Pagan Metal and the (perceived) unfortunate racist connection.

OK, so this is a bit of a touchy subject, but one I feel compelled to write about, especially since learning that one of my favourite pagan metal bands has decided to alter their own logo in attempt to appease the ignorant masses. You see, as I mentioned in my previous blog Latvia’s Skyforger have removed the Latvian thunder cross symbol that made up part of their logo. The reason for this is apparently due to the constant negative comments and reactions they had received from people who had perceived it, and the band of being racist. Of course, this is far from the reality of the situation. The symbol in question is a variation of the swastika, but not in the Nazi sense, of course as that would be racist. The swastika is actually a symbol that has been used throughout the world for thousands of years, and in Europe the sun cross, for example, is a pagan symbol that has existed since the Bronze Age and therefore pre-dates Christianity by a considerable length of time. The fact that the band felt the need to remove it is a sad indictment of our current, modern fascination with so-called “political correctness”. People need to actually do a little research before pointing the finger at others. Now, I am not for a moment, advocating racism, but the facts are that Europe, as a continent, has a very rich and varied cultural history going back many thousands of years, and we should all be proud of this, and should preserve this heritage at all costs, and without being made to feel guilty for it. What do we have to feel guilty about? As far as I can see, the answer is nothing. I am all for immigration at all levels (OK, maybe not illegal), and feel that people should have the right to settle wherever they please, providing they have the means to provide for themselves, and that they respect the culture, history, heritage and traditions of the country they are moving to. For the most part, however, the majority of people are more than willing to do this, and it is, in fact, the people in charge of the country and the do-gooders that are responsible for making us feel shameful about our own traditions and, in many cases, for banning them for fear of offending those non-natives.  They are instilling themselves as the moral guardians, and are, in most cases, wrongly assuming that they are doing what is “best” for people.

But, I am getting away from my own point a little here. The problem is that, it is the ignorant, hateful and downright disgusting behaviour of a very small minority within the black metal scene that is ruining the perception of the genre as a whole, not just from the perception of the general public, but also from other quarters within the metal spectrum. I am talking, mainly of the NSBM (National Socialist Black Metal) sub-genre, although this frankly scary attitude does not end with them, and is present throughout the black metal genre (and it’s myriad sub-genres). The problem this causes is that bands, such as Skyforger, Glittertind, Forefather, and many others that write about national pride, get accused of racism. What is racist about being proud of the country that you live in, and that your ancestors lived in? What is racist about singing of the natural beauty around you, or of long gone customs, traditions and tribes? Of course, the answer is nothing. The unfortunate and sad fact is that people, in general, seem unable to distinguish between Nationalism and National Socialism. A person who is a nationalist is not necessarily a racist (although of course they can be), and in the majority of cases, is merely expressing a feeling of identity, of belonging, a love of their culture and country. For the most part this does not involve the hatred of other social or racial groups. Of course, there is also the issue of those racists hiding within the Nationalist pagan metal scene and behind the facade of an apparently innocent pagan symbol. This makes it even more difficult to distinguish between the bands that are true pagans, and those who are a far more worrying, and in some cases, dangerous prospect.

What can we do about this? Well, obviously, people are entitled to believe what they please, and this applies to the NSBM bands too, of course. I would never suggest otherwise, as that is what the whole system of democracy is built on. So, personally, I will try to avoid (knowingly) buying anything released by a racist band, but of course this is an individual choice. If you want to boycott these bands too, but are not sure if a particular band is NS or merely pagan, the internet is obviously a valuable resource. There are a number of websites you can look at to learn about the lyrical themes and/or content of any given band. One such site is Encyclopaedia Metallum.

I don’t want to dwell on this subject, or go into too much boring detail, so I will leave it there.

Oh, and in the immortal words of The Dead Kennedys “Nazi Punks, Fuck Off!”

What will 2010 Bring? Part 2: Some more upcoming albums I am looking forward to.

In part one, I mentioned a few upcoming releases that have really aroused my interest, and in some cases my curiosity. Well, it may be predictable, but now it’s time for a handful (er, 3) more. These albums are due for release between March and May, but we all know how dates can be put back without warning. For now, however these are just a few of the albums I will be looking forward to buying over the coming months.

