Great Rock/Metal Albums of 1984: Deep Purple- Perfect Strangers

Destiny brought them back together again. At least that was the big advertising plug for the "Perfect Strangers" album from the newly reformed Deep Purple. Back in the day, this album split opinion among many metalheads. Older ones like me, (I was 23 then), embraced this album immediately. However, there was some dissent from many teen metalheads at the time. Some even said that Deep Purple never should have reformed. To them, "Perfect Strangers" was a disappointment.

Let me add my theory to why teen metalheads might have been disappointed with the album. See, all these youngsters ever heard about in regards to Deep Purple was the classic "Smoke on the Water." For many, this was their only experience with the legends. Therefore, they expected the entire album to be like that classic and when Deep Purple showed their more progressive rock side, which they do on the album, these youngsters were put off.

My experience with Deep Purple, although late, was full on. Of course, I knew of "Smoke on the Water" but I also enjoyed their more progressive songs like, "Wring That Neck" and there's my favourite, "Woman From Tokyo" which incorporates both the prog and hard rock they were famous for. While none of the songs on "Perfect Strangers" quite match up to my fave, they do a rather good job of fusing their progressive and hard rock sounds. I think what these young people didn't understand was that the band couldn't help but add a little prog rock into their music when they had one of the best keyboard players of all time.

Deep Purple try to explain to their listeners that they had progressed from the days of "Smoke on the Water." The closing track and my pick for hidden gem, "Hungry Daze," states this clearly with the lyrics:

"We all came out to Montreax, but that's another song." 

The opening track, "Knocking At Your Back Door" pretty much shapes the entire album. You have some killer guitar work from Blackmore, great keyboard wizardry from Lord, Ian Gillan's vocals were as sharp as they had been ten years earlier and the bombarding rhythm section of Glover and Paice holding all together. It' s a great song to begin the album with. Things just go on from there with the slightly harder "Under the Gun," then the more progressive "Nobody's Home"  which shows off Jon Lord's best keyboard work and the more bluesy sounding "Mean Streak.

One of my biggest regrets after writing "Rock and Roll Children" comes with the title track. When I saw Deep Purple live in early 1985, there was a phenomenal light show accompanying the song. I loved how the lasers shot across the length of the Philadelphia Spectrum making different patters with the notes. I don't think I did it justice in the story. It was the first single and an okay song. "A Gypsy's Kiss" remind me of the old DP classic, "Burn" with Ritchie belting out a blinder of a solo as well as the trade-off with Jon Lord where guitar and keyboards go back and forth. Okay, there are two hidden gems on this album.

In regards to the other gem, I don't think "Hungry Daze" should have been the closer on the album. It's a good track but everything about the penultimate track, "Wasted Sunsets" screams closer! Just listen to the opening guitar solo and the way Gillan's voice just takes over before relinquishing again to another blazing Blackmore solo. The slower blues beat with it bears even more witness that it should be a closer. Hell, even the title suggests it! Other than this track misappropriation, "Perfect Strangers" was a good album for them to come back on.

Track Listing:

1. Knocking At Your Back Door
2. Under the Gun
3. Nobody's Home
4. Mean Streak
5. Perfect Strangers
6. A Gypsy's Kiss
7. Wasted Sunsets
8. Hungry Daze

[caption id="attachment_4515" align="aligncenter" width="330"] Deep Purple[/caption]

Ian Gillan- lead vocals

Ritchie Blackmore- guitar

Roger Glover- bass

Jon Lord- keyboards

Ian Paice- drums

https://www.youtube.com/watch?v=8xuBw63xj00

Was 1984 the right time for Deep Purple to return? I've always thought so. I admit, "Perfect Strangers" isn't exactly "Machine Head" but it's a good album. The musicianship of the five members is outstanding, proving that there's more to them than "Smoke on the Water."

Next post: Venom- At War With Satan

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

Great Metal Albums of 1984: TNT- Knights of New Thunder

 

You've probably guessed that I've been off from my main job the past several days or why else would I be able to post three days in a row? That all changes as I'm back in work tonight so before I go, I thought I'd leave it with a post about an album from whom I call my favourite Norwegian band, TNT. Leaves Eyes does come a close second though. I didn't hear their second album, "Knights of New Thunder" until 1986 and I have to say that I was quite impressed when I did.

"Knights of New Thunder" was the first album to feature American born Tony Harnell, though for some reason, he is credited on the first few TNT albums as Hansen. Anyway, Tony's fantastic vocal range completed what is essentially a great band. I can totally understand why my sister put him into her band of underrated musicians. Speaking of underrated, guitarist Ronni Le Tekro doesn't get the true recognition he deserves either. He does hammer out some really amazing guitar solos on this album.

Things open on the album with probably the best known track on it, "Seven Seas." It seems to be the one most people remember whenever it is mentioned. The reason for this is a no-brainer. Harnell's vocals shine through straight away supported by Le Tekro's guitar work. We must not forget the rhythm section of Morty Black and Diesel Dahl who are as tight as any on this album. While "Seven Seas" is the most well known track on "Knights of New Thunder," the rest of the album is just as good. In fact, the only tracks that might be called filler are "USA" and "Deadly Metal" though I like both of these tracks too. On a personal note, the lyrics to "Break the Ice" were very important to me in late 1986. The title track ranks right up there with the best album closers.

