Wednesday afternoon has given me some more listening time.  Here are first takes on the rest of Page Two:

George:  Love and Rockets “Everybody Wants to Go to Heaven”  Starts with humming and strumming.  There are some wongly keyboards, the vocal is kind of whispery.  Saxophone (or maybe done on keys) joins in, in a couple of spots, being played simply.  Some nice keyboard embellishments come more to the fore.  Lyrically, they juxtapose “types,” against one another, all who want to go to heaven.  Music goes to the rear as the vocalist comes to the fore and the song fades.  Love and Rockets “Bound for Hell”  This is a much harder rocker, with a semi-spoken vocal.  Builds in intensity, then has more of a bluesy feel with the addition of harmonica.    Lyrically, a train ride to hell, as the title suggests. 

Mila-13:  Ofra Haza “Heaven Kol haneshama (The Entire Soul) ”  Gorgeous voice, love this kind of stuff.  I know she was very popular (and still may be) a while back, but I didn’t have resources at that time to do as much listening as I do these days.  Looks like a gorgeous film as well.  There is a traditional oriental orchestra underneath, and a male chorus as well.   Just beautiful emotion in her voice. Shortparis  “Hell” This also has a Middle Eastern feel, which is something I love.  There is a steady percussive beat and a very discordant guitar that comes in, not as crazy about the guitar, but the vocal is very passionate.  Interesting combination of traditional/experimental with some disco-y beats thrown in. 

Hiram:  CMX “Taivaan Lapset”  Begins with bright guitar notes and band comes in full throttle, drums and bass, with a rock beat.  Fairly deep-voiced singer, kind of an odd melody to the lyrics.  I like the force of the music and it’s well-produced.   There’s a reprise of the beginning about 2/3rds in.   The lyrics in English are a little spooky.  CMX “Epäonnisten Liikemiesten Helvetti”  This one is a hard rocker from the start.  Vocalist here sounds very different, may even be a different person.  Lyrics seem a little odd in English, but that could be the translation I found.  The changes are cool, and there’s an extra-cool one at about 2 minutes in. Abrupt ending.  Haifara “Manala”  Much more quiet than the previous piece, solo picking on electric guitar and flute start the piece.  A whispery vocal with gorgeous flutes, wish I could find a translation, but I enjoy it anyway.  Goes into a great discordant section about 1/3 in, didn’t see it coming, but that’s prog for ya!  The Discordant Procession goes farther down the road, but then the next set of Discord shows up fast on it’s heels, this time with vocals.  It settles into a lovely progressive-style guitar lead, with some sax underpinnings.  The song closes with more vocals in a dire sounding emphatic style.  Ends as it began, quietly. 

Cristi:  Emma Ruth Rundle “Heaven”  Watery, echo-y guitar starts the piece.  A confessional style to the female vocalist.  Haunting lyrics, in kind of an almost alt-country vocal style, or maybe a Kate Bush/Tori Amos-y way.  Some violin comes in, very quietly, into the mix.  I like this very much….and look, she’s based up the road from me (now), Portland, OR.  Lovely, washy guitar lead near the end (is she ascending?) 😊  Joey Tempest “Outside Heaven”  Acoustic guitar and bass (?), or could be a loopy keyboard (?) , capable male vocalist, with good range.  This is more of a rock/ballad than the previous selection.  Well produced aiming-for-hit fare. 

