Проблемы начинаются, когда Блэйз начинает сочинять про других – поклонников металла вообще («King Of Metal») и ушедших от нас героев рока («Dimebag» – про Даймбега Даррела, «The Rainbow Fades To Black» – Ронни Джеймса Дио). Здесь велика доля умозрительности, клишированности как музыки, так и интонаций Блэйза. Странное дело – хотя Блэйз всю жизнь отстаивает свое право петь металл и в новом альбоме старается быть в этом плане «святее папы римского», по-настоящему его голос раскрывается в отступлениях от жанра – в балладном материале и в «грувовых» треках вроде той же «Black Country». Напрашивается и другой вывод – творчество Блэйза тем лучше, чем больше в нём самого Блэйза, и меньше – остальных музыкантов. Вот здесь и всплывает разница между разными группами под похожими названиями.

Old School South American Black / Death Metal

Кусок классики, можно сказать: боевитый хардкор марки Biohazard из Бруклина, NY. Железные, немного простоватые риффы, кричалки на два голоса, моментальные смены ритма от забоя до тягучести Black Sabbath, плюс – не суть обычное дело для хардкора – симпатичные соляки на гитаре. Разумеется, этот альбом является не только отчётом об удручающем состоянии мира, но и мега-толстым «Fuck You» этому состоянию, иначе не быть этим парням выходцами из американского рабочего класса. Как ни крути, тексты всё вращаются вокруг злого, агрессивного и опасного мира прямо за дверью дома, и вокруг братства – единственной опоры в этом жестоком мире. Альбом производит довольно цельное впечатление, но можно выделить и некоторые песни, которые выделяются либо особой мрачностью, либо особо интересным музыкальным ходом:

Этот диск достиг платинового статуса уже в первую неделю продаж. Однако начиная с 1975 года в творчестве группы наметился спад. Композиции стали не такими тяжелыми и мощными как раньше. Так что альбом "Head On" можно сказать по инерции получил платину.

Brainstorm с самого начала выбрали довольно правильный стиль - angry power, и тем самым смогли привлечь любителей как power, так и thrash метала. Техника игры в «Downburst» очень профессиональна, действительно слышно, что в группе две гитары. Также очень понравилась игра ударника - все четко и отточено. Клавишных в альбоме не много, но появляются они там, где действительно нужно - очень украшают данный альбом. Вокал Andy B. Franck'a стал, на мой взгляд, лучше - зрелый, мощный, менее надоедливый. Тексты такие, какими и должны быть - поют про ложь, предательство, смелость, преодоление страхов – в общем, про жизнь. В сравнении с предыдущими альбомами - это практически лучший альбом Brainstorm. Этот альбом очень хитовый - каждая песня рано или поздно застрянет у вас в голове - для любителей настоящей металической музыки!

Первый альбом англичан прошел практически незамеченным, и, к сожалению, почти такая же участь ожидала и вторую пластинку. Разница между этими работами заключается в том, что на дебютнике было большинство сильных тем и парочка если не филлеров, то слегка переоркестрованных композиций. Здесь же все более сбалансированно, хотя, вероятно, слишком много баллад и не хватает более энергичных вещей. Ребята вновь используют собственный оркестр, а Вулли Уолстенхолм, как и прежде, играет, помимо различных клавишных, на меллотроне.

The album reached No. 6 on Billboard's Pop Albums chart, the first of Dylan's LPs to break into the US Top 10. It also topped the UK charts later that spring. The first track, "Subterranean Homesick Blues", became Dylan's first single to chart in the US, peaking at No. 39. Bringing It All Back Home has been described as one of the greatest albums of all time by multiple publications. In 2003, it was ranked number 31 on Rolling Stone's list of the "500 Greatest Albums of All Time", later repositioned to number 181 in the 2020 edition.

Producer Bob Johnston, who had overseen the recording of Highway 61 Revisited, started work with Dylan and the Hawks at Columbia Studio A, 799 Seventh Avenue, New York, on October 5. They concentrated on a new arrangement of "Can You Please Crawl Out Your Window?", a song recorded during the Highway 61 Revisited sessions but not included on that album. Three further numbers were attempted, but none progressed into completed songs. Both the fragmentary "Jet Pilot" and "I Wanna Be Your Lover", a quasi-parody of the Beatles' "I Wanna Be Your Man", finally appeared on the 1985 box set retrospective, Biograph. Also attempted were two takes of "Medicine Sunday", a song that later evolved into "Temporary Like Achilles".

