Blog

  • Amon Amarth Albums: Complete Discography Ranked

    amon-amarth-albums-ranked

    Amon Amarth’s albums tell a story almost nobody else in metal can match: twelve studio records across thirty-four years, every single one released through Metal Blade, with the same core lineup and zero stylistic panic. While most of their nineties melodic death metal peers chased trends, split up or reinvented themselves into oblivion, the Swedes just kept perfecting the same thing until the rest of the world caught up. This is the complete discography ranked worst to best — and their 1998 debut sits higher than four records that came after they became famous.

    How this ranking was built

    Not chart positions, and not nostalgia.

    Three things: songwriting quality front to back, how much the record moved the band or the genre, and whether it still holds up when you press play today.

    There’s a fourth factor unique to this band, though. Amon Amarth are relentlessly, almost stubbornly consistent — there are no disasters in this catalogue and no wild left turns. So the separation between the top and the bottom is narrower here than on almost any discography we’ve ranked. Even the last-placed records are good.

    That consistency is also the point. Olavi Mikkonen and Johan Söderberg are one of the most underrated guitar duos in metal, weaving Iron Maiden-style twin harmonies into Swedish death metal grit, and they’ve been doing it without a misstep since the Clinton administration.

    The count, cleared up

    Quick clarification, because it trips people up.

    Amon Amarth have twelve studio albums. There’s also a 1996 EP, Sorrow Throughout the Nine Worlds, which is where the story properly starts and which is included in this ranking as a matter of historical record.

    So: thirteen releases, twelve of them albums.

    amon-amarth-albums-ranked-2026-new

    Loaded Radio Recommends – 13 Best Viking Metal Bands Ranked: The Definitive Guide to the Pillars of the North

    13. Sorrow Throughout the Nine Worlds (EP) (1996)

    amon-amarth-sorrow-throughout-the-nine-worlds

    The foundation stone, and the only non-album entry here.

    Recorded at Abyss Studio with Peter Tägtgren, this five-track EP is the sound of a band clawing out of the Swedish underground. Cavernous, dripping with nineties atmosphere, and noticeably more blackened than anything that followed.

    It introduced the Norse and Viking lyrical themes that would eventually underwrite a billion-stream career. Raw, dirty and essential history — but an EP, and placed accordingly.

    12. Surtur Rising (2011)

    amon-amarth-surtur-rising

    The safest record they’ve made.

    It arrived during a period of enormous global expansion, and it sounds like a band operating comfortably inside a fortress they’d already built. “War of the Gods” crushes and Johan Hegg’s roar is as commanding as ever, but the creative leaps of its predecessor aren’t here.

    Pristine production, professional execution, no risk. In a catalogue this strong, that lands you near the bottom.

    11. The Great Heathen Army (2022)

    amonamarthgreatheathen

    Their most recent album, and a deliberate turn back toward darkness.

    Tracks like “Get in the Ring” — written for AEW wrestler Erick Redbeard — show a band leaning hard into aggression rather than anthems. It’s less stadium and more shield wall, and it rewards repeat listens more than first impressions.

    A respectable, brooding record that proves they aren’t coasting. It just lacks the wall-to-wall density of their mid-2000s peak.

    10. Berserker (2019)

    amon-amarth-berserker

    A masterclass in stadium metal production.

    Polished, enormous, and built with hooks designed to be screamed by eighty thousand people at Wacken. “Shield Wall” and “Raven’s Flight” are modern monsters, and they demonstrate that nobody in this genre writes a rhythmic anthem better.

    It’s a celebratory record from a band who’d already won. Which is exactly why it isn’t higher.

    9. The Avenger (1999)

    amon-amarth-the-avenger

    Lean, aggressive and mean.

    Just over thirty minutes long and it doesn’t waste a second of it. This is a band hungry to prove the debut wasn’t a fluke, and it’s faster and more relentless than anything from their cinematic era.

