“Wadsworth Way” is a sap-happy rocker, “Burn Me Out” is the encore to a pop-metal rave, and the Ozzy-like “Elevator” is about as sing-along a song as “Judas” could ever be. The latter two are more upbeat, with a poppiness that perks up the album’s mood. The first two are similar in energy, direction, and melody-delivering all that is groovy, sappy, and radio-friendly. There’s nothing spectacular about them, but they are solid fun. They have good drives, catchy choruses, and all of them have big, arena-sized finales. Of the more straightforward numbers, “Judas,” “Wordsworth Way,” “Burn Me Out,” and “Elevator” are the better ones. The latter usually building to a final climax and usually repeating a dozen times. It’s poppy metal with touches of Linkin Park melodics and a focus on choruses. The disc kicks off with the very catchy single, “Judas”-the representative of what’s to come on this new release. But, the wimpy growls are gone and Judas is the better for it. There’re a few hard-rock flops but the band actually attacked Judas with the same ferocity as Do You Wanna Start a War. And it has the passion to at least be convincing. It doesn’t overdo it, like the balls-and-booze Sins and Bones, nor does it overcompensate (for lack of balls), like the growly Do You Wanna Start a War. It flows the way you’d want a rock album to flow. That said, Judas is one of the more fluid albums the band has ever put to tape. There’s only so far you can go when you write Linkin Park rock/metal.
That sounds like quite the feat, but this is Fozzy. Unable to stay put with a formula, Fozzy’s seventieth anniversary finds the band trying to incorporate everything they’ve ever attempted. These elements were then exaggerated by 2010’s Chasing the Grail-which found the band beginning their transition to poppy, Linkin Park-ish “metal.” Sin and Bones took it to the max and the follow-up album, Do You Wanna Start a War, tossed in whiny growls for good measure. The band focused on original material consisting of poppy melodies, occasional rap metal leads, and Jericho’s own take on Ozzy Osbourne’s infamous voice. By 2005’s All That Remains, things began to change. At the beginning, Chris Jericho’s voice took on the character of his influences: Dio, Scorpions, Iron Maiden, Twisted Sister, and (especially) Ozzy Osbourne. Brought to you by the demise of Stuck Mojo and Speedstick (I mean, Sickspeed), this Y2J-fronted heavy metal/hard rock outfit hit the scene with a ’00 debut of metal covers. Hell, even further than I would have ever guessed.
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