UMUR "Outlaw Gentlemen & Shady Ladies" is the 5th full-length studio album by Danish heavy rock/metal act Volbeat. The album was released through Universal Music Group in April 2013. It´s the successor to "Beyond Hell / Above Heaven" from 2010. There´s been one lineup change since the release of the predecessor as lead guitarist Thomas Bredahl was asked to leave Volbeat in November 2011. The band therefore went into the studio to record "Outlaw Gentlemen & Shady Ladies" as a three-piece with producer (and former Anthrax lead guitarist) Rob Caggiano, but came out of the recording sessions as a four-piece, as the chemistry had been so good between Volbeat and Caggiano, that the band asked him to join them as their permanent lead guitarist.

Stylistically the material on "Outlaw Gentlemen & Shady Ladies" ranges from 50/60´s rock´n´roll influenced heavy rock/metal, to melodic heavy rock/metal with a mainstream appeal, to quite heavy tracks like "Room 24" (featuring King Diamond on guest vocals), "The Hangman's Body Count", and "Black Bart". It´s a diverse release and in this case it´s a strength, as it all ultimately sounds like Volbeat, no matter which style they play. Because of the diversity of the material "Outlaw Gentlemen & Shady Ladies" is also an album which never gets tedious or feels one-dimensional.

It´s such a solid release, that it´s actually a bit hard to pick highlights without feeling like you´re leaving out some tracks worthy of a mention, but to my ears some of the highlights are "Room 24" (fans of King Diamond should love this one), "Pearl Heart", "Lola Montez", and the great rocking "My Body". Off course "The Lonesome Rider" (featuring Sarah Blackwood from Walk off the Earth on guest vocals) deserves a mention too, as it was a "hit" single for the band. The huge anthemic power ballad "The Nameless One" is a standout track too, but as mentioned above it´s hard to pick which tracks to give a special mention, as they are all high quality material.

Caggiano is a skilled producer, as has created a perfect sound for the material. When the tracks need to be raw and heavy, he makes them sound like that, but when a little sugar and polish is needed, Caggiano is also more than capable of producing tracks like that. Sometimes even to the extent that some tracks are radio friendly mainstream heavy rock. So "Outlaw Gentlemen & Shady Ladies" is a high quality release through and through. Strong songwriting, skilled performances (I haven´t even mentioned the great and distinct sounding voice and vocals by frontman/guitarist Michael Poulsen or the many great harmonies and choirs on the album), and a professional and well sounding production. A 4 star (80%) rating is deserved.

Kingcrimsonprog 2021’s Servant Of The Mind is Danish Rock/Metal band Volbeat’s eight studio album, it was produced by Jacob Hansen (with Michael & Rob from the band) and follows up 2019’s Rewind, Replay, Rebound album.

I first got into the band after seeing them live on the cycle for Seal The Deal & Let’s Boogie, and fell in love instantly, then devouring their back catalogue and becoming obsessed, listening to them more in one year than it takes me a decade to listen to most other bands, but when it finally came time for me to get in on the ground floor with a new release; 2019’s Rewind’ was a bit of a disappointment for me (especially at first, but to be fair it was a grower), as it initially felt like it was missing a lot of the charm, variety and quirkiness of their earlier work, and also was significantly less heavy or metallic than my favourite side of Volbeat’s many sided style. For me, Rewind’ leaned much too heavily on the band’s radio rock side. That’s always been a part of their sound – but not the whole sound, and to me Rewind’ just focused on it too deeply, too often.

Servant Of The Mind by contrast seems to be very conscious that the previous album was a bit too far away from their metal side, and is a pretty hard and deliberate course-correct towards heaviness. There is much more speed, power, groove, crunch, umph, tiny bits of Thrash-esque moments here and there, even one cheeky Death Metal riff hidden in there once.