There is one difference in the tracks on the US version and the European version of the album. Having the US one, I was treated to my favourite track on the album, "Eddie," while Europeans had the track "Tor With the Hammer" which itself is a pretty good track. "Eddie" is a very good power ballad whose lyrics I found very amusing. I think the song is about a deranged dog but I have known humans who fit in quite nicely with the lyrics of the chorus.

"Eddie likes torture and pain;

And Eddie's crying in the rain;

Eddie's got a twisted brain;

And neighours think that he's insane;

Eddie strikes again." 

Track listing:

1. Seven Seas
2. Ready to Leave
3. Klassik Romance
4. Last Summer's Evil
5. Lost Without Your Love
6. Break the Ice
7. Tor With the Hammer
8. USA
9. Deadly Metal
10. Knights of New Thunder
11. Eddie (Track 6 on the US version)

[caption id="attachment_394" align="aligncenter" width="398"] TNT[/caption]

Tony Harnell (Hansen in the credits)- lead vocals

Ronni Le Tekro- guitars, backing vocals

Morty Black- bass, backing vocals, synthesizer

Diesel Dahl- drums

https://www.youtube.com/watch?v=4q5vR-V_8bE

Because of "Eddie," there are two power ballads on the US version of "Knights of New Thunder." While I prefer "Eddie" to "Lost Without Your Love," I do think Le Tekro's guitar solo on the song is amazing. It has been said that "Knights of New Thunder" would be TNT's last pure metal album as they would go more glam after. My sister was always jealous of the band's hair. While, I will explore that theory down the line, I will say for now to just kick back on enjoy the delights of this one.

Next post: Deep Purple- Perfect Strangers

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

Great Metal Albums of 1984: Tank- Honour and Blood

 

A term that has been batted around quite a lot here on 80smetalman is 'hidden gem.' In most cases, I use it to describe a song I really like on an album that has a well known single or two on it. On occasion, I have also used the term to describe albums from bands who have more well known albums than the one I am posting about at the time. Now, I'm going to use it to describe a band or two. Whenever the new wave of British heavy metal, (NWOBHM), is mentioned, the first bands that come to mind, even mine, are Iron Maiden, Judas Priest, Def Leppard and maybe Saxon. All of them great bands who have given us more than three and a half decades of great music. However as I tour through the years, I have discovered two hidden gems from the NWOBHM age. One I posted about a couple of months ago, Grimm Reaper. The other is brought to you now, Tank. I knew of both bands back in the day and loved them and often wonder why neither of them were as big as the others.

Back in those days, I had become quite diligent in scouring the heavy metal import section at my local record store and that's where I came across what I think is their best album, "Honour & Blood." The problem is that I didn't appreciate it enough back then, so I'm making up for it now. What you get with this album is seven songs of pure metal magic. The shortest song is a mere four minutes and thirty-seven seconds long and there is only one other song less than five. Tank go off on crazy long metal jams which are just superb. There is not one song, even the two that are eight minutes long, where I am thinking that the song has gone on for too long. BTW, those eight minuters are the opening and closing tracks on the album and a good way to do it. Especially so on the closer because it features the very amusing lyrics, "Kill, the poor bastard's dying." What a fun way to the close the album, of course the cool guitar solo kind of punctuates it too.

As for the songs in between, they are all great! "When All Hell Freezes Over" is a typical but well done pure metal jam and I'm hooked by the way they sing the chorus. Blistering guitars adorn the title track. "W.M.L.A. (Wasting My Life Away)" and "Too Tired to Wait For Love" are also great metal anthems and more than just amusing titles. However, my favourite track is the cover of the Aretha Franklin hit, "Chain of Fools." I admit, the rhythm reminds me a little of the Rolling Stones classic, "Satisfaction," but the song just kicks it.

Track Listing:

1. The War Drags Ever On
2. When All Hell Freezes Over
3. Honour and Blood
4. Chain of Fools
5. W.M.L.A. (Wasting My Life Away)
6. Too Tired To Wait For Love
7. Kill

[caption id="attachment_3686" align="aligncenter" width="259"] Tank[/caption]

Algy Ward- bass, vocals

Cliff Evans- guitar

Mick Tucker- guitar

Graeme Crallan- drums

https://www.youtube.com/watch?v=S0rSCDsS7Gc

The more I reflect back to those years, the more convinced I am that Tank were a hidden gem in the new wave of British heavy metal. They may not have hit it as big as the others, constant personnel changes didn't help them there, but they left behind several albums, including "Honour and Blood" for us to enjoy.