Dylan later left for Europe, completing a few performances in England before traveling to Paris where he was introduced to a German model, Christa Paffgen, who went by the name of Nico. After treating Dylan to a meal at her flat, Nico accompanied Dylan across Europe, a trip that passed through Germany before ending in Vouliagmeni, a small village outside of Athens, Greece. Dylan stayed at Vouliagmeni for more than a week, finishing many of the songs that would appear on his fourth and upcoming album. Nine songs of these would be recorded upon his return to New York: "All I Really Want to Do", "Spanish Harlem Incident", "To Ramona", "I Shall Be Free No. 10", "Ballad in Plain D", "It Ain't Me, Babe", "Mama, You Been on My Mind", "Denise Denise", and "Black Crow Blues". Dylan also completed another song called "I'll Keep It With Mine", which, according to Nico, was "about me and my little baby". Dylan gave the song to Nico, who would eventually record it for her own album, Chelsea Girl, released in 1967.

New Morning is the eleventh studio album by the American singer-songwriter Bob Dylan, released on October 21, 1970 by Columbia Records.
Coming only four months after the controversial Self Portrait, the more concise New Morning received a much warmer reception from fans and critics. Most welcome was the return of Dylan's familiar, nasal singing voice. While he has a slightly nasal tone to his voice on "Alberta #1" from Self Portrait, this was the first full album with his familiar voice since John Wesley Harding in 1967, after which he began singing with a country croon.

John Wesley Harding is the eighth studio album by the American singer-songwriter Bob Dylan, released on December 27, 1967, by Columbia Records. Produced by Bob Johnston, the album marked Dylan's return to semi-acoustic instrumentation and folk-influenced songwriting after three albums of lyrically abstract, blues-indebted rock music. John Wesley Harding was recorded around the same time as the home recording sessions with the Band known as The Basement Tapes.

Highway 61 Revisited is the sixth studio album by the American singer-songwriter Bob Dylan, released on August 30, 1965, by Columbia Records. Dylan continued the musical approach of his previous album Bringing It All Back Home (1965), using rock musicians as his backing band on every track of the album in a further departure from his primarily acoustic folk sound, except for the closing track, the 11-minute ballad "Desolation Row". Critics have focused on the innovative way Dylan combined driving, blues-based music with the subtlety of poetry to create songs that captured the political and cultural climate of contemporary America. Author Michael Gray argued that, in an important sense, the 1960s "started" with this album.

Blood on the Tracks is the fifteenth studio album by American singer-songwriter Bob Dylan, released on January 20, 1975, by Columbia Records. The album marked Dylan's return to Columbia after two albums with Asylum Records. Dylan began recording the album at an A & R studio in New York City in September 1974. In December, shortly before Columbia was due to release the album, Dylan abruptly re-recorded much of the material in Sound 80 studio in Minneapolis. The final album contains five tracks recorded in New York and five from Minneapolis. The songs have been linked to tensions in Dylan's personal life, including his estrangement from his then-wife Sara. One of their children, Jakob Dylan, described the songs as "my parents talking". Dylan denied that the songs were autobiographical.

Blonde on Blonde is the seventh studio album by the American singer-songwriter Bob Dylan, released as a double album on June 20, 1966, by Columbia Records. Recording sessions began in New York in October 1965 with numerous backing musicians, including members of Dylan's live backing band, the Hawks. Though sessions continued until January 1966, they yielded only one track that made it onto the final album—"One of Us Must Know (Sooner or Later)". At producer Bob Johnston's suggestion, Dylan, keyboardist Al Kooper, and guitarist Robbie Robertson moved to the CBS studios in Nashville, Tennessee. These sessions, augmented by some of Nashville's top session musicians, were more fruitful, and in February and March all the remaining songs for the album were recorded.

The Times They Are a-Changin' is the third studio album by the American singer-songwriter Bob Dylan. It was released on February 10, 1964, through Columbia Records. Whereas his previous albums, Bob Dylan (1962) and The Freewheelin' Bob Dylan (1963), combined original material and cover songs, this was the first to feature only original compositions. The album consists mostly of stark, sparsely arranged ballads concerning issues such as racism, poverty, and social change. The title track is one of Dylan's most famous; many feel that it captures the spirit of social and political upheaval that characterized the 1960s.