Great Metal Albums of 1984: Great White

 

Going back to the debut album by American metal band, Great White, after so many many years, I feel that I owe them a small apology. I did enjoy their debut quite a lot back in 1984, but it quickly got pushed aside when albums from more established bands came my way. Therefore, the album didn't get the respect from me it deserved. This was the main reason why they didn't get too much mention in "Rock and Roll Children." In fact, their main mention in the book was probably my first mistake when I wrote the book. In the story and in real life, Great White supported the mighty Judas Priest on tour. This was the first concert I write about in the book and the one I knew least about. I didn't go and could only glean bits and pieces from people who did. So it wasn't the best idea to have the first concert one I knew very little about.

Now onto the album. Like I said, I may have discarded this album too soon in favour of others because I now realize just how good it was. However, in order to fully appreciate it, one should mentally drift back to 1984. Back then, I found the tracks "Out of the Night" and "Bad Boys" to be typical of the time metal tunes. Both songs are done well but they are about being bad and things like sex and music. Listening today, I would not be surprised if anyone thought it was all done before with them. The same could be said for "Down On Your Knees." I wonder if they were influenced by AC/DC here but Mark Kendall hammers a cool guitar solo on it. It doesn't matter because I like them anyway and there are better songs between them. "Stick It" has a really cool opening metal riff and just kicks ass throughout, definitely my favourite song on the album.

Many people might not think so but I really like their cover of The Who's "Substitute." I think what I like about it the most is how they alter the lyrics to make it more metal.

"I can see your pants are made of leather"

and

"I can see right through your Satan crap." 

Great stuff and well played too. "Streetkiller" is a good, hard, in your face metal tune. "No Better Than Hell" starts in similar fashion but slows down into a more melodic rocker but the hard chords with the chorus still makes its mark. "Hold On" goes the other way. It's hard in the meat of the verses but goes more melodic for the chorus. Still, its a nice switch up. "Nightmares" starts with one of those tunes designed to help babies sleep before going into a metal frenzy. That's also what the song is about. Maybe I should start playing it every Halloween. That takes things to the closing song, "Dead End," which is definitely the best track to end the album on because everything that has gone on before all comes together perfectly here.

Track Listing:

1. Out of the Night
2. Stick It
3. Substitute
4. Bad Boys
5. Down On Your Knees
6. Streetkiller
7. No Better Than Hell
8. Hold On
9. Nightmares
10. Dead End

Jack Russell- lead and backing vocals

Mark Kendall- guitar, backing vocals

Lorne Black- bass, backing vocals

Gary Holland- drums, backing vocals

https://www.youtube.com/watch?v=yQ7e9pL-v1U

Maybe if I listened to Great White's debut album more, EMI wouldn't have dropped the band due to its lack of success and the band wouldn't have opted for a more bluesy direction in later albums. Because from what is on here, they could play metal well.

Next post: I thought I'd best keep with the flow I started above so it will be, Judas Priest- Defenders of the Faith

To buy Rock and Roll Children, go to: tobychainsaw@hotmail.com 

Great Metal Albums of 1984: Ted Nugent- Penetrator

 

Guess what? For this Ted Nugent post, I'm not going to say anything about his politics. Even I know when to stop beating a dead horse. So instead, I'll focus on his 1984 album, "Penetrator," which was universally criticized by the metal world for his use of keyboards on the album. To my shame, even I was one of those critics. Thankfully, there's a much older and questionably wiser me to listen to the album with a more objective mind. My thoughts: "Penetrator" still doesn't make me want to put albums like "Cat Scratch Fever," "Weekend Warriors" and "Scream Dream" nor any of his kick ass live albums on the scrap heap but it's still a pretty good album.

The use of keyboards come through straight away on the opening song, "Tied Up In Love" but not until after a really cool guitar intro only which Terrible Ted can do. Before, I risk repeating myself over and over, the keyboards do make their presence known on many of the songs but they play a subordinate role on the album. Take the second song for example, "(Where Do You) Draw the Line." This song was written by Bryan Adams and Jim Vallance so one might be forgiven for thinking this was going to be some keyboard dominated soft rock song, it's not. Ted's guitar magic comes through very loud and abundantly clear. While still present, the keyboards take even more of a back seat on "Knocking at Your Door." There are some good guitar riffs to lead the song and Ted nails the guitar solo perfectly. Even more so on the track after "Don't You Want My Love." Here the keys are almost non existent. Almost, but there are plenty of Nugent style rocking to be heard on it.

A curious twist comes up with "Go Down Fighting." This is a song title that you would expect to be a belt it out of the park rocker but the keyboards make their presence known on it, almost making it a Journey type song. The strange thing is that the intro reminds me of Savatage, yeah really. Fortunately, Ted works his guitar magic so you know which side of the fence the song really is. Any doubts of that are dispelled with "Thunder Thighs." This is a great rocker where Ted just takes control and jams and I hear not one trace of keyboards. It's just Ted being how he always had been in albums past. However, I sometimes am reluctant to declare it my favourite song on the album because of the sexist connotations behind the title. "No Man's Land" is just as heavy, if not more than it's predecessor. Where you think there might be a keyboard at the chorus, there isn't. After a couple of decent but non descriptive tracks is the closer "Take Me Home." Again, maybe it's me but this sounds like a Southern Rock anthem. Not something I'd expect from Ted Nugent but it's the best song for the closer.

