Iommi — Fused

Were you the progenitor of such an iconic genre as heavy metal, you could easily be forgiven if wanting to step away from the main for a solo album. In the case of Black Sabbath’s Tony Iommi, no such forgiveness is sought — nor is it necessary, for Fused is as heavy as anything the ‘godfather of metal’ has ever released.

“Grace” is the obvious standout track for its sheer emotive excellence. Commercially, Fused comes two decades too late, but Iommi has never unleashed the kind of flood as he does here, making this his personal creative high-water mark.

The Lebanese singer is as adorable as ever on the cover of her latest album, and every track is distinctly Agram-esque: light and playful, easy to sing along with and fun to dance to. Two of the songs are already hit singles: “Moagaba, Moghrama” (I Like him, I Love him) was the jingle in a recent Coca-Cola commercial, so people knew the words long before the album’s debut late last February.

The title track is currently topping the charts, and in it Agram complains to the audience about her partner’s constant need for attention — something to which all girls can relate. In the supporting video, Agram dresses up like a clown and shows off her acting skills, which gives credence to the rumor that we may be seeing her on the big screen soon.

A couple of months ago, Agram released a single called “Ana Masry” (I’m Egyptian) that was played constantly before, during and after the Africa Cup of Nations. Although it’s not on this latest album, the single played a big role in mobilizing her Egyptian fans to cheer for their home team and inspiring Egypt’s team to win the cup.

Surely, other Arab countries are green with envy.

I’d never heard anything by Marwan Khoury before and was skeptical about buying his latest album, but it did not take long to become a fan. The singer has a style that will appeal to anyone who appreciates Arabic music. Khoury is a multi-talented artist blessed with a smooth, rich voice, and his genuine love for music and years of experience in the industry make for an album filled with beautiful lyrics accented by the Lebanese dialect currently conquering the music scene. His unique musical arrangements don’t hurt, either: The use of traditional tabla does not dominate, which makes for a more classical sound (just listen to the beautiful acoustics from the title track featured at the end of the album).

Khoury does it all: He’s a singer, songwriter, composer and produced his first two albums even before signing with powerhouse Rotana. He was a keyboard player in a number of well-known orchestras, toured the world as a conductor with singers including Wael Kafouri, and has even written and composed two hit singles for Nawal El-Zoghbi.

After years in the industry, Khoury’s own star is definitely on the rise. (ASA)

Atomic Rooster crowed its loudest with the classic Death Walks Behind You in 1970. For all intents and purposes, the group lived on the reputation of that pre-metal classic until founding noise farmer Vincent Crane mercifully lopped the beast’s head off a half-decade later.

With time for reflection and perhaps an eye to catching a ride on the New Wave Of British Heavy Metal (NWOBHM), Crane and guitarist John DuCann revived the group in 1980 for the prideful and powerful self-titled album that is only now getting a respectful release in the CD format.

Atomic Rooster captures the group in full nostalgic mode as they pump their power trio format to its fullest capacity. “They Took Control of You” and “Lost in Space” are classics in their own right and “Where’s the Show?” is a textbook example of just how this kind of rock should be rolled. DuCann and Crane trade leads between guitar and organ like they are passing tips on which groupies supply the greatest pleasures.

Decadent and enthralling with two bonus tracks and liner notes, what more could you want from the long dead Rooster? (DLW)  et