Next Post: TNT- Knights of New Thunder

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

Great Rock Albums of 1984: David Bowie- Tonight

 

Every year through the journey through the golden age of heavy metal, there is no doubt in my mind that I missed an album or two that was considered a great album in that year. One I nearly missed was the "Tonight" album from the legendary David Bowie. My (poor) excuse for this was the fact that I was so caught up in posting about all the great metal albums that this one nearly past me by.

Thinking back to said year, I remember when the single, "Blue Jean," from the album first appeared on MTV, my reaction to the song was, "Hey, David has gone back to his more traditional roots that brought him fame, no pun intended, in the 1970s." "Blue Jean" is considered a light rocker in my eyes and it is the best song on the album. Back then, it persuaded me that "Tonight" would be better than his previous album, "Let's Dance," so I went out an procured it. After a listen, I came to the conclusion that "Tonight" was better than "Let's Dance," but not that much better.

For the first few songs, "Tonight" sounds like it was it was preformed by a late 1970s lounge act. Everything that comprises such a thing is present in these songs. It's definitely music to mellow out to, however, I can not fault the first rate musicianship on the songs. It is why I can say that while theses songs aren't exactly my cup of tea, they still provide good listening to if you are in the right mood. Two prime examples are the seven minute long opener, "Loving the Alien" and his mellowed cover of the Beach Boys classic, "God Only Knows."

For those who have "Tonight" on vinyl or cassette, side two goes in a more harder rock direction starting with "Neighbourhood Threat." This is a decent rocker and even more harder than the single "Blue Jean" and precisely the reason why it's the hidden gem on the album. The single comes next and things pretty much carry on from there, although the remainder of the songs aren't quite as hard rock as these two. Saying that, I do like the horns sound in "I Keep Forgettin.'" The second side is definitely the better side for me.

Track Listing:

1. Loving the Alien
2. Don't Look Down
3. God Only Knows
4. Tonight
5. Neighbourhood Threat
6. Blue Jean
7. Tumble and Twirl
8. I Keep Forgettin'
9. Dancing With the Big Boys

[caption id="attachment_3052" align="aligncenter" width="215"] David Bowie[/caption]

David Bowie- lead vocals

Derek Bramble- guitar, synthesizers, bass, backing vocals

Carlos Alomar- guitar

Omar Hakim- drums

Carmine Rojas- bass

Mark King- bass on "Tumble and Twirl"

Rob Yale- CMI on "Loving the Alien," "Tonight" and "God Only Knows"

Guy St Ange-marimba

Sammy Figueroa- percussion

Tina Turner- vocals on "Tonight"

Iggy Pop- backing vocals on "Dancing With the Big Boys"

Robin Clark, George Simms, Curtis King- backing vocals

The Borneo Horns:

Stanley Harrison- alto and tenor saxophones

Lenny Pickett- tenor sax, clarinet

Steve Elson- baritone saxophone

Arif Mardison- string arrangements, synthesizers

https://www.youtube.com/watch?v=q5Nj_EmUmQc

Okay, David Bowie's 1984 album "Tonight" doesn't make me stop wanting to listen to "The Rise and Fall of Ziggy Stardust and Spiders From Mars" but it is, at least in my opinion, better than his more commercial album, "Let's Dance." While it's not something I would want to listen to in conjunction with any metal album, it is still a good album to lay back, mellow out and appreciate the fine playing on it.

Next post: Tank- Honour & Blood

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

Great Metal Albums of 1984: Whitesnake- Slide It In

 

Well, here I go! This is my fourth post in as many days and my fifth in the past six. See what happens when a person has too much time on their hands. It is a good feeling compared to when I am so swamped, I worry that I won't get out my self appointed quota of two posts a week. What better way to end this run than to post about the first Whitesnake album I seriously listened to, "Slide It In."

One thing I didn't realize back in 84 that I learned shortly after was that Whitesnake were going through their normal personnel changes at the time the album was recorded. After the recording of the album, both guitarists and bassist would leave bringing in guitarist John Sykes and bassist Neil Murray to play on the US version of the album. As it was the US version I'm most familiar with, the focus of the post will be in light of that.

For those who have Whitesnake's "Greatest Hits" album, one would believe that they put out loads of power ballads. However, those who delve further into the band's discography would quickly discover the misconception of that belief. The two tracks on "Slide It In" that comes even close to being a power ballad are "Love Ain't No Stranger" and the single, "Slow and Easy." Even those songs only appear to be such at the beginning before going much harder.

The album also leads off with the title track and my all time favourite Whitesnake song. This song demonstrates that Whitesnake has always had it in them to be more than a commercial metal band who played nothing more than power ballads. These days people say that about Bon Jovi but I digress. The rest of "Slide It In" follows in the vein of my all time favourite song. The songs are harder although there is some good melody in them. I like the Jon Lord's keyboards sound in "Gambler," especially the way it links up with the guitar solo. "Guilty of Love" is similar to the title track as a metal tune. It would have sounded even better if the guitar on the mix was turned up a fraction higher. Same things can be said for the remainder of the songs for I can see why some people argue that "Slide it In" was Whitesnake's last real metal album.