Starting with one that is sure to be of interest to any fans of Folk/Pagan/Viking metal out there (Yes, Rob...that means you). It’s the new one, “Mulmets Viser”, from Denmark’s Svartsot, who, in my ever so humble opinion, released one of the last decade’s best folk metal albums, and one of the best metal albums in general, in their debut “Ravnenes Saga”. It had everything that a folk metal fan could possibly want from an album: Death metal vocals, heavy riffs, melodic guitars, annoyingly catchy songs and lots of (admittedly, sometimes, slightly twee) folk melodies. That album is highly recommended for fans of Amon Amarth (lazy comparison out of the way), or the mighty Thyrfing (first 4 albums), to whom they have most in common. If you want a good starting point of reference, you should search on YouTube for either, “Nidvisen” or “Jotunheimsfærden”. Those songs pretty much sum up what the band is about. I have absolutely no idea what the new album will sound like, but I am hoping for more of the same, as the old adage goes “If it ain’t broke...” and all that. This is one of the most anticipated albums for me this year as “Ravnenes Saga” was such a revelation, and totally restored my faith in what was, and indeed still is, becoming an increasingly watered-down, vapid, and cheesy genre. I doubt that this is what Martin Walkyier envisioned all those years ago when he, and his band at the time, Skyclad (he quit the band in 2001) created what would become known as folk metal. I’m not going to rant about this now...I’ll save that for a future blog, but to say I have high expectations for this one would be a massive understatement. I’m waiting with bated breath for the release date (29^th March), and a review will no doubt follow.

Next up is “Korn III: Remember Who You Are”. Good advice. I just hope the band have chosen this title for a reason. This is of particular interest to me, as a long time fan of Korn, as it is being produced by Ross Robinson ...the man who handled production duties on the band’s self-titled debut album. Let’s not beat around the bush here (hmm...more clichés)...Korn appear to have completely lost their direction in the last decade, and have seemingly been drifting along on auto-pilot for far too long. Can Robinson bring them back to where they belong and give them some much needed focus? I, for one, think that he can...and not only that, but I think he will help the band to find their purpose again and will, perhaps, propel them to new creative heights. I am expecting big things from this album, and to be honest, if they don’t deliver, then I think I will lose interest in them for good. Last chance saloon, boys. Let’s hope that this will be a real “return to form” for this once innovative and important band.

Last (for now) is “Kurbads” from everyone’s (well, mine anyway) favourite Latvian riflemen, Skyforger. This has been a long time coming, and is the band’s first album of new material in 7 years! The band released two albums in 2003, an album of traditional Latvian folk songs, "Sword Song" and a metal album "Thuderforge". Either of these would be a good starting point for anyone who is new to this great band. First of all, I should probably explain what the band sound like, for those new to them. Imagine, if you will (can) early Skyclad, but with Latvian lyrics and a slightly harder, pagan black metal edge. This band are one of the leading lights in the “real” folk/pagan metal scene (along with the likes of Obtest, Metsatöll, Thyrfing, etc), but are sadly often misunderstood by the ignorant masses. The reason for this? The band’s logo featured the Latvian thunder cross. I say featured as they have now decided to remove it as it was frequently misinterpreted as being (similar to) a swastika, despite the band stating on many occasions that they are NOT politically motivated or racist, merely proud. There is nothing wrong with national pride, people. Unfortunately it is all too often seen (wrongly) as being racist. Many bands adopt a similar stance of being proud without being hateful, such as England’s own Forefather and Norway’s Glittertind, and I wholeheartedly encourage this. We should never lose touch with who we are and where we come from, especially not for fear of upsetting people from other cultures or backgrounds. We have a long, rich and varied cultural history here in Europe and we need to keep it that way. Thankfully, metal is doing just that...flying the flags of our heritage, be it with the use of traditional music and/or instruments, or in the lyrics...telling stories of times gone by , describing the beauty of the landscape, or of great historical battles (among many other themes). Skyforger do all this with class and great musicianship, and I recommend them to anyone who is interested in paganism, or indeed, just likes their metal with that bit of a “folky” edge. I think I need to continue with this idea of national pride in metal, but will save that for a future blog.

