metal--compressed to force every nuance up front--is impossible to ignore. INHUMAN RAMPAGE finds the band continuing their assault on metal audiences, with incredibly technical solos and almost Wagnerian melodic structures. The group also celebrates the pomp of glam rock without falling for its lazy trappings. This is rigorous music, impeccably performed for fans who expect no less.
Enhanced 2006 release features eight tracks plus an Enhanced portion that features a backstage documentary on the band and more.CMJ (p.6) - "[T]he sextet's soaring, uplifting melodies make 'Livin' On A Prayer' sound like a funeral march, and their chops put aging pop-metal axemen out to pasture."
Kerrang (Magazine) (p.48) - "DragonForce set an unmatchable standard, two parts blistering technical intensity, three parts sheer defiance of the laws of physics and all parts cheek-aching happiness." Inhuman Rampage Review
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Purchase Inhuman Rampage CD To buy, Click on price to add to cart | Dragonforce Sonic Firestorm CD (2004)
Inhuman Rampage album
 $12.19   
One term that is used quite a bit in jazz circles these days is "Young Lions," which refers to young jazz musicians whose work is a throwback to the straight-ahead acoustic jazz of the '40s, '50s, and '60s -- a "Young Lion" might have started recording in the '80s, '90s, or 2000s, but stylistically, they are quite committed to the jazz of previous generations. And in heavy metal, a similar mentality exists in the power metal revival movement; the '90s and early 2000s saw the rise of many young power metallers who look and sound like they belong in the '70s or '80s. England's Dragonforce is a perfect example; although their second album, Sonic Firestorm, is a 2004 release, it might as well have been recorded in 1981. Just as the "Young Lions" of hard bop and post-bop reject fusion, crossover jazz and free jazz, Dragonforce is oblivious to alt-metal, rap-metal, death metal/black metal, metalcore, and other styles that have flourished in post-'80s metal. There are no chug-chug riffs or downtuned guitars on Sonic Firestorm, which happily recalls an era in which Iron Maiden, Queensr˙che, Manowar, King Diamond, and Savatage reigned supreme. Sonic Firestorm isn't the least bit groundbreaking, and no one will ever accuse Dragonforce of being the most original or distinctive band in the metal field. Nonetheless, Dragonforce's long-haired members are good at what they do -- and what this CD lacks in originality, it usually makes up for in terms of passion, ...
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| | Rhapsody Of Fire Triumph Or Agony CD (2006) Bonus Tracks; Special Edition
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Even though unforeseen trademark conflicts forced Rhapsody to expand their name to Rhapsody of Fire prior to this, their seventh studio album, it's good to see that nothing else has changed about the Italians' highly dramatic and orchestrated fantasy pomp metal. And why should it have? After all, no one knows drama like the Italians (except perhaps the Greeks), and Rhapsody -- forgive me, Rhapsody of Fire -- would be silly to let something as trivial as a name change alter their (thus far) very successful career course? Rather, the sextet appears even further emboldened and motivated by this unusual challenge, so that the questioningly titled Triumph or Agony only ups the ante (if that's possible) of their ambitions, which, as ever, include framing their core -- guitars, keyboards, bass, drums -- instrumentation with a full choir and symphony orchestra. Thus equipped, they deliver new unofficial chapters for The Lord of the Rings via the agonizingly triumphant title track, the frankly spectacular single "Heart of the Darklands," and the necessary showcase for frequent guest narrator, actor Christopher Lee, in "Dark Reign of Fire"; they offer stately, metallic marches like "The Myth of the Holy Sword" and "Bloody Red Dungeons" to highlight the 50-piece chorus behind them; and push the boundaries of both reason and hilarity with the daring inclusion of harpsichords, pan-flutes, ...
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| | Domain Chronicles Of Love, Hate And Sorrow CD (2009) (Import) Bonus Track; Germany
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| | Victory Style III CD (1998)
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| | Beat Box 2002: Essential Hard House CD (1998)
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2007 highly anticipated full ...
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| | Rock Doc! Louis Jordan On Mercury 1956-57 CD (2008) (Import) United Kingdom
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When Louis Jordan hitched up with Mercury for a brief stint in 1956 and 1957, his commercial fortunes were way in decline. The strategy hit upon as an attempt to revive his recording career was not one bound to find favor with critics when his catalog was reassessed in the decades to come. On Mercury, he'd concentrate on re-recording his jump blues classics, modernizing the arrangements somewhat with an eye for the then-exploding rock & roll market. This 28-track compilation has much of what he recorded for the label, taken from two LPs and various singles. As Dave Penny's sympathetic liner notes point out, it wasn't as crass an approach at the time as it might seem from a distance; the long-playing market had just emerged, and since Jordan's original hit singles were no longer in print, for a while this was the only way to hear Louis do these tunes on record at all. Now that those classic original jump blues versions are ready available, of course, these remakes can't help but seem not only less essential, but inessential. Inessential, however, doesn't mean that these were bad recordings by any means, even if no one should acquire these before getting the original versions. Jordan's performances were nothing if not professional and lively; the backing players were talented, including quite a few sides with Mickey Baker on guitar and Quincy Jones as musical director; and he did sprinkle some tunes into the sessions that weren't remakes of familiar old hits (though listeners should be aware that one of these tracks features Dottie Smith on vocals rather than Jordan himself). Still, those remakes of familiar old hits like "Saturday Night Fish Fry" and "Caldonia" couldn't compete with the prototypes, and Baker didn't let loose on guitar as much as he could have, though he'll occasionally burn it up, especially on "Caldonia." If this was all that survived of Jordan as a recording artist, the material would be viewed more kindly, since his considerable abilities as a jump bluesman and R&B singer are well in evidence, and he wasn't all that bad even when the arrangements kowtowed to rock & roll trends. But viewed within the context of his entire discography, this has to be considered a lower-priority item, and one mostly for devoted Jordan fans. ~ Richie Unterberger
2008 collection of tracks from the famed R&B howler recorded for Mercury Records during the early days of Rock 'N' Roll. The legendary Louis Jordan was as vulnerable as anybody else to changing fashions in the '50s. Louis' former manger had founded soon to be major Chicago label Mercury Records, and had the idea of re-recording Louis' greatest songs for the new microgroove album market as this would not only capture a potential new market of youngsters, but recapture older fans who wanted the best of Louis on the new-fangled LP format. The optimism was infectious: Mercury marketed the new recordings in the trade paper ads by billing Jordan as 'The Original Rock And Roller', making an astute reference to his place among the progenitors of R&B and, therefore, Rock 'N' Roll. 28 tracks. Rev-Ola.
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