Perhaps though, there has been no greater pressure on a band to deliver than the juggernaut that is Slipknot. Prominent examples here are Iron Maiden’s Brave New World following the return of Bruce Dickinson and Adrian Smith and, in more relevance to this review, Metallica’s …And Justice For All and Avenged Sevenfold’s Hail to the King, the first albums released with no input from a recently deceased band member (don’t forget, The Rev had written all of the drum parts on A7X’s Nightmare before his death). That said, there are a good number of exceptions where a comeback album bears more weight behind it. Hindsight generally plays a big role in this, particularly if it’s a case of the artist or band merely needing to sell more copies of the album than the previous release or if it needs to be stronger on a musical basis. The words ‘comeback album’ are very often banded around the music industry for a number of quite trivial reasons.
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