Raff:  Anúna "Whispers of Paradise"  Begins with harp, I would think.  Then lovely choral arrangement. A dreamy vocal, with visionary lyrics.  Flute or keyboard flutes join in, very magickal piece.  Has a feeling a little of “Moonchild,” in the lyrics for me. You did this just for me!  😉      The next, you did not do for me, lol.  Metallica's "The Call of Ktulu"  Although I’ve heard a harpist play Metallica (Carol Tatum covers “Nothing Else Matters”) before, this is not that. This is the real schmuguggie, and goes to a frequent metal inspiration, HP Lovecraft’s Cthulu (don’t say that too loud!).  Picked electric guitar at the start, goes into some dissonance, I know the big cacophany is going to come at some point.  Slowly builds in intensity, and here’s the in-your-face part at 1:30.  One thing they don’t do, is skimp on their songs, this is a longish one.  Lotsa wailing lead guitar and crunchy drums and bass. They keep going up the scale on the guitar melody, which is up front.  Heavy keys (?) for a moment at about 6:30.  Then some fits and starts melodically, for interest, then the guitars are doubled up a bit before the descent into quiet madness at the end, with a drumroll and one last time crunching those gee-tars.

suitkees:  King Missile “Heaven”  Misquoting a Beatles tune at the beginning, jokingly, which is understood why, when they start the song, as it does echo that song.  Why do I think that this will not be as sweet as it seems like it will be?  Acoustic guitar accompanies a slightly sardonic vocal….and yes!  I did foresee what would happen! Noir Désir “666.667 Club”  This has a heavy and discordant sound from the start, with whanging guitars and drums.  There’s a hooky little pause here and there, with some mizmar-type horns arriving from left field and some indistinguishable vocals going on with lots of banging and clanging.  Some wailing sax shows up and battles with itself.  This is another track where the craziness goes off down the road, eventually.  Einstürzende Neubauten “Paradiesseits”  Wobbly keyboards with some high-ish notes, joined with more, that are deeper (or perhaps another instrument).  The translation helps, the vocal is a bit whispered and relaxed, and with good reason.  Nice day at the beach, with a feeling of just enjoying a lazy day.  The British Expeditionary Force “All Those Demons”  This one begins very twinkly.  Pleasant vocals chime in, with those twinklies continuing. Another bit of pleasantry.  Ends with some high vocals, fading out.  My fave this time was the less-than-heavenly Noir Desir.

Lorenzo:  Good to see you’re able to participate a bit!  😊  Massimo Zamboni feat. Lalli & Marina Parente “Dolorama (Painrama?)”  Picked guitar starts with a bit of a tortured-sounding voice.  There is an underpinning of keys, very high, that give an impression of pain, to me, like fevered pain can feel sort of shimmery, even through the unpleasantness.  The orchestral sound on synth/keys is very effective.  Now a female vocalist comes in, with wonderful vocal control (as should be, since you advised us she is an opera singer).  Then back to the male vocalist, as you said, it’s like the woman has the climactic part of the pain experience, then the male is when things are not as intense.  Very hypnotic piece, as it sparkles out, perhaps the cessation from pain.  Franco Battiato  “L'ombra della Luce (The Shadow of Light)”  Live, with orchestra, love the beginning already, with lush strings.  Gentle-voiced male, very expressive and moving vocal.  Oh, this is lovely. Trumpet solo is sublime, too.      

Dang, what the h-e-double hockeysticks shall I finally get to voting for?  And I think we’re not yet near done. 

Snicolette wrote: Cristi:  Black Sabbath “Devil & Daughter”  Very familiar with the Sabs. Went along with the original concept, basically, but with a more typical metal singer, this sounds more like the metal of the time as opposed to Ozzy’s much less histrionic, yet effective vocals.  Searing leads, wailing, heavy drums and driving bass, as de rigueur.  Phenomena “Dance With The Devil”  This one begins with a doubled fiddle sound, at a quick pace.  Rest of the band joins in.  I find this much more sonically interesting than the Sabbath one.  A metal vocals again, but there are a lot more dynamics in this and the singer uses his range to good effect, and he’s got a more classic blues/metal tonality in the lower registry.  The fiddle hook returns a few times, with a lead electric guitar on top, as the tune fades away.

Glenn Hughes sings on the entire Phenomena debut album. He is one of the best vocalists ever. The whole debut album is a gem, can easily please hard rock, AOR listeners and even some metalheads. 

The underrated Tony Martin sings on the BS song, the Martin era of BS is often overlooked which is a shame IMHO.