Track Listing:

1. Slide It In
2. Slow and Easy
3. Love Ain't No Stranger
4. All Or Nothing
5. Gambler
6. Guilty of Love
7. Hungry for Love
8. Give Me More Time
9. Spit It Out
10. Standing in the Shadow

[caption id="attachment_4490" align="aligncenter" width="385"] Whitesnake- 1984[/caption]

David Coverdale- lead vocals

Mel Galley- guitar, backing vocals

Mick Moody- guitar

Carl Hodgkinson- bass

Jon Lord- keyboards

Cozy Powell- drums

John Sykes- guitar on US release

Neil Murray- bass on US release

[caption id="attachment_4491" align="aligncenter" width="202"] John Sykes[/caption]

https://www.youtube.com/watch?v=AUGk7HaJwgE

Was "Slide It In" Whitesnake's last real metal album? I won't get roped into that debate, especially when I hear some of the songs from their next album. However, that wouldn't come out for another three years so it's hard to judge. What I do know is that I really liked this album and it compelled me to go check out Whitesnake's earlier material, particularly when I got to England.

Next post: David Bowie- Tonight

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

Great Metal Albums of 1984: KISS- Animalyze

 

Since Queensryche supported KISS in late 1984, I thought it only appropriate for the next post to be KISS's "Animalize" album. Unlike Queensryche, I was able to put more details of their performance on this tour in "Rock and Roll Children." Although I didn't actually see the concert, I did get the video of KISS concert for "Animalize," so that helped me a lot. This was in spite of the fact that the concert on the video didn't take place in Philadelphia, which was where I went to see all the concerts at the time.

"Animalize" was the second album by KISS without their make up, following on from their previous album, "Lick It Up." Now, I know KISS themselves along with many others like to downplay this era of Kisstory. True, they were looking more and more like a glam band but then again, so were many bands. However, I don't think this album was particularly bad, it has its good moments.

The opener, "I've Had Enough (Into the Fire)" opens with some metal sounding riffs, which I've always liked. The riffs alone make this song the best choice to open the album. Next comes the big single, "Heaven's On Fire." No arguments from me that this song was made for commercial radio and MTV. It is too similar to "Lick It Up" but then again, I don't dislike it either. I just find myself amused at the similarities between the two singles.

"Burn Bitch Burn" is nothing more than a catchy title and a cool guitar solo. It does give weight to the belief that Gene was too sidetracked with other projects and not putting his full attention to KISS. Paul does succeed in making up for it with "Get All That You Can Take." With all the "ooohs," one could probably say it was Paul's best vocal effort. It too has a cool guitar solo and throughout the years, I've wondered if Mark St John hasn't been given the respect he deserves. Saying that, then future band member Bruce Kullick nails the guitar solo on the next track, "Lonely Is the Hunter" and makes me wonder if KISS should have had him play on the whole album. God, thinking about it can give a person a headache, almost. I will say that the track in question is a better effort from Gene, possibly his best on this album.

It seems that KISS tried to be more speed metal with "Under the Gun." It is definitely the fastest song on the album and the best part is that Paul's vocals fit the song. Maybe I've underestimated his vocal ability these many years. The song does open side two, if you have vinyl or cassette, very nicely and leads to my choice for hidden gem. I know that "Thrills in the Night" was released as the second single on the album but from what I've read, it failed to chart. That makes it a hidden gem in my opinion. It's hard enough to please metalheads but with some good melody and Gene and Eric give great backing to Paul on the vocals and it has a cool guitar solo. Personally, I think the idea for the big single on their next album was taken from it. While I won't call the remaining two songs, penned by Gene, filler, I won't say they're standout tracks. Just two good songs to end the album in the best way.

Track Listing:

1. I've Had Enough (Into the Fire)
2. Heaven's On Fire
3. Burn Bitch Burn
4. Get All you Can Take
5. Lonely is the Hunter
6. Under the Gun
7. Thrills in the Night
8. While the City Sleeps
9. Murder in High Heels

Paul Stanley- rhythm guitar, lead and backing vocals

Gene Simmons- bass, lead and backing vocals

Eric Carr- drums, backing vocals

Mark St John- lead guitar

Additional musicians

Bruce Kullick- lead guitar on "Lonely is the Night" and "Murder in High Heels"

Jean Beauvour (ex Plasmatics): bass on "Get All You Can Take," "Thrills in the Night" and "Under the Gun"

https://www.youtube.com/watch?v=7o9A0kRIi7Q

Say what you want about KISS during their unmasked 1980s period, but I think that "Animalize" isn't all that bad. It does have it's good and amusing points but on the other hand, it never made me want to stop listening to "Destroyer."

Next post: Whitesnake- Slide It In

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

Great Metal Albums of 1984: Queensryche- The Warning

 

One problem with going back in history is that it isn't always easy to put yourself back in that time. In many instances, I've listened to albums with a different attitude than I did when I first listened to them when said album first came out. That is the unfortunate case with Queensryche. When I first heard their debut album, "The Warning," I thought that it was pretty good. However, I wasn't chalking up the days for when their second album would come out. Then there's another dilemma. Sometimes having historical knowledge isn't always good and in Queensryche's case, it isn't. See, what I know now that I didn't know in 1984 was that this band would go onto to achieve some great things. Without breaking sweat, I can think of three Queensryche albums that are far superior to "The Warning" and that isn't fair to this album because it's still pretty cool.