Under-Rated Albums: Part 2: Pist.On - $ell Out

Continuing with my theme of under-rated albums, I bring you my overview of “$ell Out” by the sadly defunct US act Pist.On. The title of the album (along with the accompanying artwork) was a dig at the media (and even some of their own fans) who had seen fit to label the band as “sell outs” for adapting the spelling of the band name to PistOn at the request of their new record label. There is a knowing smirk and sense of fun about the whole situation, with a dollar sign on the front cover and the band posing for photos, on the inner sleeve, wearing flashy suits, sitting in expensive cars, pretending to be prostitutes, and flashing money around. Unfortunately, it all seemed to backfire on them, as the record failed to sell as well as “Number One”, and the band spilt soon after it’s release. The reason for the name change (it was just the removal of a “.” In reality) was obviously to have the record stocked in stores, and to make the band easier to promote...not, as some people claimed at the time, a cynical attempt to gain mainstream acceptance. Any band wants to reach the biggest audience it can, and the wrong name can, of course, prevent this from happening. All Pist.On are guilty of, is making a small concession in order to get a new record deal and to release their new album. Of course, it could be argued that by choosing the name in the first place, they only have themselves to blame. Personally, I think that this was a minor issue, and has no affect on my opinion of the band or their music. I hope that, by now, you are interested to know what the band sound like...If you are, read on.

Musically, the album continues where the debut left off, with more of their (obviously) The Smiths influenced, moody metal/dark rock. This time however, the order of the day seems to be set more in the camp of rock, with the metal elements considerably toned down. Essentially gone, are the Metallica/Paradise Lost influences, which are replaced with more of a Deftones style and a sense of introspection not found on the first CD. The lyrical themes are, again, loneliness, depression, despair and sadness. Not exactly uplifting stuff you might think, but even though the lyrics are obviously meaningful and genuine, at times they are delivered in an almost ironic way (hey, it works for Morrissey) and are backed up by some top notch song writing.

Once again, the music is helped along nicely by the considerable vocal talents of Mr. Henry Font, who displays his ability to set the mood and tone for any given song, as any good vocalist, in a band such as this at least, should be able to do. Aided by an equal talented band, consisting of Val Ium (hoho) on bass, Burton Gans on guitar and Jeff McManus on drums, Henry sings his way through the 11 songs on offer here in a style that is as reminiscent of Soul Asylum’s Dave Pirner, as it is of Deftones’ Chino Moreno. He is often backed by the softer, female vocals, of Val, which adds a lot more depth to the, already, well crafted songs. These are songs of heartbreak, loss, depression and relationship woes. Luckily though, none of this is anywhere near as ´emo´ or as pretentious as it sounds, and, as previously mentioned, owes a bit of a debt to the song writing style and dark humour of the likes of Morrissey and Paradise Lost.

Despite the lyrical themes and, somewhat toned down, ´softer´ style on display here, this is a varied and satisfying album which should appeal to fans of the first album as well as to anyone who is partial to a little Soul Asylum, Deftones, Smiths, Soundgarden and maybe even to fans of 90’s era Metallica or Paradise Lost. Sadly though, this album is a little hard to get hold of, but is certainly worth picking up for a few quid if you can find it.

What will 2010 bring? New albums I'm looking forward to: Part 1

So, this year is already off to a storming start with quality releases by Finntroll, Bifröst, Blaze Bayley, Fear Factory, Ihsahn, Heidevolk, Metsatöll, Mustasch, Rotting Christ, Sigh, and many, many others.

This promising trend certainly looks to continue as the year wears on, with new albums still to come by the likes of Deftones, Sonic Syndicate, Cold, Spineshank, and the mighty Iron Maiden. This could certainly be a vintage year for rock/metal music, and it is certainly one that I am very much looking forward to.

The Maiden album alone should be the highlight of the year, especially when you consider the upward creative trajectory that the band has been on in the last decade....constantly evolving and adapting their style, not to fit in with or to pander to the mainstream, but to the ever-changing vision of Mr. Steve Harris. It could, however, be a bit of a bitter pill, as the band have stated for a number of years now that album number 15 would be their last, as well as comments alluding to the fact that they can’t go on forever, and that they are getting older. We will have to wait and see, but personally, I really doubt that Steve would want to give up while the band are scaling such creative heights or finally receiving some long overdue mainstream recognition and acceptance. He is just too driven as a musician and too stubborn to admit that he is done. Even if this does prove to be their swansong as far as recorded output is concerned, then we can still look forward to a few more years of touring, as they still have a lot of extravagant plans afoot as part of the ongoing theme of the re-imagining of classic tours from the band’s history.