Tracks like “Becoming,” feel built for fans who like the band’s heavier material (think “Slaytan”), while “The Devil Rages On,” “Step Into The Light” and “Say No More” more than make up for the previous album’s lighter touch. Heck, “The Sacred Stones” seems to be a deliberate tribute to Black Sabbath’s “Heaven And Hell.” In addition to Metal though, they’ve also always had a bouncy punk tinge at times, and “The Passenger” covers that side of them as well.

While I may be banging on a bit too much about the metal; Volbeat have never been entirely all about heaviness – it is an important part of the puzzle, and it is nice to see it get enough focus again, but it is only part of the bigger picture. For those fans who like the bigger, catchier moments, the album does still have some nice radio rock moments, for example the single “Dagen Før” (featuring Alphabeat’s Stine Bramsen doing guest vocals) covers that kind of “Cape Of Our Heroes” or “Last Day Under The Sun” melodic vibe, and the choruses of even some of the heavier tracks lean into big American radio rock at times (its still there, its just blended better on this album).

Volbeat have also always had a fun side, and while I sort of make it sound like I didn’t like their previous album, it certainly had its great moments. This record takes some of those great moments and builds upon them. Single “Wait A Minute My Girl” has a jaunty saxophone solo, kind of like the fun “Die To Live” from the previous record, while “Step Into The Light” with its reverby twisted surf-rock guitar lead feels like a sequel to the previous album’s “Sorry Sack Of Bones.”

Now, while I have spent most of the review describing the album’s stylistic decisions, being heavy, or melodic, or bouncy or fun is pretty pointless if the album isn’t actually good. Luckily, the material is really strong. There are riffs that will stick in your head for days, choruses you’ll be dying to sing along to, memorable fills and a very clear production job. More than three quarters of the album I want to see live, I’m spoiled for choice over which songs I’d include in a best-of compilation or playlist.

While I wouldn’t make an argument that it is their all time best album, it is certainly in the top half of their discography, pleasantly surprising, and I would whole heartedly recommend it.

Ps. If you can, try and get the edition with the bonus tracks, the extra cover songs are brilliant!

Kingcrimsonprog 2005’s The Strength, The Sound, The Songs is the debut album by the unique Danish Rock/Metal band Volbeat. Released long before their international breakthrough and before former Anthrax guitarist Rob Caggiano joined the band.

This is arguably the heaviest and least eclectic Volbeat album in the catalogue, and probably the least commercial too. Its also probably the only one in their catalogue without a guest appearance from an outside musician. In several ways it stands out from the rest of the catalogue.

That all being said, it is still sounds unarguably Volbeat through and through. For example; Michael Poulsen’s unmistakable Danzig meets Johnny Cash meets James Hetfield meets Elvis Presley voice came out of the gates fully formed. Catchy sing-alongs are still the order of the day. Basically; Apart from the more radio-hard rock moments which would appear with increasing frequency in future releases, much of the band’s trademark blend of styles are still present and accounted for.

Highlights include concert favourite ‘Pool Of Booze, Booze, Booza’ which rumbles along with stoner rock riffs and groove metal chug and highlights the band’s more metallic side, as well as the cover of Dusty Spingfield’s 1963 debut single ‘I Only Wanna Be With You’ which highlight’s the band’s fun side, and ‘Always, Wu’ which showcases the band’s Misfits loving, catchy, Woah-Woah filled Punk influenced side. (Try saying that three times fast).

Maybe not their best-selling, or most famous record, but a very strong debut, a sign of things to come, and heavier and more consistent record from start to finish than you may expect. Overall, If you like Volbeat, it’s a must have.

UMUR "Rewind, Replay Rebound" is the 7th full-length studio album by Danish heavy rock/metal act Volbeat. The album was released through Universal/Vertigo Records in August 2019 just little over three years after the release of "Seal the Deal & Let's Boogie" from June 2016. Three years spend touring and gaining more and more fans and commercial success. "Rewind, Replay Rebound" is the first Volbeat album to feature bassist Kaspar Boye Larsen. Anders Kjølholm left Volbeat before the recording sessions for "Seal the Deal & Let's Boogie (2016)", but Larsen was not in place for the recording of that album (he joined in May 2016), and the bass was therefore recorded by lead guitarist Rob Caggiano.