My first experience of Queensryche came when my friend introduced me to them after he had seen them supporting KISS. I couldn't go to that concert because I had to work and that is why my account in "Rock and Roll Children" of their performance that night is what one critic called 'bare bones.' I not only had to take myself 25 years back in time but I had to glean knowledge from another person's memory. Still, I'm sure they kicked ass that evening.

I've decided not to review "The Warning" as if I was in 1984 because subsequent recent re-listens have led me to conclude that the debut album was simply a marker for the better things Queensryche would aspire too. The band might have not liked how the album was mixed but I can hear all the trademark elements that make a good Queensryche album. There are the anthems like tracks of "En Force" and "No Sanctuary." Both of these songs represent what I've always liked about this band, as do the opening riffs of "Deliverance." "Take Hold of the Flame" incorporates a little bit of everything. It has an acoustic intro before Geoff Tate's vocals take things up a couple of notches. Additionally, the guitar solo of one Chris De Garmo has me agreeing with my sister's assertion that the band hasn't been the same since he left.

For me, the second half of the album is the better half. All four tracks are what I can call classic Queensryche metal. There is some interesting harmonizing on "Behold the Storm" and though "Child of Fire" and "Road to Madness" are cool tracks,  my vote for favourite track is "Warning." It definitely has the catchiest licks of all the songs. It sounds like a true metal anthem and Tate puts his vocal stamp on it perfectly. In reference to the guitars, while I still stand by my remark about Chris, Michael Wilton shows he's just as good on the axe. Great song!

Track Listing:

1. N M 156
2. En Force
3. No Sanctuary
4. Deliverance
5. Take Hold the Flame
6. Behold the Storm
7. Child of Fire
8. Warning
9. Road to Madness

[caption id="attachment_4472" align="aligncenter" width="241"] Queensryche[/caption]

Geoff Tate- lead vocals

Chris De Garmo- guitar, backing vocals

Michael Wilton- guitar, backing vocals

Eddie Jackson- bass, backing vocals

Scott Rockenfield- drums

https://www.youtube.com/watch?v=PgJV62Ys-Es

Who says a little knowledge is a dangerous thing? If I knew back in 1984 what I know now about Queensryche, I would have called this album, "a promising start." Because that is exactly what "The Warning" was.

Next post: KISS- Animalyze

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Great Metal Albums of 1984: Autograph- Sign in Please

 

According to a radio interview with this band, the story behind how Autograph got to record their debut album "Sign in Please," is rather amusing. Apparently, it resulted from a bet the band made with Van Halen lead singer David Lee Roth. The bet was that if Autograph could stick going on tour as a support band with Van Halen, Roth would get them a recording contract. I know for a fact that they did tour with the mighty VH in 1984 because my sister saw them in Philadelphia. She also said that they got booed off stage when one of the band members accidentally knocked over a microphone. Gee, I knew Philadelphia sports fans were tough but didn't think music fans were like it. Anyway, despite this setback in the City of Brotherly Love, Autograph survived the tour and were rewarded with a record contract and this is where we get the debut album, "Sign in Please."

Autograph's best known song, "Turn Up the Radio" appears on the album. The video for it seemed to be on every time I switched on MTV in the late part of the year. Saying that, it is a good catchy song that has remained with me ever since. Not metal, definitely more melodic rock, which was the direction Van Halen seemed to be heading in at the time anyway. Most of the songs also are in the vein of "Turn Up the Radio" but because there is some heavy guitar and the association with Van Halen, Autograph have always been called heavy metal. You be the judge on that one.

The first four tracks on the album are near clones of each other. Obviously, "Turn Up the Radio" is the standout but the other three are quite good. "Send Her To Me" was the second, although less successful, single from the album and there is a cool guitar solo on "Cloud Ten" and "Night Teen and Non Stop" has a catchy vibe to it as well. Then things get a little harder with "Deep End" as the keyboards take a back seat and lead singer, Steve Plunkett, tries to be more of a metal singer. A decent effort, I have to say. However, following that is my vote for the hidden gem of the album, "My Girlfriend's Boyfriend Isn't Me." It too is a bit of a rocker but done better than the preceding track. A good hard rock song with just the right amount of melody. The keys are there but don't dominate and then there's the twist in the title that is a source of amusement. I don't even mind the fact that it lacks a guitar solo.

Steve Pluckett proves himself to be a good singer on "Sign In Please," when it keeps within his range. It is lead guitarist Steve Lynch whose talents seemed to not have gotten the recognition they so deserve. He shines best on the big single, "Cloud Ten" and "Feel the Thrill." As much as keyboards are often looked down on by some for daring to appear on a metal album, one can't deny that Steven Isham does play them very well. Keyboard and lead guitar team up very nicely on "Friday." That, with a tidy rhythm section, one can see why this album got so much notice in 1984.