Another album that I am excited about is the new Deftones release “Diamond Eyes”. After the slightly disappointing “Saturday Night Wrist”, this album has a lot of expectations riding on it, and I don’t have any doubt that Deftones can deliver. I expect that it will more of their brooding, introspective and often beautiful post-rock (not nu-metal by the way). From the two songs I have heard so far, this is already sounding like a masterpiece, although it is a bit early for predictions at this point. I suppose we will just have to wait and see.

As I mentioned earlier, we also have new albums by two recently reunited bands in Cold and Spineshank. To be honest, I will be approaching both of these with a little trepidation as both could realistically go either way creatively. Cold, in particular, had adopted a horrible Creed-lite sound on their last album, so I am really hoping that they will be looking to their first three albums or indeed, elsewhere for inspiration this time around. As for Spineshank, they had also taken a worrying swing in the wrong direction on their last album, but the (very) rough demo they posted online over a year ago now, was certainly very promising and displayed a much heavier sound than previous albums. I await both of these with much interest.

I am also very much looking forward to hearing the new album by Sonic Syndicate (their first with Nathan on vocals) in May. I have to be honest (sorry Nathan), but I wasn’t really impressed with the single “Burn This City”, as it was just that little bit too commercial. I have no issue with sing-a-long choruses or clean vocals, but this was just a step too far for me. I have high hopes for the album though, and am especially interested to hear what Nathan is going to bring to the table as far as the sound of the band is concerned. His vocals are far superior to the previous vocalist, and I know what he is capable of from his days with The Hollow Earth Theory. For that reason, and the fact that I love their previous album, “Love And Other Disasters”, I have no doubt that this will be their strongest album to date. Let’s look at the facts. They have a new (better) singer, so they will already feel the need to step up and to prove what they can do to a (no doubt) expectant and maybe even dubious fanbase, and Nuclear Blast also seem to be throwing their full weight behind the band. If they have faith in them, I think we can all rest easy knowing that this will be a great album. Roll on May.

Mustasch - Mustasch review

My first impression of this album, and the one that will continue throughout is, that there is a definite 90’s feel to it, which is in no way, a criticism. It blends a lot of the stylings and songwriting of that decade’s top bands (within this genre and in my opinion) into one nice package, without sounding dated or contrived. As much as I hate to constantly compare each song to other bands, it is, perhaps, the best way to explain how they sound if, like me, you are previously unfamiliar with Mustasch. You can easily pick out influences ranging from the obvious, such as Turbonegro, Grand Magus, Therapy?, Clutch And Monster Magnet through to the more subtle Sepultura, Anthrax, Rage (German band), Candlemass, Danzig, and even the more 80’s influences of bands such as The Cult, Iron Maiden and Metallica (with many more along the way). Even though the influences come thick and fast and from all angles, the underlying sound here is, to my ears, very much Swedish...with it’s catchy radio-friendly hooks, old-school worship and a superb, stylish mix of doom/stoner/punk/metal.

It would, however, be unfair, not to mention, a bit redundant, to judge the the band on their influences alone (all bands have them after all), especially when the end result is this good. Yes, they wear their influences proudly on their sleeves (and possibly, T-shirts), but they are certainly more than merely the sum of their parts. I don’t know how this great band has managed to fly under my radar for so many years, but better late than never, I suppose. I can safely say that I am well and truly converted to the Mustasch cause.

I will now give a quick breakdown of each song, but I won’t go into too much detail as I have tried to give as much information as I can in the first paragraph.

Heresy Blasphemy

The first proper track, following the obligatory instrumental intro(prelude), comes in with some heavy riffage, and some Cult/Danzig-esque vocals. A good, dark start to what will be an interesting, and rewarding album.

Mine

A rocking little romper of a track with more of the Danzig/Cult influence, but with some almost Sebastian Bach style vocals, crunching “Roots” –era Sepultura riffery (is this a word?), and some melodic guitars more in the realm of Iron Maiden.

Damn It’s Dark

Very reminiscent of Semi-Detached/High Anxiety era Therapy?, both lyrically and in vocal delivery. The guitars, again, bring to mind Therapy? but, also their peers, The Wildhearts. This is a great, annoyingly catchy song, and for me, is definitely the stand-out track on the album...and as it has been chosen as the promotional song, for cover-mounted CD’s and TV appearances, obviously the band/label, think so too.