Stylistically the material on "Rewind, Replay Rebound" continue the hard rock/heavy metal style of "Seal the Deal & Let's Boogie (2016)". A polished and melodic hard rock/heavy metal style with great mainstream appeal. The tracks feature regular vers/chorus structures and typically great anthemic sing along choruses. The influences from 50s rock´n´roll (Elvis, Johnny Cash) are still strong as well as heavy nods toward 90s-Metallica. Volbeat have had a unique sound (built with tried and true musical elements) from day one and with lead vocalist/guitarist Michael Poulsen´s distinct sounding voice in front that is not gonna change anytime soon.

Volbeat have become a little more melodic, polished, and mainstream oriented over the years, and that tendency is continued on "Rewind, Replay Rebound", which at times is more melodic hard rock than heavy metal. Occasionally a really heavy riff appears, but the polished sound production even makes the most heavy sections easily digestable for a mainstream hard rock audience.

Upon conclusion "Rewind, Replay Rebound" is pretty much another Volbeat album by the numbers. You won´t find many surprises here. There are melodic tracks, 50s rock´n´roll influenced uptempo tracks, a couple of more soft/mellow type tracks, and a couple of harder edged heavy tracks featured on the album, so the band are as diverse as always, yet sounding unmistakably like Volbeat all the way through the album. The two first singles off the album "Last Day Under the Sun" (which features a semi-funky guitar riff, reminding me slightly of the guitar riff on Michael Jackson´s "Black or White") and "Leviathan" are both among the highlights of the album, and to my ears especially the latter ranks among the band´s strongest compositions. It´s great to hear they are still capable of producing standout tracks this far into their career.

The remaining tracks on the album are a bit up and down in quality. Some are strong compositions which are instantly catchy and memorable, while others are a little less remarkable. Featuring 14 tracks and a total playing time of 56:45 minutes, the album is a bit too long for its own good, and had the band chosen to trim the fat and release "Rewind, Replay Rebound" leaving out a couple of the least remarkable tracks, the album would overall have been a stronger release. It´s still a quality release through and through though, featuring a couple of standout tracks and several good quality tracks and therefore a 3.5 star (70%) rating is deserved.

Kingcrimsonprog I am not the oldest Volbeat fan, I only discovered them last year at Download Festival 2018, but I have been listening to them absolutely non-stop ever since.

Volbeat cds for birthday and Christmas, Volbeat t-shirts under my work clothes pretty often, Volbeat on the car stereo during every road trip to visit relatives, Volbeat in the car ride to work almost every work day. Overall; I’ve listened to over 2,900 times in the past year. Something that few other bands can boast. Since records began in 2011 (when I started tracking it via LastFm), they are my 9th most listened-to artist. So basically; I’ve listened to them more in one year than I have some of my favourite ever bands, almost any other band in fact, in the last 8 years.

So you could say, that coming into this new album, which is the first new one to be released in my time as a fan (not counting the amazing live album, Let’s Boogie! Live from Telia Parken), that I was more than a little excited.

…So imagine my surprise when the first time I listened to it, I didn’t really care for it. At all.

Now, that was partially my own fault, first of all I was lifting weights on a red hot Summer’s day, with a noisy fan on while I did so, so maybe it wasn’t really hearing it in the best conditions. Additionally; I was beyond hyped, so I wasn’t really going in with realistic expectations.

Having listened to it a good few more times, some of them while driving, some while exercising and some just sitting there in a quiet room paying close attention, it has definitely grown on me more.