Track Listing:

1. Send Her To Me
2. Turn Up the Radio
3. Night Teen and Non Stop
4. Cloud Ten
5. Deep End
6. My Girlfriend's Boyfriend Isn't Me
7. Feel the Thrill
8. Friday
9. In the Night
10. All I'm Gonna Take

[caption id="attachment_4466" align="aligncenter" width="296"] Autograph[/caption]

Steve Plunkett- lead vocals, guitar

Steve Lynch- lead guitar, backing vocals

Randy Rand- bass, backing vocals

Steven Isham- keyboards, backing vocals

Keni Richards- drums

https://www.youtube.com/watch?v=j8CcTYsMHYU

Autograph won a wager and as a result, we have their debut album, "Sign In Please." Reflecting back on the time, it was a good melodic rock album in a world that was being divided into heavy metal and commercial synth pop.

Next post: Queensryche- The Warning

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

Great Metal Albums of 1984: Keel- Lay Down the Law

 

I'm now back in the UK and after getting over my worst ever case of jet lag, it's back to business as usual here on 80smetalman's Blog. Obediently following my list of albums for 1984, upon my return, the next one up just happened to be "Lay Down the Law" by Keel. This was one where back in the day, I listened to a couple of times and thought, "It's okay," before putting it to one side and hardly bothering with it since. As a result, the question as to whether I would be of the same opinion thirty plus years later came into play now.

Now, I know you're all waiting with baited breath right now to know whether or not I am of the same opinion. Well, the answer is that the album is still just okay, although on some listens it manages to claw its way into the 'Good' region in my mind. In dissecting the album, let me start with the not so positives. First, there's the opener, "Thunder and Lightening," which is at the bottom of the best song rating list on the album. I think Keel try to hard to be that "We're going to come out and kick your ass" type band with it. Unfortunately, they do not convince me. The other not so positive is the power ballad, "Princess of Illusion." Now I know that many glam type metal bands have their token ballad on every album and maybe this was what the band was going for here. However, it will not even come close to any of my favourite power ballads.

Keel's strength is playing straight ahead heavy metal. Fortunately, they do this rather well on the remainder of the songs. The title track and "Speed Demon" do well to make you forget the opener and that momentum is only slightly killed by the power ballad. Fortunately, the best song on the album comes right after it. "Born Ready" is Keel doing straight forward metal at it's very best and I have to say that they should have followed that format all through the album. The following track, "Metal Generation," does follow on very nicely.

"Till Hell Freezes Over" is  an attempt to emulate Dio or the Ronnie James Dio era of Black Sabbath. It's starts out like it's going to be another power ballad but before I think, "Oh, not again," the song goes up two gears into more straight ahead metal. While it's not quite equal to what Ronnie would have done, it's a pretty good effort on Keel's part. Besides, it has the best guitar solo on the album. "Tonight You're Mine" takes things back to more familiar territory although the song is more speed metal here. Then they close with another brave effort, a cover of the Rolling Stones classic, "Let's Spend the Night Together." Covers can be rather hit or miss and in this case, Keel put a good metal touch on the song. Would Mick and Keith approve? That's up to them. I do like the bit at the end where Ron sings a little of the title track before advising the listener of their Miranda rights.

My honest conclusion on "Lay Down the Law" is that Keel weren't sure what they wanted to be with the album. They try different things on different songs and some work while others don't. If I could have advised them back in 1984, I would have told them to stick with the straight forward metal because that's what they seem to do best.

Track Listing:

1. Thunder and Lightning
2. Lay Down the Law
3. Speed Demon
4. Princess of Illusion
5. Born Ready
6. Metal Generation
7. Till Hell Freezes Over
8. Tonight You're Mine
9. Let's Spend the Night Together

[caption id="attachment_4461" align="aligncenter" width="367"] Keel[/caption]

Ron Keel- guitar, vocals

Marc Ferrari- lead guitar, backing vocals

Bryan Jay- lead guitar, backing vocals

Kenny Chaisson- bass, backing vocals

Bobby Marks- drums, backing vocals

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

If I were giving marks, I would give Keel a B- for their debut album. "Lay Down the Law" does have some points they should not have touched but there was some definite potential here. Would they follow on this? That question will be answered when I visit future Keel albums.

Next post: Autograph- Sign In Please

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

Great Metal Albums of 1984: Waysted

 

Throughout my music listening career, EP's have always been a bit of a paradox for me. I've visited quite a few of them over the years, Brian May's "Star Fleet" for example. On the other hand, there has been some that I left out despite owning them myself. I'm surprised that while touring 1983, no one picked up on the fact that I never posted about Ratt's EP. To many, it's believed that EP's aren't proper albums so they don't buy them and they're intended to make money off dedicated followers of a band who will snap up anything they put out. While I see the point of the former, I see nothing wrong with a fan buying anything their heroes might release.