Looking at the credits and remembering recent posts, it turns out that Bobby Chouinard's drum skills were in great demand in 1984. He played on some of the tracks of both Gary Moore albums I recently posted about and he plays on this entire album. It leads me to conclude that his skills have been forgotten about in later years and this is a travesty because, he's that good.

Track Listing:

1. Tied Up In Love
2. (Where Do You) Draw the Line
3. Knockin' At Your Door
4. Don't You Want My Love
5. Go Down Fighting
6. Thunder Thighs
7. No Man's Land
8. Blame it On the Night
9. Lean Mean R&R Machine
10. Take Me Home

[caption id="attachment_1135" align="aligncenter" width="206"] Ted Nugent[/caption]

Ted Nugent_ guitars, lead vocals

Brian Howe- lead vocals

Alan St John- keyboards- vocals

Doug Lubahn-bass

Bobby Chouinard- drums

https://www.youtube.com/watch?v=EkGtuBX5nj0

Two interesting notes regarding Ted Nugent, the first coming from this post. Two years on, I would see Ted Nugent live with Savatage in support. It was a great concert even if it was poorly attended. The other was after my last Ted Nugent post, I put him down on the Bloodstock wishlist. The only comment I got back was someone saying they would love for him to play Bloodstock but he has only come to the UK four times since 1988. Anyway, back to "Penetrator." This album was far better than I remembered it back in 1984, keyboards or not.

Next post: Great White

To get Rock and Roll Children, email me at: tobychainsaw@hotmail.com 

Great Metal Albums of 1984: Lita Ford- Dancing on the Edge

 

With heavy metal actually dominating the rock music scene in the summer of 1984, (trust me, it did), metal acts were coming out of the woodwork thick and fast. It was only right that a female metal artist come forward in what is a male dominated world. The metal world had Girlschool and Rock Goddess from England and from the USA came former Runaways guitarist Lita Ford. "Dancing on the Edge" was her second album and I'm kicking myself for never noting her first one but it was this album which made me and the rest of the world take notice.

"Dancing on the Edge" came out amidst controversy in Lita's personal life. First there was her supposed feud with former Runaways band members Joan Jett and Cherrie Currie. From what I've read, the feud with Joan was more or less fabricated by Joan Jett's management who didn't want Lita anywhere near their star. She was also engaged to Black Sabbath guitarist Tony Iommi at the time and he appears in the video for "Dressed to Kill" from this album. However, Lita has said that the relationship was marred with physical abuse due to Tony's drug problems back then. Therefore, it's an amazing endorsement of Lita Ford herself that she could put out such a killer album in spite of all the things in her personal life.

Cutting right to the chase, let me just say that "Dancing on the Edge" is a fantastic metal album. There a lots of great power chords and Lita has a great voice but the best thing is that she can really shred. She does this very well on every song. So well in fact, that it has always been difficult for me to pick a favourite track on the album. Each time I listen, I discover something small in a song that I hadn't noticed when I heard it before. Therefore, I am forced to conclude that the album simply has nine fantastic songs of pure metal mania. God, I'm pinching quotes from Dee Snider. While Lita shines on vocals and guitar, she has two very capable musicians providing that all important rhythm section. On bass was Hugh McDonald who is currently with Bon Jovi and Randy Castillo who would later play for Ozzy Osbourne and Motley Crue on the drums. That can only help make "Dancing on the Edge" that much better.

Track Listing:

1. Gotta Let Go
2. Dancing on the Edge
3. Dressed to Kill
4. Hit'N Run
5. Lady Killer
6. Still Waitin'
7. Fire in My Heart
8. Don't Let Me Down Tonight
9. Run With the $

Lita Ford- vocals, guitar

Hugh McDonald- bass

Randy Castillo- drums

Geoff Leib- synthesizers, backing vocals

Robbie Kondor and Aldo Nova- synthesizers

https://www.youtube.com/watch?v=wf2DQKZMSLk

"Dancing on the Edge" cemented Lita's permanent foothold as a serious metal artist in 1984. From there, her legacy would continue to this day with loads more great albums.

Next post: Ted Nugent- Penetrator

To get Rock and Roll Children, email me at: tobychainsaw@hotmail.com 

Great Metal Albums of 1989: Gary Moore- We Want Moore

 

Listening to Gary Moore's live album, "We Want Moore," while it is a killer album all the way, it also brings on my regret of never having seen him live. I nearly did in 2000. While passing by what was then Colston Hall in Bristol, (it's now called the Bristol O2 Academy), I saw that Gary was down to do a show a few weeks later. However, when I phoned the venue, I was informed that tickets had already sold out. What a bummer, I know. Therefore, I have to listen to his live albums like this one and reflect on what could have been.