    If you only know the modern Amon Amarth, this is the reminder of the raw Swedish fury underneath all of it.

    8. The Crusher (2001)

    amon-amarth-the-crusher

    Where the classic sound starts taking shape.

    A deliberate move toward groove and songwriting dynamics rather than pure aggression. “Masters of War” and “The Sound of Eight Hooves” are the moment the band steps into world-class composition territory.

    Everything that exploded a year later was built on this record.

    7. Fate of Norns (2004)

    amon-amarth-fate-of-norns

    Frequently criticised for its slower, mid-tempo pace — and it contains the single most important song in their history.

    “The Pursuit of Vikings” defined the band’s rhythmic identity for the next two decades. It’s still the song, still the one that opens the pit, still the one non-fans know.

    The rest of the album is sombre, atmospheric and deeply rooted in Norse mythology. A more mature, more patient side of the band that plenty of people have come round to since.

    6. Deceiver of the Gods (2013)

    amon-amarth-deciever-of-the-gods

    A triumphant return to form after a slightly complacent stretch.

    Thrashier and faster than the two records before it, with a legendary guest spot from Messiah Marcolin of Candlemass and a title track that’s genuinely high-octane.

    Proof they still had fire in them and weren’t settling into a routine.

    5. Jomsviking (2016)

    AmonAmarth-Jomsviking

    Their first full concept album, and a real creative risk.

    Jomsviking tells a cohesive story of love and revenge across the Viking world, and “Raise Your Horns” became an instant global anthem — the kind of song that turns a festival crowd into one organism.

    “The Way of Vikings” showed they could write complex, layered material without losing an ounce of brutality. It brought a cinematic depth the band hadn’t reached before.

    4. Once Sent from the Golden Hall (1998)

    amon-amarth-once-sent-from-the-golden-hall

    The debut, and still untouchable.

    Cold, epic and profoundly Swedish. “Victorious March” is effectively the blueprint for the entire Viking metal genre — and if you want to understand how much of that whole scene traces back here, this is the document.

    It captures the exact moment the band realised they had something nobody else did. Twenty-eight years on, it still sounds like a discovery.

    3. With Oden on Our Side (2006)

    amon-amarth-with-oden-on-our-side

    The moment they became global.

    Jens Bogren’s production finally gave them a wall of sound that matched the scale of their ambition. “Runes to My Memory” and “Cry of the Black Birds” are perfect demonstrations of how to weld extreme metal to undeniable melody.

    A flawless execution of the formula, made by a band who’d stopped wondering whether it would work.

    2. Versus the World (2002)

    amon-amarth-vs-the-world

    The album that changed everything.

    This is the Black Album of Viking metal — the record that took them from underground clubs to the main stages of the world’s biggest festivals. “Death in Fire” remains a peak of every live set they’ve played since.

    Dark, heavy and enormously influential. It’s the record that convinced a generation of listeners that melodic death metal could headline anything.

    1. Twilight of the Thunder God (2008)

    amon-amarth-twilight-of-the-thunder-god

    The magnum opus, and it isn’t close.

    From the opening title track through “Guardians of Asgaard,” every moment is iconic. It balances their death metal roots against melodic grandeur in a way almost nobody has managed before or since — heavy enough for purists, huge enough for a field of eighty thousand.

    It cemented them as the kings of the scene and it remains the gold standard for melodic death metal in this century. Eighteen years later, nothing in the catalogue has touched it.