Waysted is a totally different story for me. I didn't hear the name until 1985 and didn't get to listen to them until I got over to England a year later and a friend was really into them. That was where I got to experience their "Vices" album and this 1984 self-titled, five song album, or EP. Every since, I have thanked that friend, even though he's not into metal much these days, for the experience.

My overall opinion of "Waysted" is that it is just five really explosive songs. "Won't Get Out Alive" is a great way to open any album. It definitely grabs my attention. "The Price You Pay" is just as rocking with a good harmony on the chorus and ends with a really good guitar solo. "Rock Steady" could have been the single on the album, although there is no indication that it was ever released as one. It has a good catchy vibe that might appeal to some who aren't so keen on metal but this doesn't make it any less rocking, especially with that guitar solo. Next comes the hidden gem on the album for me. "Hurt So Good," no it's not a cover of the John Cougar classic, it is a cowboyesque rock song, even before such songs would be made popular by a certain band from New Jersey. The acoustic intro pulls you in before blasting you with dual six strings. The chorus is very catchy and the vibe makes you want bob your head to it all the way through. Finally, the album closes with the eight minute long "Cinderella Boys." This is a blues induced number that definitely grabs your curiosity. I sense that the band had a good time recording this and when it's done, you feel that you've had a full album's enjoyment despite the fact it only being five songs long.

Track Listing:

1. Won't Get Out Alive
2. The Price You Pay
3. Rock Steady
4. Hurt So Good
5. Cinderella Boys

[caption id="attachment_3735" align="align-center" width="367"] Waysted[/caption]

Fin Muir- vocals

Paul Chapman- guitar

Neil Shepard- guitar

Pete Way- bass

Andy Parker- drums

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

Like I said, "Waysted" by the band with the same name might only be five songs long but you remember all of them. It's simply a case of quality over quantity.

Next post: I can't say when that will be. I have had sad news this week. My mother has passed away and I will be flying to the States Monday morning and will be there for two weeks. Since the situation requires my full attention, I might not get to any albums while I'm there. I hope you all understand.

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

Great Metal Albums of 1984: Sammy Hagar- VOA

 

Sammy Hagar was most definitely a busy boy in 1984. In the early part of the year, he made the one album with HSAS along with Neil Schon from Journey. When I reviewed that album, I wrote a follow up post of what music life would have been like if HSAS had stayed together and released more albums. On the plus side, there would have been a couple more great albums from that quartet and we would have have been spared from Van Hagar, whether that's a good or bad thing is up to the individual conscience to determine. Furthermore, Neil Schon's career would have been still going strong because Journey was fading from view by then. On the minus side, had that band remained in tact, we might have not been able to feast upon Sammy's solo album from later on in 1984, "VOA."

As a result of the big single from the album, Sammy would be described as the "red haired rocker who couldn't drive fifty-five." "I Can't Drive 55" received constant airplay on radio and MTV, not that I ever complained about that. It is my favourite Sammy song of all time, a great tune about driving really fast. Funny thing was that I have no recollection of anyone calling for the song to be banned because it encouraged people to break speed limits. All I know is that I love that song.

Seven other songs also adorn the "VOA" album and all of them are really good. "Rock is In My Blood" is a good power song where Sammy declares that rock is in his blood and his soul. It also demonstrates that Sammy can play a guitar a little bit as well. Two songs come closest to being a power ballad here. One of them is "Two Sides of Love." It's not slow enough in my opinion to be a ballad but it is a song about a failing relationship. The guitars are good and the keyboards punctuate the song very effectively. Sammy's solo is pretty good too.

Now let's talk about the hidden gem on the album and man, do I love this song. I'm talking about "Dick in the Dirt." The song is about a man named Richard to is a bit of a ladies' man. The innuendo behind the lyrics is comical and remains so throughout the song. I always laugh my ass off whenever I listen to the song, even after more than thirty years! Apart from that, it is a good power song and comes with another cool guitar solo. So, I guess you could say that the song hits you from both sides.

For me, the least strongest song, (I call it such as none of the songs are weak), is the title track. Maybe it because it was used so much for patriotic purposes in the days of 80s Reagan America. Actually, it's because the keyboards take over too much of the song. It's good but not as much as the other seven songs. Fortunately, the last two songs are much stronger and end the album on a high. "Don't Make Me Wait" is another song that comes near to being a power ballad but not near enough. It starts as if it's going to be one but it just rocks. There is some great  guitar work from Sammy and the closer, "Burning Down the City," all I can say is "Wow! What a great song to end the album with."

Track Listing:

1. I Can't Drive 55
2. Swept Away
3. Rock is in My Blood
4. Two Sides of Love
5. Dick in the Dirt
6. VOA
7. Don't Make Me Wait
8. Burning Down the City

[caption id="attachment_1954" align="aligncenter" width="228"] Sammy Hagar[/caption]

Sammy Hagar- lead vocals, lead guitar

Gary Pihl- rhythm guitar, backing vocals

Jesse Harms- keyboards, backing vocals

Bill Church- bass, backing vocals

David Lauser- drums, backing vocals

https://www.youtube.com/watch?v=o7DXOA0IUnE

Whatever your thoughts might be on the path Sammy Hagar took in 1984 and after, you can't fault that "VOA" is a great solo album. Things have moved on in the past three decades and in most American states, the speed limit is above 55. Maybe the big single influenced government to raise the speed limits.