"We Want Moore" coming right after his latest studio album, "Victims of the Future," it's no surprise that four tracks from that album are on this live one. Remembering the track, "Murder in the Skies," from said studio album, I was a little surprised at first that it would be the opener on the live album. However, it is and it works. Like any good opening song is supposed to do, be it album or concert, "Murder" grabs the listener by the throat and demands that they listen to the album and like it. It does set the tone for the rest of the album.

What is great album a live album is that many artists aren't as constrained by the songs when they play them live. With the exception of the "End of the World" and "So Far Away," all of the other songs are in excess of five minutes, three of those are more than eight and "Cold Hearted" is more than ten! The reason for the increase in length is so that Gary can work his magic with the guitar, which he does on every song on here. When I previously posted about the "Victims" album, I raved about his guitar efforts on "Shapes of Things." Well, he makes the song even better on the live album! It is eight minutes plus of a good song mingled with lots of fancy playing from Gary. He does likewise with the other songs as well and why I think that the live album outshines the studio album by miles.

Historical note: four of the songs were recorded in Detroit and four in Glasgow. One was done at the Hammersmith Odeon in London and the other was recorded at the famous Budokan in Tokyo. The way it's put together though, the album sounds like it could have been recorded all on the same night. It makes me almost feel I was there, which what a live album should do.

Track Listing:

1. Murder in the Skies
2. Shapes of Things
3. Victims of the Future
4. Cold Hearted
5. End of the World
6. Back on the Streets
7. So Far Away
8. Empty Rooms
9. Don't Treat Me Like a Loser
10. Rockin' and Rollin'

[caption id="attachment_4271" align="aligncenter" width="203"] Gary Moore[/caption]

Gary Moore- lead vocals, lead guitar

Neil Carter- keyboards, rhythm guitar, backing vocals

Craig Gruber- bass, backing vocals

Ian Paice- drums on tracks 4-8 & 10

Bobby Chouinard- drums on track 1-3 & 9

Jimmy Nail- backing vocals track 10

https://www.youtube.com/watch?v=AdLysNvv48U

Of course I regret never having seen Gary Moore live and I wished I had passed by Colston Hall a week or two sooner, I might have been able to get a ticket. Fortunately, there is a great live album in "We Want Moore" to soften the pain.

Next post: Lita Ford- Dancing on the Edge

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com 

Great Metal Albums of 1984: Gary Moore- Victims of the Future

 

UK Album Cover

North American Album Cover

Gary Moore as a solo artist didn't enter my radar until 1986 when I went over to England. Before that and I am ashamed of my naivety at the time, I only knew Gary as the guitarist who used to be in Thin Lizzy. Fortunately, I got a full course in the music of Gary Moore when I did get there thanks to a friend who was a big fan. As a result I got to hear lots of his albums including this one, "Victims of the Future" and I can say that my education in this subject has been top notch. Thirty years on, I have to say a special thanks to Kieran Devlin for being my teacher.

My first impressions of "Victims of the Future" as with many Gary Moore albums, now as it was then, was "He can really play a guitar." His trademark solos permeate this album and now I am tempted to go into a rant as to how underrated he has been.  That might be true in North American terms but he has always been considered one of the greats here in Britain and of course his native Ireland. Just listen to "Shapes of Things" because that is in my opinion, his best guitar work on the album.

Many of the songs here are straight forward rock anthems. My personal favourite is "Teenage Idol" because that one comes out and hits me in the face the most. "Murder in the Skies" has a very cool guitar intro where he rips up the chords before the meat of the song comes pounding through. A look at history reveals that Gary wrote the song in protest of the Soviets shooting down Korean airline 007 in 1983. The same can be said for "The Devil in Her Heart" which is only on the US release. This is a good rocking song so I don't know why it's omitted from the UK version. "Law of the Jungle" is another exemplary rocker and the way it fades out makes it a great closer but he does go a little mellow with "Empty Rooms." You can call it a ballad but he lays down some good guitar work on it.

Not only does Gary shine on "Victims of the Future," he enlists some great musicians. Ian Paice of Deep Purple fame plays drums on half the tracks and Bob Daisley who played with Ozzy provides the bass work on two. Noddy Holder of Slade steps in to provide backing vocals on one song. The others who support may not be as recognized but they still do a magnificent job. Therefore, the album has all one needs to be great, good vocals, a steady rhythm section and of course, Gary's guitar solos.

Track Listing (UK)

1. Victims of the Future
2. Teenage Idol
3. Shapes of Things
4. Empty Rooms
5. Murder in the Skies
6. Hold Onto Love
7. All I Want
8. Law of the Jungle

Track Listing (US)

1. Victims of the Future
2. Teenage Idol
3. Devil in Her Heart
4. Empty Rooms
5. All I Want (cassette only)
6.  Shapes of Things
7. Murder in the Skies
8. Hold Onto Love
9. Law of the Jungle

Gary Moore

Gary Moore- guitars, vocals

Neil Murray- bass on tracks 1,3,7 & 8

Mo Foster- bass on tracks 4 & 6

Bob Daisley- bas on tracks 2 & 5

Ian Paice- drums on tracks 1,3,4 & 8

Bobby 'Prime Time' Chouinard- drums on tracks 2,5,6 & 7

Neil Carter- keyboards

Noddy Holder- backing vocals on "Shapes of Things"

So thirty-one years on, I have to say "thank you Kieran" for introducing me to Gary Moore and playing his albums for me, "Victims of the Future" included among them.