The Man The Myth The Wreck

Although this comes in with a heavy riff, and again, has a real Therapy? (and Grand Magus) sound, it also has some NWOBHM undertones, and combines this nicely with the sludgy/stoner/doom riffing and the vocal style of fellow Swedes, Grand Magus. At around the 1:45 mark, a slow, heavy, breakdown comes in (in a style similar to Machine Head), and leads nicely to the final part of the song with it’s almost early 80’s Maiden bass sound. Another solid track, and again, one of the best on here.

The Audience Is Listening

Yet gain, we are back into Therapy? (do you sense a theme here?) territory, with hints of The Almighty (at least vocally), a nice Monster Magnet guitar sound, and with an almost Fu Manchu head nodding riff. Maybe it’s just me, but I also get more than a slight whiff of the more (radio) punk edge of The Stooges and The Hives throughout too.

Desolate

At first, this really makes me think of Anthrax/Metallica with it’s slow, brooding tempo and somewhat menacing tone. The band, however, throw a serious curveball at you during the final third of the song, but I won’t ruin it here. I will say, though, that there was no way I would have predicted it. A nice surprise to brighten up, what is otherwise, an unremarkable song. It definitely takes the song up a notch, from mid-paced filler, to a far more intriguing prospect. Nice move, guys.

Deep in The Woods

As much as I hate to keep comparing each song to another band, the guitar intro to this song could be off any W.A.S.P. album, but then we head into a nice mid-paced rocker, reminiscent of German metal masters, Rage. Not a bad song, but at the same time, a little unremarkable.

I’m Frustrated

It had to happen. Yes, you guessed it (didn’t you?)...The Ballad. Well, they are Swedes after all (haha). This is a pretty standard radio rock ballad, in the vein of almost any of the eyeliner-wearing, acoustic guitar toting, rock star wannabe hordes, and even comes complete with ´symphonic´ strings near the end (which is never good). What saves it from being completely terrible, though, are the (slightly) country style acoustic guitars, even if they are a little Bon Jovi/Poison. In fairness, however, I actually don’t hate this song as much as I probably should.

Lonely

With this track, we are, thankfully, back into more rocking territory, and not for the first time, I feel the ghost of “Brit Rock” looming over the proceedings. It also has a distinctly Hardcore Superstar/ Backyard Babies feel. To be brutal, though, this is another fairly average track.

Blackout Blues

Another nice little rocker which brings to mind early 90’s Anthrax/Skid Row. That might sound like an odd combination, but if you are familiar with Skid Row’s “Subhuman Race”, then I think you’ll understand what I mean...and if not, why not?!

Tritonus

This leads in with an orchestral intro (why do I get images of the Pink Panther cartoon?), before kicking in with a nice booming Sabbath/Candlemass (same thing?) riff....but, just when you think you have the song pegged, we get an almost Cradle Of Filth style passage with a nice voice-over and some chilled, Sabbath/Maiden acoustic guitars. This is the most unexpected song on the album, and is a fitting climax with it’s unexpected lurches between slow passages and doom riffing. Nice.

So, after listening to this 3 or 4 times now, and therefore, having digested it fully, I can safely say that this will be getting a lot of repeat visits from me. The only real negative I could mention, is that it really seems to lose momentum as the album progresses. Imagine this, if you will, as a vinyl. Side A would be the one you would be likely to play more often. Despite this little stumble, it is still, like Nifelvind, going to feature highly on my year-end round-up. I hope this review was helpful, and might inspire some of you to pick up a copy or (at the very least) to check them out on YouTube.

Score: 8/10

Metal Hammer Top 50 Albums List In Full

This is not a new blog but, as requested, a list of the Metal Hammer so-called "Top 50 Albums Of The Decade"