There are some stand out tracks that I am really happy to have in my Volbeat collection and which I would be excited to see live. ‘Die To Live’ is probably the best of them. I mean, how could it not be, featuring as it does guest vocals from the mighty Neil Fallon from Clutch. It is a jaunty up tempo rock n’ roller with tinkly piano reminiscent of Illusion era GnR and fun saxophone reminiscent of the Boomtown Rats but a basic bouncy pop punk structure for the rest of the song that wouldn’t be out of place on a mid period Green Day or Rancid album. Real fun tune.

There is also the singles ‘Parasite’ which is a 40 second punk statement with punctuated vocals and oodles of energy, and ‘Leviathan’ which is just an absolute sing-along anthem up there with previous gems like ‘Heaven Nor Hell’ or ‘Thanks’ or ‘Lola Montez’ in the Volbeat-sound-like-fun stakes. The band are always great when Jon gets pounding on the floor toms. It is the kind of smile-inducing big stadium shouter that makes you remember how fun Rock Music is when you are 13 years old.

Another great thing about the album is the lead guitar work, Michael and Rob’s lead guitar lines and solos are utterly majestic at times (think the Guitar solo from Anthrax’s ‘Safe Home’ and you’ll know what I mean)… the kind of magical guitar solo that transports you to another place.

That said. I don’t think I would be out of place in saying this is the band’s worst album. Well, if not worst, then, least good. The first point against it in my book is really subjective, but it is just not heavy enough. There’s maybe two Metal songs on it. ‘The Everlasting’ and ‘Cheapside Sloggers’ (with guest guitar from Exodus’ Gary Holt!) are the heaviest tunes, but they stand sort of alone in that front… and even ‘Cheapside Sloggers’ is only Metal in the second half once the guitar solo section kicks it up a notch.

The second thing against it is they re-use a lot of things from previous albums. Single ‘Pelvis On Fire’ for example will be real good fun if it is the first Volbeat song you ever hear but it is exactly halfway between ‘Devil Or The Blue Cats Song’ and ‘Sad Man’s Tongue’ and you kind of feel they are ripping themselves off a little bit. Haven’t I heard that vocal melody before? Hasn’t he done an Elvis voice before? That slow down speed up thing sounds familiar.

The third thing, again subjective, is that they do too much of the overly earnest big American radio rock style. On the previous album they did it a bit on tracks like ‘Goodbye Forever’ or on the album previous to that, with ‘Cape Of Our Hero’ but they did it really, really well and in small doses. Here they do it so much it kind of overwhelms the album. They do inject Volbeatness into those songs, but just not enough for my tastes. It makes the album sound a bit bland. Usually a Volbeat album is a rollercoaster going from sounding Psychobilly, to Pop Punk to Groove Metal to Stoner Metal to 1950s Rock N’ Roll to Metallica-Worship and back again, all in a seamless package where it all flows together and you don’t even realise its weird that bagpipes have entered the mix.

On this album it feels like a radio rock album with a few detours. Initially at least. The more I listen to it the more I get into it. I also feel like me saying they do too many radio songs is a bit like Millicent Stone in the TV show Bunheads telling the ballet dancers they are doing too much of a certain step (when she herself has no knowledge of dancing). And saying there isn’t enough metal is a bit silly when the tracks I have said where the best songs, ‘Die To Live,’ ‘Parasite’ and ‘Leviathan’ are in no way metal and are still brilliant. And some of my all time favourite Volbeat songs from across the discography like ‘Lola Montez’ and ‘Sad Man’s Tongue’ and ‘Still Counting’ aren’t metal either.

That’s perhaps a conflicted mess of a review. To summarise I would sum it up thusly, the gut reaction was negative but its a grower and although I would certainly not make it your first Volbeat album unless you love earnest radio rock, I wouldn’t go so far as to call it a disappointment and it has at least 5 or 6 songs I am really happy with and will be happy to include on future playlists, and would be happy to see live. However; if all you liked about Volbeat was the heavier side of them, like ‘Pool of Booze, Booze, Booza,’ ‘Slaytan’ and ‘Wild Rover Of Hell’ …then maybe this album might not be an instant hit with you either.