    The full ranking

    13. Sorrow Throughout the Nine Worlds (EP, 1996)
    12. Surtur Rising (2011)
    11. The Great Heathen Army (2022)
    10. Berserker (2019)
    9. The Avenger (1999)
    8. The Crusher (2001)
    7. Fate of Norns (2004)
    6. Deceiver of the Gods (2013)
    5. Jomsviking (2016)
    4. Once Sent from the Golden Hall (1998)
    3. With Oden on Our Side (2006)
    2. Versus the World (2002)
    1. Twilight of the Thunder God (2008)

    Amon Amarth releases in order

    Sorrow Throughout the Nine Worlds — 1996 (EP)
    Once Sent from the Golden Hall — 1998
    The Avenger — 1999 The Crusher — 2001
    Versus the World — 2002
    Fate of Norns — 2004
    With Oden on Our Side — 2006
    Twilight of the Thunder God — 2008
    Surtur Rising — 2011
    Deceiver of the Gods — 2013
    Jomsviking — 2016
    Berserker — 2019
    The Great Heathen Army — 2022

    Where this ranking will start fights

    The 2004–2008 run is where the real argument lives.

    Plenty of people would put With Oden on Our Side first, and the production case for it is genuinely strong. Others will argue Versus the World is the more important record even if Twilight is the better one — and that’s a distinction worth having.

    The other flashpoint is the debut at four. Purists want it higher, and they’re not wrong that it invented the template. But invention and execution aren’t the same thing, and three records executed it better.

    Nobody’s going to argue about the bottom, though. That’s the thing about this band — even the weakest entries here would be career highlights for most of their peers.

    If you want more of this, the full Loaded Radio rankings archive is here. In Flames is the natural companion piece — the other great Swedish melodeath discography, and one that split its fanbase in a way Amon Amarth’s never has. Gojira, Lamb of God, Sleep Token and Korn are all worth your time too.

    TL;DR

    • Twelve studio albums plus one 1996 EP, spanning 1996 to 2022 — all released through Metal Blade Records.
    • Best: Twilight of the Thunder God (2008) — the magnum opus, and the gold standard for melodic death metal this century.
    • Worst: Surtur Rising (2011) — professional and pristine, but the safest record they’ve made.
    • The game-changer: Versus the World (2002), which took them from clubs to festival main stages.
    • The most important single song: “The Pursuit of Vikings” from Fate of Norns (2004), which defined their rhythmic identity for twenty years.
    • The consistency: no disasters, no reinventions, same label for three decades, and the same core lineup since the nineties.

    FAQ

    What is the best Amon Amarth album?

    Twilight of the Thunder God, released in 2008. It’s the record where the band’s death metal roots and melodic grandeur finally balanced perfectly, producing the title track and “Guardians of Asgaard,” and it remains the benchmark for modern melodic death metal. Versus the World (2002) and With Oden on Our Side (2006) are the two most credible challengers.

    How many albums does Amon Amarth have?

    Twelve studio albums: Once Sent from the Golden Hall (1998), The Avenger (1999), The Crusher (2001), Versus the World (2002), Fate of Norns (2004), With Oden on Our Side (2006), Twilight of the Thunder God (2008), Surtur Rising (2011), Deceiver of the Gods (2013), Jomsviking (2016), Berserker (2019) and The Great Heathen Army (2022). They also released the EP Sorrow Throughout the Nine Worlds in 1996.

    Where should I start with Amon Amarth?

    Twilight of the Thunder God. It’s the most complete representation of everything the band does, and it works equally well for listeners coming from death metal or from more mainstream heavy music. From there, Versus the World and With Oden on Our Side are the logical next steps.

    Who produced Amon Amarth’s best albums?

    Jens Bogren produced several of their peak-era records, including With Oden on Our Side and Twilight of the Thunder God — the two most frequently cited as their strongest work. Their 1996 debut EP was recorded at Abyss Studio with Peter Tägtgren of Hypocrisy.

    Who is in Amon Amarth?

    Vocalist Johan Hegg, guitarists Olavi Mikkonen and Johan Söderberg, bassist Ted Lundström and drummer Jocke Wallgren. The band formed in Tumba, Sweden in 1992, taking their name from the Sindarin name for Mount Doom in J.R.R. Tolkien’s Middle-earth, and have remained with Metal Blade Records throughout their career.