50. Arch Enemy - Anthems Of Rebellion

49. Cavalera Conspiracy - Inflikted

48. Anthrax - We’ve Come For You All

47. Converge - Jane Doe

46. Nine Inch Nails - With Teeth

45. Airbourne - Runnin’ Wild

44. Dimmu Borgir - Death Cult Armageddon

43. Devildriver - The Last Kind Words

42. Megadeth - United Abominations

41. Gojira - From Mars To Sirius

40. A Perfect Circle - Mer De Noms

39. Down - II: A Bustle In Your Hedgerow

38. Dream Theater - Systematic Chaos

37. Disturbed - The Sickness

36. Children Of Bodon - Are You Dead Yet?

35. In Flames - Come Clarity

34. Slayer - Christ Illusion

33. Testament - The Formation Of Damnation

32. Opeth - Watershed

31. Mastodon - Leviathan

30. Alice In Chains - Black Gives Way To Blue

29. Velvet Revolver - Contraband

28. Deftones - White Pony

27. AC/DC - Black Ice

26. Judas Priest - Angel Of Retribution

25. Killswitch Engage - The End Of Heartache

24. Mayhem - Ordo Ad Chao

23. Heaven And Hell - The Devil You Know

22. Lacuna Coil - Comalies

21. Dillinger Escape Plan - Miss Machine

20. Marilyn Manson - Holy Wood

19. Bullet For My Valentine - The Poison

18. Pantera - Reinventing The Steel

17. Mastodon - Crack The Skye

16. Korn - Untouchables

15. Opeth - Blackwater Park

14. Nightwish - Once

13. Trivium - Ascendancy

12. Motörhead - Motörizer

11. Iron Maiden - A Matter Of Life Or Death

10. Tool - Lateralus

9. HIM - Black Light

8. Avenged Sevenfold - City Of Evil

7. Rammstein - Mutter

6. Metallica - Death Magnetic

5. Megadeth - Endgame

4. Lamb Of God - New American Gospel

3. Slipknot - Vol. 3: The Subliminal Verses

2. System Of A Down - Toxicity

1. Machine Head - The Blackening

Fall Of The Leafe - Volvere

This is the first part of my planned series of blogs covering, what I believe to be, under-rated albums/bands. In this one I will be looking at the album Volvere by the Finnish sextet, Fall Of The Leafe, who are sadly no more, having split up in 2007. Volvere was released in 2004, and I don’t know of another single person who owns a copy of this album. Why? To be honest, I really don’t know (for some possible reasons, please refer to my previous blog on under-rated music). As I remember, this received some pretty good reviews from the mainstream rock/metal press on it’s release and had a song on at least one magazine's cover-mounted CD, which is probably how I discovered it, but I can’t be 100% sure as I was an employee of HMV at the time, and therefore had access to lots of new music. This marketing tool obviously works, as magazines still give away cover CD’s with almost every issue, so, I don’t know why it didn’t work in this case. Add to that, that it really is an interesting and varied slab of rock/metal with some subtle gothic touches (In the Finnish/Swedish metal sense of the word, so don’t let that put you off), it becomes even more disappointing to me. So, I have decided to try to put this right, and to try to garner a little interest in this album, albeit, 6 years late. If I can inspire even 1 or 2 of you to pick up a copy, then I will be a happy man.

Now, let’s get down to what the album actually sounds like. Well, let me just say that this is definitely an album from those who like their “softer” end of the scale Finnish/Swedish metal, with it’s clean (and occasional gruff) vocals and top notch songwriting...these Finns certainly know how to craft a catchy hook or two to say the least. The guitars are crunchy, the rhythm section is tight and the subtle keyboards add a nice depth of atmosphere and extra melody to each song along the way too. The production is also a real plus point, as it really helps highlights the strengths on display here. I would recommend this album to fans of bands such as: Amorphis, Sethian, Swallow The Sun, Dark The Suns, Before The Dawn, Ghost Brigade, Poisonblack, Sentenced, Katatonia, etc. That is not to say that it really sounds like any of these bands as such, but rather that it is of a similar ilk. If you like any of the aforementioned artists, then I’d say this is certainly worth a little of your time (and money). Occasionally, there is also a melodic metal influence, as is evident in the guitar melody on “Song From The Second Floor”, and in the almost ´folky´ “Hell’s Silence”, which is a little reminiscent of “Reroute To Remain” era In Flames, and is one of the highlights for me. I have realised, while typing this, that it isn’t much of a review if you are not already familiar with this style of music (but hey, I’m no journalist). I would say then, if you want a starting point of reference for this album, then you should check out either “A Waiting Room Snap” or “Hell’s Silence” on itunes, where they are available, along with the rest of the album, for just 79p per track or £7.99 for the complete album.

I will be continuing with this theme of great albums that I feel have been unfairly forgotten about, or which failed to sell a substantial number of copies when they were released. Part 2 will be up very soon, so keep your eyes peeled.