Dees’ Days (aka the 80’s just had sex with the noughties and this album is the result)

Sigh.

The plan, the directive, and the promise I made, was that I was going to get my articles back on track and stick to the blog’s original MO (Music, Running, Spirit), and what I had planned to do was listen to a load of new bands I have heard mentioned recently, whether on the Jasta Show, on interviews with Converge, or via Instagram (good app, you should check it out) and write down my thoughts as a voracious consumer and explorer of all things ROCK.

I had the list of bands, I played a few tracks on Spotify, I tried, honestly, to focus on the resurgence of Metalcore, (sorry Bury Tomorrow, I will come back to you, as well as Ice Nine Kills, whose album based on classic horror films I’m looking forward to, if ‘Thank God its Friday’’ is anything to go by), I tried to increase my knowledge of legendary Death and Grindcore bands, but, in the end my sun-fried-old-man-metal-obsessed-brain could only focus on one thing at a time, and I was totally preoccupied with the release of one album and one album only — ‘For the Love of Metal’ by Dee Snider.

Dee Snider? Twisted sister? Like, 80’s glam fist pumping ‘’We’re not gonna take it’’ and ‘’I Wanna Rock’’ Twisted Sister? Kinda popular in the 80s? Isn’t he a DJ now, not really doing a lot these days apart from horror film stuff and ….waaaaaaaaaaiiiiit a minute, is that the drum intro to Motorheads’ ‘Overkill’ coming charging out of the stereo? No, its ‘Lies Are A Business’’, the first track on ‘FTLOM’, and all thoughts of ‘’Be Chrool to Your Scuel’ are banished as it kicks off an album I can only describe as Alice Coopers’ ‘’Poison’’ played by Machine Head doing Priest covers, Van Halens 5150 as if rewritten by Trivium, or Avenged Sevenfold reinterpreting Motley Crue’s ‘’Dr Feelgood’’. In short, modern (ish) metal riffs, Maiden-esque quitar harmonies, anthemic chest beating , beer in the air choruses and a classic memorable vocal performance from a singer who is clearly relishing every minute and that puts this right alongside the aforementioned Judas Priest’s recent album ‘’Firepower’’ in the ‘’Crikey the old guys still have it in them’’ stakes (no pun intended Mr Halford!)

I wont go track by track, that’s for twelve year old boys reviewing on Amazon (‘’Track five has great drums’’…thanks son). but standouts for me are ‘I am the Hurricane’’ which, if I get to see this performed live, will see me bringing out the ‘’Metal Claw in front of my own face’’ pose that I haven’t done in years. I’m sure I will also be seen elbows pinned to my sides, arms up, fists clenched, gurning as

if I’ve just trodden on an upturned plug.

It is pure unabashed Metal and has amazing pedigree, being produced by Jamey Jasta (who instigated the whole thing in a podcast interview with Dee last year), and featuring guest appearances from Howard Jones (formerly of Killswitch, now Light The Torch) , Alissa from Arch Enemy (a sublime emotive performance on ‘Dead Hearts’) and songwriting contributions from members of Disturbed and Lamb of God. Its an album that makes you want to stand with your legs spread fifteen feet wide, outstretched claw (the ‘holding the grapefruit pose’) or arms above your head as if trying to conjure lightening, kinda like Dee is doing on the cover really. Its the least cool genre around at the moment; glossily produced, cheesy in all the right ways, and is making me lament the demise of my battle vest (for the uninitiated that’s one of these things…

But I’ll draw the line at growing my mullet out again……

M