    Twelve albums, thirty-four years, one label, and not a single bad record in the lot. Is Twilight really untouchable, or does Versus the World take it? Settle it in the comments. And keep it locked on the Loaded Radio stream — follow Loaded Radio for daily rock and metal news.

    The post Amon Amarth Albums: Complete Discography Ranked appeared first on Loaded Radio.

  • CHEMICAL BURN UNLEASH NEW VIDEO “THE FURY” OUT NOW VIA MEGASONIC RECORDS – @thebeast

    FOR IMMEDIATE RELEASE
    CHEMICAL BURN UNLEASH NEW VIDEO “THE FURY” OUT NOW VIA MEGASONIC RECORDS
    California groove metal powerhouse CHEMICAL BURN have officially unleashed their brand new video “The Fury,” out now via MegaSonic Records.
    The track serves as the title cut from the band’s upcoming album The Fury, set for release May 22, 2026, and delivers a crushing display of groove-driven heaviness, explosive aggression, and raw emotional intensity.
    Fueled by thunderous riffs, punishing rhythms, and a vocal performance that pushes beyond pure rage into melodic chaos, “The Fury” showcases a band reborn through adversity and sharpened by experience. After years of lineup changes, setbacks, and rebuilding, Chemical Burn return tighter, heavier, and more focused than ever.
    Frontman Mike Garnica describes the material as some of the most intense and personal work the band has ever created, channeling years of struggle and resilience into a relentless sonic assault.
    The video captures the same energy that has made Chemical Burn a force in the underground metal scene for over two decades. Rooted in the groove and grit of classic heavy hitters while embracing a modern production edge, the band continues to evolve without losing the raw power fans expect.
    Produced alongside acclaimed producer Juan Urteaga at Trident Studios, “The Fury” hits with a massive sound that balances precision and chaos in equal measure.
    FFO: Pantera, Machine Head, Testament
    Watch / Stream:
    https://chemicalburn.hearnow.com/
    Album Title: The Fury
    Single / Video: “The Fury”
    Album Release Date: May 22, 2026
    Label: MegaSonic Records
    Produced by: Chemical Burn and Juan Urteaga
    Recorded, Mixed, Mastered at: Trident Studios
    Chemical Burn are not slowing down. They are kicking the door wide open.



     Connect: 
    https://linktr.ee/chemicalburnofficial
    Contact: chemicalburninfo@yahoo.com
  • Hold the Line: FLOTSAM AND JETSAM Strike with “The Edge of Nowhere”

    Speaking your mind may not always change the outcome, but remaining silent guarantees that it never will. That conviction drives FLOTSAM AND JETSAM’s new single, “The Edge of Nowhere,” the final advance track from the band’s upcoming album, Rats in the Temple. Opening with suspenseful, Eastern-tinged scales, the song holds its attack in reserve before […]

    Source

  • Turmion Kätilöt – ‘Lunastakaa’ Track Premieres

    Following their recent album announcement and the first track “Raivotarjonta,” Finnish industrial metal operatives Turmion Kätilöt are now back with the second taste. The “Lunastakaa” single can be streamed together with an official music video, which was directed, shot and edited by Toni Hiltunen.
    Read more…
  • Superfan Announces Debut Album My Piledriver Heart: Hear “In The Gold Room”

    The young Brooklyn-based songwriter and multi-instrumentalist Kali Priya Flanagan used to make music under the name KALI, and he’s he’s a member of the emo band Holidays In United States and also makes his own stuff as Superfan. We already posted the early Superfan singles “Apeiron (Fantasy Football)” and “Picture Of Return.” Yesterday, Superfan announced plans to release his debut album My Piledriver Heart this fall.

    The post Superfan Announces Debut Album <em>My Piledriver Heart</em>: Hear “In The Gold Room” appeared first on Stereogum.