Next Post: Since I'm in a Gary Moore mood, it will be his 1984 live album, "We Want Moore."

To buy Rock And Roll Children, email me at: tobychainsaw@hotmail.com 

Great Metal Albums of 1984: Grim Reaper- See You in Hell

 

Whenever the new wave of British heavy metal or NWOBHM is mentioned, it is usually Judas Priest, Iron Maiden, Def Leppard and Saxon who spring to mind first. These great bands blazed a trail for metal bands from both sides of the Atlantic to follow. Leading the chase out of Great Britain was the heavy metal outfit, Grim Reaper. For me, the name alone made them worth giving them a listen and that turned out to be a very wise choice.

Coming from Droitwich which is in Worcestershire, England and only about 20 miles from Birmingham, there is no surprise in the Judas Priest influence with the band. However, lead singer Steve Grimmett has a vocal style that is somewhat like Iron Maiden although I can at times hear a little of Halford as well. Okay, I'm a wishy-washy bastard. Anyway, with this mighty infusion, it is little wonder that Grim Reaper sounds as good as they do and why I think their debut album, "See You in Hell" is cool.

The title track, which is the band's best known song leads the charge. Listening to it, it is no wonder why it's number 38 on VHS Most Awesome Bad Metal Songs Ever. It's definitely my all time favourite Grim Reaper song. However, the seven other songs on the album aren't far behind and make sure that it's not a one song album. All throughout the album are the bashing power chords and way out soloing of guitarist Nick Bowcott and the fore-mentioned vocals of Grimmett. All of which are supported by a more than capable rhythm section of Dave Wanklin and Lee Harris. This makes it difficult for me to pick out a standout song beyond the title track. They are all stomp on your face metal tunes that rock. The only possible exception is the slower, at times ballad like "The Show Must Go On." While quality wise, its as good but no better  than the other tracks, it does depart from the hammering chords of those songs and shows that Grim Reaper are versatile. Bowcott's guitar work is quite eerily outstanding on it. However, that only changes things up slightly before the closer blasts your ears to pieces.

Track Listing:

1. See You in Hell
2. Dead On Arrival
3. Liar
4. Wrath of the Ripper
5. Now or Never
6. Run For Your Life
7. The Show Must Go On
8. All Hell Let Loose

[caption id="attachment_4261" align="aligncenter" width="382"] Grim Reaper[/caption]

Steve Grimmett- vocals

Nick Bowcott- guitars

Dave Wanklin- bass

Lee Harris- drums

https://www.youtube.com/watch?v=sJgv-qBBT3Y

Grim Reaper's debut "See You in Hell" album led the charge for what many thought would be a second new wave of British heavy metal. Especially with Maiden and Priest coming out with albums the same year. In 1984, that was true and though things would go sour for this band a few years later, this is still an album to be proud of.

Next post: Gary Moore- Victims of the Future

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com 

Great Metal Albums of 1984: Black 'N' Blue

 

Back in 1984, I was still pretty much relying on commercial media to bring me news of new albums and bands. I have to admit that in the early part of the year, MTV was a reliable source although this would quickly change towards the end of 1984. However, as commercial media was becoming less reliable in heavy metal terms, word of mouth and scouring record stores' stock proved to be a God send. It was through the former method as to how I discovered the debut album from Black'n Blue.

If you have never heard the album before, you might react with a "This sounds very 80s" comment. True, I can see that, there is a definite 80s metal vibe here but I didn't care at all back then and I don't care now. The lyrics are definitely so but again, they make the songs fun. Take the second track, "School of Hard Rocks" where the lyrics go, "We're gonna rock your socks off." There are probably thousands of bands who have penned lyrics like this in the past three decades but for me, Black' n Blue were the first ones to do it in a way that I really liked.

Funny thing, not long after I listened to the album, their best known single of all time, "Hold Onto 18" did get played on MTV. Although that was possibly the only time I saw the video for the song. I might have caught it again another time but my memory is playing tricks on me. This song was a banner for those who were reaching that age in 1984, like my sister. I was 23 and had spent four years serving my country but even I could appreciate the sentiment of the lyrics. Besides, it is a very powerful song to begin with.

The three tracks  before "Hold Onto 18" are all of that 1980s metal sound, if you believe there is such a thing. However, the track after, "Wicked Bitch" kicks things up several gears. This is a great metal tune that could fit well into any decade with fantastic power chords and a blistering guitar solo. Following that is a good cover of The Sweet classic, "Action." They do metal it up quite well. That metal power continues through the remaining songs. All of them are kick ass power rockers.

