seal the deal and lets boogie volbeat album

Seriously, their rendition of Teenage Bottlerocket’s Rebound should’ve been consigned to a studio-only project or a covers release, not the middle of a full-length album.Īnd while it goes without saying that all of these things would’ve been better as one-off inclusions, it hints at the rest of the album, in that it is more or less the same. There’s another guest vocalist that really isn’t needed (King Diamond has been downgraded for Danko Jones on Black Rose), a couple of tracks about obscure historical characters ( Marie Laveau, a 19th Century Lousiana voodoo queen, and Mary Jane Kelly, the supposed final victim of Jack The Ripper) and a bizarrely selected cover that doesn’t fit with the flow of the album whatsoever and barely does a thing to change the original. Even down to the construction of the tracklisting, there are inclusions that stand out due to gaping similarities from the album’s predecessor. While this is a new album though, it might as well be a repackaging of Outlaw Gentlemen…, as even on the most fundamental level, Seal The Deal & Let’s Boogie never deviates from that already established formula. The worst thing though, is that Seal The Deal & Let’s Boogie is pretty much the same, but even more bland and forgettable. But on 2013’s Outlaw Gentlemen & Shady Ladies, that was more or less scrapped altogether in favour of down-the-middle hard rock, with Michael Poulsen’s distinctive baritone being the only feature that really stood out.

Up to and including their 2010 album Beyond Heaven / Above Hell, the Danes have peddled a brand of hard rock tempered with influences of rockabilly and outlaw country, making them among the most exciting and fun bands in that world. Anyone who’s been keeping tabs on Volbeat will have noticed that they’ve changed.

Seal the deal and lets boogie volbeat album