Saturday Shuffle: Living Colour, Ozzy, Crue, Hank III, Powerwolf

A bit hard to sum this week's shuffle up. Newer stuff from an old band, a couple of metal classics, something completely new, and a little neotraditional country for good measure ...

Living Colour, “The Chair.” From the album The Chair in the Doorway (2009). I quite liked this album from Living Colour. I hadn’t listened to the band in years when I picked it up, and I really loved the heavier vibe. That’s on display in this semi-title track. It’s a bashing, gritty tune. Not the best on the album, but certainly reflective of the rest.

Ozzy Osbourne, “Rock ‘n’ Roll Rebel.” From the album Bark at the Moon (1983). Of his early solo work, I consider Bark at the Moon Ozzy’s weakest record. I don’t often return to it and only a couple of songs from it make it into my regular shuffle. This is one of them.

Motley Crue, “Looks that Kill.” From the album Shout at the Devil (1983). What can you say about this song? It’s a metal classic, pure and simple. One of the best songs from Crue’s best album. A classic, instantly recognizable guitar riff from Mick Mars and that memorable vocal melody and shouted chorus hook. Simple and sleazy, but they don’t make them like this anymore.

Hank III, “5 Shots of Whiskey.” From the album Lovesick, Broke and Driftin’ (2002). III’s second album straddles the worlds of his country career. It has the deeply traditional sounds of his first album, but also shows just a hint of the wilder side to come. “5 Shots of Whiskey” is one of the more traditional tear-jerkin' numbers on the album, not quite a complete throwback to his grandfather’s sound as many of those early tracks are, but certainly lacking any of the rock ‘n’ roll flourishes to come.

Powerwolf, “Coleus Sanctus.” From the album Preachers of the Night (2013). I really dig Powerwolf. Part traditional metal, part symphonic, part power metal and all great fun. “Coleus Sanctus” walks the line between a chest-thumping Manowar number and something a bit higher-handed and symphonic, but without the airs that normally come with that style. Like much of their work, it’s catchy and infinitely enjoyable.