  • One Vision, Countless Riffs: DIVULSOR Descends into “Abysm”

    There is no committee behind Abysm. Every riff, rhythm and vocal command comes from Bruno Schmidt, the musician at the heart of Brazilian one-man brutal death metal project DIVULSOR. Independently released on July 24, 2026, the debut full-length compresses eight tracks into just over 22 minutes. That compact running time leaves no room for decoration: […]

    Source

  • KAMELOT Unleashes Final “Dark Asylum” Single “Sanctuary” Featuring Three-Way Vocal Showdown

    Kamelot has released the last single ahead of its new album Dark Asylum, due out August 28 via Napalm Records. “Sanctuary” rides a wave of driving riffs and orchestral swells, with Kamelot frontman Tommy Karevik trading verses with Visions Of Atlantis vocalist Clémentine Delauney and Decessus frontwoman and current Miss World Chile Ignacia Fernández, stacking three distinct voices into one soaring performance. It’s a big, theatrical closer that finds the band planting its flag before launching into a victory lap.

    Dark Asylum unfolds in a Neo Victorian-tinged setting, pulling listeners inside RavenHill Asylum — a onetime cathedral repurposed into a place where science, faith and madness collide uneasily.

    Kamelot guitarist and founding member Thomas Youngblood broke down the song’s meaning: “‘Sanctuary’ represents the moment when the darkness of RavenHill is finally left behind. The song is about hope, freedom and finding your way back to yourself after everything you’ve endured.

    “The video takes the story beyond the walls of RavenHill and gives us a glimpse of life after the escape, a new beginning, but one still shaped by the memories and scars of the past.

    “With TommyClémentine and Ignacia bringing three distinct voices to the song, it gives ‘Sanctuary’ an emotional depth that perfectly reflects the journey from darkness into light.”

    The album is landing across a sprawling range of formats — standard gold, solid silver and classic black vinyl, plus certified white-label, white splatter and blood-filled variants that each come packaged with a 24-page booklet. Multiple CD digipak configurations are also planned, including a two-disc edition with an instrumental version of the album, alongside cassette and digital releases.

    Dark Asylum pushes Kamelot further into cinematic, atmospheric territory while holding onto the hooks the band built its reputation on. The record is populated by a cast of guest voices familiar to fans of the genre: Avantasia mastermind Tobias SammetEluveitie‘s Lea-Sophie FischerDelauneyFernándezRannveig Sif SigurðardóttirSólveig Sara Leupold and Billy King. Across the record, identity fractures and reality bends as its central figure descends into psychological darkness on a path that ultimately bends toward transformation, and maybe sanctuary. Between the sweep of “Ashen World,” the introspection of “Sanctuary” and the layered mystery of “Ivy, My Dear,” Dark Asylum plays out as a full concept piece, stitching orchestral scale, haunting melody and theatrical storytelling into a single arc.

    Youngblood elaborated on the concept: “‘Dark Asylum’ follows a soul trapped inside a world of masks, fractured memories, and psychological torment, wandering the endless halls of RavenHill in search of truth, identity, and redemption. What begins as a descent into darkness gradually transforms into a journey of awakening, where beneath the fear, illusion, and chaos lies the possibility of healing, hope, and ultimately a path out of the shadows into Sanctuary. The album explores the duality between despair and salvation, blurring the lines between reality and madness through theatrical storytelling, haunting atmospheres, and deeply emotional themes.”

    Karevik added his own take: “‘Dark Asylum’ invites listeners into the hidden chambers of the human mind. A journey where every door reveals a different story, yet all remain deeply connected. At its core, the album explores the duality of human nature: the constant tension between fear and hope, chaos and stillness, destruction and healing. ‘Dark Asylum’ reflects the struggle to remain sane within a cold and barren world, while ultimately discovering that salvation is not something found externally, but something that already exists within us all. Through self-exploration, awareness, and inner peace, healing becomes possible. This concept opened the door to a more cinematic and haunting sonic landscape, allowing us to experiment with darker, more eerie musical themes.”

    Longtime Kamelot producer Sascha Paeth returned to helm the record, with Jacob Hansen handling mixing and mastering.