Track Listing:

1. The Strong Will Rock
2. School of Hard Rocks
3. Autoblast
4. Hold Onto 18
5. Wicked Bitch
6. Action
7. Show Me the Night
8. One for the Money
9. I'm the King
10. The Chains Around Heaven

[caption id="attachment_4255" align="aligncenter" width="300"] Black'n Blue[/caption]

Jamie St James- lead and backing vocals

Tommy Thayer- guitar, backing vocals

Jeff 'Woop' Warner- guitar, backing vocals

Patrick Young- bass, backing vocals

Pete Holmes- drums

https://www.youtube.com/watch?v=dcHYzogQeNk

The great thing about 1984 was it helped to put bands I would have never heard of onto my radar. I guess I should be grateful for that. It's also good that one of those bands was Black'n Blue because their debut album is killer. While it does get a mention in "Rock and Roll Children," it isn't for another year in the story and in my life where they get more into the spotlight.

Next post: Grim Reaper- See You In Hell

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com 

Great Rock/Metal Albums of 1984: Slade- Keep Your Hands Off My Power Supply

 

Throughout the later half of the 1970s, Slade had been trying to break into the American music market but with little success. Back then, I heard the name but nothing more. However, in 1983, Quiet Riot covered their 1973 hit "Cum On Feel the Noise." Once Americans realized that the song had been originally written and recorded by Slade, a curiosity about the band arose and people began to check them out. Honest, it was on my to do list but I didn't get around to it. That was until radio played the single, "My Oh My" from the 1984 "Keep Your Hands Off My Power Supply" and then MTV played the video for "Run Run Away" quite a lot. Therefore, I had no other choice than to investigate Slade. It would be this album first. That led me to listen to them more and is why I site them as an 'honourable mention' in my series of "Other Great Metal Influences."

The big question back in 1984 was should Slade be considered heavy metal? Of course, the trendies thought anything with a fuzzy guitar was heavy metal and some of the more self proclaimed hard core metalheads claimed the opposite citing the fact that Jim Lea wrote "Run Run Away" on his fiddle. Well that happens to be my favourite Slade song of all time and yes, there is definitely a folk influence in the song but for me, it still rocks. I love the crunching guitars at the beginning and the folk provides a cool twist. Amusing anecdote: For the first few weeks of hearing "Run Run Away," I thought the lyrics "See chameleon" were actually "See comedian." My ears were playing tricks on me.

"My Oh My" is another reason why I'm such a sucker for a good power ballad because that's exactly what it is. I could never explain why but the lyrics to it really got to me then and when I hear it now, I think about that. Folk influenced tunes and power ballads aside, the album blows apart any argument that Slade aren't capable of going total rock out. The best examples are the three tracks, "Slam the Hammer Down," "In the Doghouse," which has the best guitar solo on the album and the title track. All of these are really cool songs and stamp the argument that Slade can be considered heavy metal. Not that the other songs don't rock because they surely do. Except for "(And Now the Waltz) C'est La Vie," which is the other power ballad on the album. It's good and better what some bands are capable of but I prefer "My Oh My." Also the closer, "Ready to Explode," is cool with the car racing commentary and it rocks pretty well too. Unlike the shorter tracks, it's eight minutes long and you are not bored for one second of it. However, it's the three mentioned ones that are the big headbangers on this album.

Track Listing:

1. Run Run Away
2. My Oh My
3. High and Dry
4. Slam the Hammer Down
5. In the Doghouse
6. Keep Your Hands Off My Power Supply
7. Cheap'n Nasty Luv
8. Can't Tame a Hurricane
9. (And Now the Waltz) C'est La Vie
10. Ready to Explode

[caption id="attachment_265" align="aligncenter" width="282"] Slade[/caption]

Noddy Holder- rhythm guitar, lead vocals

Dave Hill- lead guitar, backing vocals

Jim Lea- bass, keyboards, backing vocals, accompanying lead vocal on "Ready to Explode"

Don Powell- drums, percussion, gongs

 

https://www.youtube.com/watch?v=ikMiQZF-mAY

https://www.youtube.com/watch?v=f2F2otpxkro

Quiet Riot may have helped Slade get the recognition they so dearly deserved in America but it was the "Keep Your Hands Off My Power Supply" album that made everyone take notice that they were for real. They did start a tour in support of Ozzy in this year but Noddy Holder's marital problems and Jim Lea coming down with hepatitis killed the tour. Shame, because I would have loved to have seen them.

Next post: Black N Blue

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com 

Great Metal Albums of 1984: The Scorpions- Love at First Sting

 

After posting albums by two bands who came and went virtually unnoticed by the world, except for me, I noticed them, I thought it would be a good idea to go totally the opposite direction and post about a band whose album took the world by storm in 1984. That is exactly what The Scorpions "Love at First Sting" album did, it took the metal world (and in some cases, the non-metal world) by storm. The first single got played a lot on MTV, not that I minded that at all.

