I recently picked up the
October 2018 issue of Classic Rock Magazine (Issue #254), cover story on Led
Zeppelin. If the issue tally is any
indication – 13 issues per year including the twelve months and a summer
edition – the magazine has been around since 1999. My earliest issue is #85, from October 2005,
with the cover story on Hollywood Rocks.
I can’t say my collection is complete, I started diligently getting the
issues in 2008. My buddy Phil got me a
gift subscription a few years ago, but at the moment I’m reliant upon Barnes
& Noble. It’s a British magazine so
here in the US we’re about a month behind them.
Last winter the parent company
went out of business, and for a brief bit it seemed as though the magazine would
stop publishing. Fortunately Ben Ward
(singer for Orange Goblin) rallied a campaign to seek a new owner and the magazine
was saved. So far as I can tell there
are no missing issues. Excellent.
The earliest rock magazines I
recall are CREEM and Rolling Stone. My only recollection of CREEM is a negative
reference to Black Sabbath (Ozzy and “dark goons who flanked him” – Tony Iommi
and Geezer Butler), and Rolling Stone struck me as too politically oriented and
also hostile to Black Sabbath and other
heavier bands I preferred.
Then came KERRANG!. We started reading this in Paris, purchasing
it at W.H. Smith on Rue de Rivoli off of the Place de la Concorde, just blocks
away from the US Embassy. Kerrang! loved
Black Sabbath and the heavier bands.
They really loved Faith No More,
giving The Real Thing a maximum 5K score, which led us to catch the band
at the old 9:30 Club in DC in fall 1989, followed by an opening slot in 1992 at
RFK (Angel Dust tour) for Metallica (Black Album Tour) and Guns N’Roses
(Use Your Illusion Tour). Then we moved back to the US and lost touch of
Kerrang! for awhile. When Classic Rock
came around, we eagerly caught up that, and I recognized some names like Geoff
Barton from Kerrang!.
The magazine features obituaries,
“look who’s back”, full length articles, and then the following:
The
Hard Stuff: New Albums.
Guess what? They review new
albums. Now they have a 1-10 rating. I’ve yet to see anyone get a 1 rating, and a
10 rating is also rare, so consider an 8 or a 9 the effective maximum. There are also Round-Ups on Melodic Rock,
Sleaze and Blues, specific categories.
The
Hard Stuff: Reissues. By now
bands are reissuing earlier material, generally remastered and with extra
tracks. Some are better than others.
Buyer’s
Guide. They’ll focus on a
particular band (this issue: Todd Rundgren) giving two Essential (Classic) albums,
Superior (reputation cementing), Good (worth exploring) and AVOID, which is what
they consider the band’s worst album. I
find the latter to be fun to read. Occasionally they concede that even the band's worst album is still worth listening to,
the rating simply being relative.
Live. Big portions for music festivals like Download
(today’s Donington Monsters of Rock) and lesser entries for regular shows,
though I notice they’re seeing shows in the US and not just the UK.
Heavy
Load.
Tacked on at the very end. Here they ask
rock stars some deep and heavy questions.
Not necessarily embarrassing, but they do give the star an opportunity
to cop up to regrets and wrong choices.
Give them credit for tailoring the questions to the specific star. Gene Simmons: “There is no negative to being Gene Simmons.”
PROG. Apparently they had enough material on bands
like Pink Floyd, Genesis, Jethro Tull, Yes, King Crimson, etc. to warrant an
entire spinoff magazine. Rick Wakeman
has a highly entertaining column, which itself could be argued is worth the
price of the magazine. Generally they review
something like 30 albums of this genre alone, of which I might recognize 5
bands. I used to buy this regularly, now
I only do so if the cover story (Camel, Opeth, Pink Floyd) catches my
attention.
Bonus Disc. Now
they simply have a link for a download, but until recently you actually got a
physical CD with material. I’ve
accumulated dozens of these, far more than I can actually listen to, and sadly
80% of the material are new bands slavishly copying the same bands we’ve known
for years. If you have the patience you
might find one or two tracks from a CD which prompt further investigation. By now I’ve stopped bothering.