    Karevik closed with a note on the album’s visual identity: “The imagery was intentionally painted with delicate strokes, capturing the fine line between beauty and disorder, and the way chaos and tranquility coexist within the same space. The result is an immersive experience that feels both unsettling and deeply human. A descent into darkness that ultimately searches for light.”

    Formed in Florida in the early 1990s, Kamelot grew into one of the defining names in symphonic and progressive power metal through albums like The Fourth LegacyKarmaEpicaThe Black HaloGhost OperaSilverthorn and The Awakening. Over three-plus decades, the band has built a global following on conceptual storytelling, orchestral arrangements and ambitious live shows.

    The post KAMELOT Unleashes Final “Dark Asylum” Single “Sanctuary” Featuring Three-Way Vocal Showdown appeared first on Sonic Perspectives.

  • Steve Cropper and the Midnight Hour: Watching The Tide Review

    Where in the world do I even begin when talking about someone like Steve Cropper, his travels, accomplishments, and musical history? I am certain that there is enough information out there about him to fill up a thick book. He was an accomplished musician, songwriter, producer, and engineer. When our music world lost him on December 3, 2025, he was still involved in doing what he loved, which was creating great music.

    He and a special group of fellow musicians were wrapping up the finishing touches on what would be his last project, Watching The Tide. Cropper was actually hospitalized when bandmate, songwriter, and producer Jon Tiven delivered a copy for him to listen to. Tiven said that Cropper phoned him on the night before he passed, telling him how much he loved the recording and how it was the best record he’d ever made. That is an immense statement for someone like Steve Cropper to make.

    Let me take you on a brief, condensed journey. Steve Cropper, known as “Colonel” or just “Cropper” to friends, was born in Dora, Missouri, and moved to Memphis at age nine. He received his first guitar at age fourteen. While in Memphis, he was exposed to lots of Black gospel music that was impactful to his playing style. Some of his early guitar-playing influences came from Chuck Berry, Chet Atkins, Lowman Pauling, and Jimmy Reed.

    He was an early member of the Royal Spades, which later became The Mar-Keys, who began playing on recording sessions. Cropper later became a founding member of Stax Records’ house band, Booker T. & the M.G.’s. His early contributions to major hit recordings as a songwriter or co-songwriter included “Sittin’ on the Dock of the Bay,” “Green Onions,” “In the Midnight Hour,” “Knock on Wood,” and many, many others.

    Cropper was also a member of the Blues Brothers Band. He worked with so many major artists that it would be nearly impossible to name them all. He was nominated for seven Grammy Awards and won twice. Rolling Stone ranked him thirty-sixth on its list of the 100 greatest guitarists. He was voted into the Songwriters Hall of Fame in 2005, and in 2010, he was voted into the Nashville Songwriters Hall of Fame. I can best sum up Steve Cropper’s music history and accomplishments by saying, “He’s legit.” Keith Richards of the Rolling Stones said this about him: “Perfect, man.”

    Watching The Tide will be the last recording released by Steve Cropper and the Midnight Hour, unless there are songs secured away that were recorded but never released. Considering Cropper’s vast productivity, it would not surprise me to see that very thing happen. The album title is from lyrics of one of his most popular co-written songs, “Sittin’ on the Dock of the Bay,” and the band’s name, Steve Cropper and the Midnight Hour, is taken from another of Cropper’s co-written songs, “In the Midnight Hour.”

    Allow me to plug the band before we talk about the music. The band consists of Steve Cropper (guitar), Jon Tiven (keyboards, bass, vocals), Roger C. Reale (lead vocals), Ana Grosh (vocals), Nioshi Jackson (drums/percussion), and Eddie Gore (keyboards, percussion). This group really does an outstanding job on this album. Also making guest appearances are Eric Clapton, Brian May, Billy Gibbons, and Ronnie Wood.