Even after more than three decades, when I hear the opening riffs to "Rock You Like a Hurricane," I jump up and want to start headbanging away to it. Being a little older and slightly more wiser these days, I have come to realize that it was a gutsy move to release it as a single. Those opening riffs are not something you'd expect to hear on commercial radio but one did then. Normally, metal bands would release the more commercial friendly song, not one that blows people away. Then again, 1984 was the golden year of heavy metal so I shouldn't be surprised that such songs got airplay.

The great thing about "Love At First Sting" is that the above single was just one of the great songs that appear on it. The two songs either side of "Rock You Like a Hurricane" are just as kick you in the head metal. In fact, I have come to believe that those songs could have been arranged in any order and it would have had the same effect on my enjoyment of it. I still would have loved it. After the three opening songs, "Coming Home" starts like a total ballad but after a minute and a half in, the band just goes nuts and the power of the first three songs comes through. Maybe writers Meine and Schenker thought the listener needed a break so, they wrote it that way. But whatever their motives, it worked!

Things go almost to speed metal levels with the next track, "The Same Thrill" but again, it's done very well. They just let themselves go here and it sounds great. It would be nearly another year before "Big City Nights" was released as a single but I'm glad I didn't have to wait that long to hear it. It's a powerful song with a catchy melody and some cool guitar hooks. Some very interesting opening riffs on "As Soon As the Good Times Roll" and "Crossfire" keep things ticking over and leads nicely to what some might consider another gutsy move. The album ends with the second single, the power ballad, "Still Loving You." As some of you might have guessed, I'm a sucker for a good power ballad and this one is right up there with the best. Note: I've already sung the praises of the musicians who comprise this band on previous posts about The Scorpions, so I won't repeat it.

Track Listing:

1. Bad Boys Running Wild
2. Rock You Like a Hurricane
3. I'm Leaving You
4. Coming Home
5. The Same Thrill
6. Big City Nights
7. As Soon As the Good Times Roll
8. Crossfire
9. Still Loving You

[caption id="attachment_1572" align="aligncenter" width="337"] The Scorpions[/caption]

Klaus Meine- lead vocals

Rudy Schenker- rhythm guitar, backing vocals

Mathias- Jabs- lead guitar

Francis Bucholz- bass

Herman Rarebell- drums

https://www.youtube.com/watch?v=7pOr3dBFAeY

If any one album, established metal as a dominant musical force in early 1984, it was "Love at First Sting" by the Scorpions. Looking back, it's only right that they be part of the golden year of metal. Especially as they put out such a cool album. My regret is not giving it enough mention in "Rock and Roll Children."

Next post: Slade- Keep Your Hands Off My Power Supply

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com 

Great Metal Albums of 1984: White Wolf- Standing Alone

 

Here's a post about being in the right place at the right time. Sometime in the wee hours of one morning in early 1984, I happened to be up watching MTV when this video by some band named White Wolf came on. I knew nothing about the band but I knew I liked the song they were playing. So, I made a mental note about them and went to my local record shops in the days following to find out more about this band and possibly buy the album. Unfortunately, I drew a blank everywhere I went and I had a good share of confused looks from shop assistants, but that's Southern New Jersey for you. The sad tale is that I never got this album though the band from that one late night experience has always remained in my memory. However, there is a happy ending thanks to Youtube where I finally got to listen to White Wolf's 1984 "Standing Alone" album and share it with you. Believe me, the wait was worth it.

Let me start with my one tiny criticism of "Standing Alone." It's the title track. Not a bad song, in fact it's quite good but it shouldn't be the opener on the album. That duty should have fallen on the second track, "Headlines." That is the song that leaps out and assaults your ear drums and makes you pay serious attention to the album. As for the title track, it should have been third because the track after "Headlines" continues the ear assault before turning slightly more melodic at the end. The more melodic title track would have followed on nicely from there. That would have very nicely paved the way for my favourite track on the album. "What the War Will Bring." It cleverly disguises itself as a power ballad, a good one, but there is some very great guitar work here. Eight minutes of enjoyable melodic metal and guitar work combined. Most of the song is comprised of the latter and that is the reason why I like it so much.

Nit picking done, the rest of the album is one big powerful explosion of metal. The three tracks following my favourite bear testimony to that. "Night Rider" kicks it off with a harmonizing of the title before the music kicks in full blast. It's a rather fast paced song, though I wouldn't call it thrash, with a cool guitar solo. If you thought "Night Rider" was hard, "Homeward Bound" is even harsher! It's a good heavy metal tune, if ever there was one. A sort of twist comes next. One would think that a song called "Metal Thunder" would be even harder and louder than its predecessors but it's much more melodic, a good curve ball there. Still, it's a cool song with some good harmony vocals and guitar work and it leads very well to the closer, which provides the right conclusion to this fime album.

