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Doc Holliday is another great conceptual song.
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If the song came on on the radio I wouldn't turn it off, but I found myself wanting to skip over it sometimes when listening to the album. I've heard this same mid-paced melody and song structure a lot from Volbeat. I don't particularly care for The Sinner Is You. I really like the rockabilly style of Lonesome Rider, it's not nearly as heavy as most of the songs on the album, but it still has all the energy and catchiness of Volbeat, and Sarah Blackwood's vocal contrast with Poulsen sound great. This is a song that just makes me want to headbang. The Hangman's Body Count begins with a melodic guitar lead that is soon joined by furious heavy metal guitar riffs. The aforementioned Room 24 defined by massive down-tuned guitar riffs and rhythmic drums, and of course some varied vocals from King Diamond. The next two songs both have a sense of foreboding to them, and are probably the heaviest Volbeat have ever recorded. This song is a bit of a cliché, the melody and guitar riffs being heard before many, many times in 80's and early 90's power metal from Angra to Gamma Ray. Dead But Rising keeps things moving right along and leads into the more melancholy Cape Of Our Hero. The Nameless One is another heavy, mid-paced track with a rousing, sing-along chorus, and fortunately it's a but more varied and energetic than Heaven Nor Hell or Fallen, songs that got old quickly on the previous album. It's a song that is not only very heavy and memorable, but tells a story with its lyrics. I haven't been able to get it out of my head since I heard it. Pearl Hart immediately hit me with that familiar Volbeat-style melody and memorable refrain. The intro track Let's Shake Some Dust is a a Western-infused acoustic intro that leads into the first song. Needless to say I was expecting great things when I finally got my hands on the album. Volbeat doesn't have many songs that are this dark, but it works very well here with the master of horror metal giving the song just what it needs. The song is ominous, as King's songs usually are, and his and Poulsen's vocals work perfectly together, their different styles contrasting nicely. Being a big fan of King Diamond, I was excited to hear that he was going to be a guest on this record.
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The first track I heard from this album is Room 24, which was released as a free track shortly before the album's release. All the same, my expectations were high as the buzz being generated around the album grew, and I am happy to say that Michael Poulsen and his talented crew do not disappoint. However, to write this review I tried to put all of those feelings aside. I will admit I was a bit disappointed by Beyond Hell/Above Heaven, I felt that it didn't have the same level of energy and flow that Guitar Gangsters & Cadillac Blood did, despite having some very memorable songs.
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I've been lucky enough to get to see them live twice so far (as an opening act on Megadeth's Gigantour and as headliners), and both times they've put on excellent shows full of energy and emotion. In the 5 years I've been following their career, Volbeat simply have not stopped making great music, nor have they stopped touring. Ever since I heard the opening lines of The Garden's Tale, I've been a fan of Denmark's hard rock masters.