    Watching The Tide is a collection of twelve tracks of masterfully performed and recorded music that serve as a proper send-off for this member of musical majesty.

    “Ticket First” is a cut that features more guitar royalty, with Eric Clapton helping out. It’s a bluesy number with some serious guitar playing going on. Roger C. Reale and Ana Grosh provide outstanding vocal performances on this one, too. Reale sings, “If you want to win the prize, you got to get a ticket first.” It’s reported that this song came from a joke Cropper had about a woman who rubs a magic lamp and the genie gives her one wish. Her wish is that she wants to win the lottery. The genie tells her that she has to have a ticket first. I’m thinking maybe she should have just asked for the cash. This one will be one of those tunes that you feel like you should be up and dancing to.

    The third song is “My Angels Are Calling,” and Brian May wrote the lyrics for this one from Steve Cropper’s perspective. He also provides the lead vocal and does a super job at it. Billy Gibbons provides some righteous guitar work on this piece, and the result is a jewel being added to Watching The Tide.

    The ocean sounds usher in May as he sings, “I’m here to thank you Lord for taking me on board; I been a lucky man.” He continues later with, “but now my angels are calling, my angels are calling me home. My angels are calling to bring me back where I belong.” This song also gets a guest appearance by Billy Gibbons.

    I’m just going to speak as plainly as I can. This is a beautiful piece, especially considering the circumstances. It deserves a wide listening audience from those who were Steve Cropper fans and those who knew him personally, as well as new listeners.

    “Until Now” features Ronnie Wood providing some killer slide guitar work. It’s a blues rocker for sure, and Roger C. Reale does another great job with the lead vocal here. He sings, “Until now it was hard to get me down. The wind at my back, I was right on time; until now.” He continues by asking, “Who’s gonna come and chase these blues away?” If these are the kind of blues that need chasing away, I hope nobody comes to chase them away.

    Track seven on this release is “It’s Gonna Get Worse,” and it’s a funky number that opens with the lyrics, “It’s gonna get worse, before it gets better.” This one has some great groove going on in it. I believe that this song is saying what a lot of us are thinking. I’m hoping and praying that things don’t get worse, but none of us know about tomorrow. “We got to ride out, some stormy weather,” Reale sings, and that may be some great advice.

    Watching The Tide is a fitting farewell to Steve Cropper and the Midnight Hour as we know them. I’m sure we’ll still be able to enjoy the future efforts of the other musicians featured on this recording, but we’ll only be able to visit the past concerning Cropper.

    It is usually here that I recommend going out and catching an artist live. I also usually list concert dates or direct readers to the artist’s social media pages for upcoming concerts. I can’t do that here. However, Steve Cropper has left a treasure trove of past recordings in addition to this one. Allow this album to motivate you to go back and revisit his earlier work. I’m surely going to take my own advice on that.

    Until then, I will conclude with lyrics that I intentionally didn’t mention earlier from the track “My Angels Are Calling”: “My angels are calling, they’re calling to take me away. They’re taking me back to my sea on the dock of the bay.”

    Rest in peace, Steve Cropper, and thanks for the great music.

    The Review: 9.5/10

    Can’t Miss Tracks

    – Ticket First
    – My Angels Are Calling
    – Until Now
    – It’s Gonna Get Worse

    The Big Hit

    – My Angels Are Calling

    The post Steve Cropper and the Midnight Hour: Watching The Tide Review appeared first on Blues Rock Review.

  • Thrown – Announce Headline Shows In Australia

    In February 2027, the Swedish ensemble Thrown will embark on a headlining tour over Australia. Support acts on this trek will be Boundaries, 156/Silence and Volatile Ways
    Read more…
  • Amon Amarth – Release New Single

    Amon Amarth have premiered a music video for their new single “Eight Legs Of Thunder”. The track will appear on The Allfather Awakens, the band’s upcoming new album due for release on October 2nd 2026 via Metal Blade Records. Watch the video below.
    Read more…