Track Listing:

1. Standing Alone
2. Headlines
3. Shadows in the Night
4. What the War Will Bring
5. Night Rider
6. Homeward Bound
7. Metal Thunder
8. Trust Me

Donn Wolf aka Don Wilk- vocals

Martin Kronlund- guitar

Cam McLeod- guitar, backing vocals

Rikard Quist- bass

Imre Daun- drums

https://www.youtube.com/watch?v=QVIdOpvzWrY

I can't even remember which of these 8 cool songs the video I saw on MTV back in 1984 was for. I do remember it being a viking theme but that's all. I do know that I liked the song and there must have been something there for me to remember it all these years after. I'm forever grateful that I got to listen to "Standing Alone" and got to hear it for myself.

Next post: The Scorpions- Love At First Sting

To buy Rock and Roll Children, email me at:tobychainsaw@hotmail.com 

Great Metal Albums of 1984: Rock Goddess- Hell Hath No Fury

 

Girlschool wasn't the only female band to come along on the new wave of British heavy metal, (NWOBHM). In early 1984, I happened to catch another band of ladies who proved they could rock as hard as the men. That band happened to be the trio known as Rock Goddess. I have to admit, when I first saw the video for the big single from this album, "Hell Hath No Fury," "I Didn't Know Till I Saw You Rock and Roll," I was totally smitten. Not only did these three ladies tingle my then 22 year old hormones, they could play metal as well and play it well. Note: this single doesn't appear on the UK release of the album.

While the mentioned single can still be found on some compilation albums from time to time and is the song Rock Goddess is best known for, I can say with certainty that the entire album kicks ass. It's just one complete blow your eardrums to pieces rock party from start to finish. In fact, if I had to pick, I would say that the opening title track is probably the least strongest track on here. I can't use weakest because I don't think that applies. "Gotta Let Your Hair Down" is a great example of what I mean by blow your eardrums metal. When I hear that song, I regret the fact that I never seen them live.

Because they are an all female band, I feel the need to make the cliched comment that they are just as good as their male counterparts. Take singer/guitarist Jody Turner. Now, I admit that her guitar playing isn't equal to greats like Blackmore or Van Halen but it's good enough. Her best guitar effort can be found on "In the Night" and runner up is "Hold Me Down." Plus she has the added gift of having a good singing voice that can bellow to the high extremes and then soften to a melodic purr. If that's not all, she was the songwriter for the band and to me, she does write some good songs. I find, "The Visitors Are Here," a song about an alien visit, quite cool. As for the rhythm section of Julie Turner and Dee O'Malley, they are as tight as any other section I know of.

Track Listing:

1. Hell Hath No Fury
2. I Didn't Know I Loved You Till I Saw You Rock and Roll
3. Gotta Let Your Hair Down
4. In the Night
5. Hold Me Down
6. The Visitors Are Here
7. You Got the Fire
8. It Will Never Change
9. Don't Want Your Love
10. God Be With You

[caption id="attachment_4233" align="aligncenter" width="301"] Rock Goddess[/caption]

Jody Turner- guitars, lead vocals

Julie Turner- drums, backing vocals

Dee O'Malley- bass, keyboards, backing vocals

https://www.youtube.com/watch?v=O3ENh47nlKM

My question has always been, why didn't Rock Goddess go further? According to Wikapedia, there were problems from the outset. Julie Turner was still a school age minor and there were legal limitation on how many live shows she could perform. Right before the scheduled US tour, Dee O'Malley announced she was pregnant and left the band. That was typical of the band's history as bassists and sometimes second guitarists would come and go so they never became fully solid. Damn shame in my opinion because they could have achieved so much more.

Next post: White Wolf- Standing Alone

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com 

Great Metal Albums of 1984: Accept- Balls to the Wall

 

If ever the saying, "never judge a book (or an album) by its cover" was relevant, it was certainly the case with Accept's album "Balls to the Wall." Ever since it's launch, the cover of the album has brought criticisms of homo-erotica and this debate continues even today. For me, while I never or will ever enter into that debate, I must admit that I was rather homophobic in 1984 and used to have the album face down whenever I listened to it. But homo-erotic album cover or not, it never stopped me from enjoying the content the album contains.

The title track is probably the best known Accept song ever. I remember it getting a considerable amount of airplay on the radio, though I don't recall ever seeing the video for it on MTV. That song totally blew me away at first listen. That catchy chorus just gets you banging your head away and singing along to it with all your heart and soul. It does the same for me even after all these years. Even if the song had homo-erotic overtones, which the band has always denied, I wouldn't have cared then or now.

As was the case in 80s Reagan America, the fact that the cover of the album was thought to entertain homosexual contents, meant the rest of the album must do so as well. Songs like "London Leatherboys" and "Love Child" also were accused of the same. Let me tell you that it was all a load of nonsense. The great track, "London Leatherboys" was about bikers and even if it wasn't, it's such a cool metal jam. "Love Child" is about gays but it's also about all people who are oppressed, which back in that time, was any non-conformist group or individual. It still doesn't stop it from being a great song. I have to agree with the words of guitarist Wolf Hoffmann who said, "You Americans are so uptight about this." He was totally correct.

In addition to the tracks I've already mentioned, the rest of the album is of the same greatness. Except for the acoustic closer, which in itself, isn't a bad song, each one of these tracks totally kicks ass. Then as now, I can't really pick a favorite apart from the famous title track. Power and melody are fused so well it's amazing. There is something to like about each and every one here whether it's hard riffs, catchy choruses or blistering guitar solos. "Balls to the Wall" was my metal introduction to the year 1984 and what a great one it was.

Track Listing:

1. Balls to the Wall
2. London Leatherboys
3. Fight Back
4. Head Over Heels
5. Losing More Than You Ever Had
6. Love Child
7. Turn Me On
8. Losers and Winners
9. Guardians of the Night
10. 
    Winter Dreams

[caption id="attachment_4225" align="aligncenter" width="259"] Accept[/caption]

Do Dirkscheider- lead vocals

Wolf Hoffmann- guitar

Herman Frank- guitar

Peter Baltes- bass

Stefan Kaufmann- drums

https://www.youtube.com/watch?v=LjvrLbmmi40

https://www.youtube.com/watch?v=C-q2UquiCRw

Like I said, "Balls to the Wall" was my metal introduction to 1984 as I first heard it in early February of that year. I don't think I could have asked for a better one than this.

Next post: Rock Goddess- Hell Hath No Fury

To buy Rock And Roll Children, email me at: tobychainsaw@hotmail.com 

Great Rock/Metal Albums of 1984: Bon Jovi

 

Before I launch into the debut album by a band considered to be a symbol for 1980s hard rock and heavy metal, I thought I first begin by naming four more films of 1984 I missed. Two of them I can't believe I did and two of them starred comedian Eddie Murphy.

[caption id="attachment_4216" align="aligncenter" width="182"] Beverly Hills Cop was considered to be on a par with Ghostbusters at the time.[/caption] [caption id="attachment_4217" align="aligncenter" width="183"] Conan the Destroyer with Arnie Schwartzeneger was a big let down in comparison with the first film[/caption] [caption id="attachment_4218" align="aligncenter" width="275"] Another children's favourite, Gremlins. Thanks to keepsmealive for bringing it to light for me.[/caption]

 

[caption id="attachment_4219" align="aligncenter" width="182"] Hot Dog- about freestyle skiing had its funny moments.[/caption]

There was a fifth film called Best Defense with Eddie Murphy and Dudley Moore which was okay but just okay.

Now onto the self-titled debut from Bon Jovi. While I have always liked this album, at the time, I thought it was nothing spectacular. Yes, the single that got them on MTV, "Runaway," was very good, probably still one of my favourite Bon Jovi jams, even if one friend of mine considered it to sound too much like Rick Springfield. Furthermore, I felt exactly the same way when I saw them open for The Scorpions in this year. I thought they weren't bad but not anything phenomenal.

Like all Bon Jovi albums, when I listen to it, I ask myself the question why Bon Jovi are considered heavy metal. True, there are some hard rocking songs on the album and there was the potential for more had not the keyboards been too heavy on them. The tracks I'm talking about are "Burning For Love" and the second single, "She Don't Know Me." The latter officially became the first song I liked on account of the video for it. Had I heard it on the radio or the album, I wouldn't have liked it so much. The former does have a great guitar solo on it though.

On the other hand, there are some decent rockers on the album in addition to "Runaway." "Love Lies" is definitely one of those. Whenever I listen to it, I remember why I have always held the guitar abilities of one Richie Sambora in such high regards. He does shine here. "Breakout" can't make up its mind as to whether it wants to be a rocker or not. I do like the standard keyboard intro followed by the thunder of the guitar. However, the keyboards come back in and take over a little too much in some places. The song sounds like a power struggle between the hard rock and commercial sounds. The decider is again, another good guitar solo from Richie. I have always said that a good closing song can do wonders for an album and "Get Ready" does that job well on the album. It is a strong rocker which ends things quite well. Plus, it gets some good support from the penultimate track.

Track Listing:

1. Runaway
2. Roulette
3. She Don't Know Me
4. "Shot Through the Heart
5. Love Lies
6. Breakout
7. Burning For Love
8. Come Back
9. Get Ready

[caption id="attachment_4220" align="aligncenter" width="290"] Bon Jovi[/caption]

Jon Bon Jovi- lead vocals, rhythm guitar

Richie Sambora- lead guitar, backing vocals

Dave Bryan- keyboards, backing vocals

Alec John Such- bass, backing vocals

Tico Torres- drums, percussion

https://www.youtube.com/watch?v=omLgJe9cnCw

https://www.youtube.com/watch?v=s86K-p089R8

Now here's the big question I am going to explore on all my Bon Jovi posts in the future. Someone once commented that Bon Jovi represented everything that was wrong with heavy metal in the 1980s. What? I never thought there was anything wrong with metal back then. It's something I'm going to investigate though. Thinking back to 1984 and this debut album, I certainly wasn't thinking that. Then, I would never have thought that the band would go onto achieve so much.

Next post: Accept- Balls to the Wall

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com