Next post: Waysted

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

Great Metal Albums of 1984: Krokus- The Blitz

Sometimes when an artist comes out with a great song, people expect them to duplicate it every time. This was the case with Swiss metal band Krokus in 1984. A year earlier, they completely blew me and many other metalheads away with their classic song, "Screaming in the Night." That is definitely in my top 20 as all time favourite songs. However, in 1984, when Krokus released their album, "The Blitz," many expected another song with the blow away potential as "Screaming in the Night." Unfortunately, no such song exists on the album and as a result, a lot of people went off Krokus.

Despite the fact that there is no song that completely blows me away on "The Blitz," I still enjoy listening to the album. There are still some very good songs on here. I'll be the first to admit that the first single, "Midnight Maniac," does not compare to the all time great but it has a catchy chorus which I still find myself singing now and again. I have been singing more lately as I have gotten reacquainted with the album. I only wish the guitar solo was a little longer.

Good 80s style metal continues on after "Midnight Maniac" with "Out of Control" and my vote for hidden gem on the album, "Boys Night Out." This is a great hard rocking song, so much so that I can't believe that it was co-written with Bryan Adams! The guitar solo on it is longer, at least the appropriate length a decent guitar solo should be. Things continue on nicely after that. "Our Love" has a cool intro and I think that Marc Storace does his best singing on it. It helps that there is a good metal rhythm behind him on the song. "Out to Lunch" is another hidden gem on the album, a good rocker. It's chorus is just as catchy as "Midnight Maniac" and has a better guitar solo.

The one low point is their cover of The Sweet's classic, "Ballroom Blitz." I'm not impressed with it and that could be down to the fact that I saw Krokus live before listening to the album. From what I remember, they nailed it on that night and the recorded version isn't up to it. Fortunately, three great rockers come after to erase any lack of impression I have on account of "Ballroom Blitz" and so, the album ends on a good high. In fact, "Rock the Nation" is a rather good song that has some cool guitar playing. I can say the same for "Hot Stuff" and "Ready to Rock" is a more credible closer. I do like the live feeling the song has.

Track Listing:

1. Midnight Maniac
2. Out of Control
3. Boys Night Out
4. Our Love
5. Out to Lunch
6. Ballroom Blitz
7. Rock the Nation
8. Hot Stuff
9. Ready to Rock

[caption id="attachment_3557" align="aligncenter" width="300"] Krokus[/caption]

Marc Storace- lead vocals

Fernando Von Arb- guitar, backing vocals

Marc Kohler- bass

Jeff Klaven- drums, percussion

Note: On the tour for "The Blitz," Marc Kohler would move to guitar and the bass duties would be taken over by Andy Tanas.

https://www.youtube.com/watch?v=Unz0jQvV7a4

Before I close out on what a misunderstandingly good album "The Blitz" is, let me share a bit from "Rock and Roll Children." When Krokus played live in the story, Marc Storace accepts a joint from someone in the crowd and takes a sly puff on it before handing it back. That actually happened! I know because I was in the fifth row. Anyway, this is an album that deserves a listen or a second chance as it's better than what some thought at the time.

Next post: Sammy Hagar- VOA

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

Great Metal Albums of 1984: Lee Aaron- Metal Queen

 

Probably the first thing anyone talks about in relation to Canadian metal singer Lee Aaron's second album, "Metal Queen," is the album cover. For those who might not know, that is actually the Lee on the cover. I wouldn't debate anyone who thought her outfit on the cover was bought at a dime store but hey, even if it was, she makes it look good. Even more than thirty years on, looking at this cover still gives me a warm feeling.

While the cover might be nice to look at, it's the music contained on the record, wait I had this on cassette, that counts. Let me just sidestep for one second. I once read in an interview that Lee stated that she use to laugh when she heard her first album, I said such when I visited that album. Well, she can laugh as much as she wants at her first album because her second album is much much better. Lee and guitarist John Albani have a brilliant chemistry and that started with the live track from the first album and gets even stronger on "Metal Queen." Another reason for the massive improvement over the first album is that Lee had more control over things and she has a hand in writing all of the songs.

The title track just happens to be my all time favourite Lee Aaron song. Okay, the chains at the beginning may be a little unnecessary but the song just explodes into a mad metal frenzy. Lee's powerful voice and John's guitar solo team up to make a great song. Then again, they do so throughout the entire album. The next two songs move the album along very well and I've always wondered who the lady of the darkest night is. After reading the lyrics and listening to the song many times, I still haven't figured it out.

Lee proves her vocal versatility with the ballad like "Got to Be the One." It's as good a power ballad as any and I don't mind that she repeats the title so much at the end. Her voice is a delight to hear on the song. The two songs following continue to roll things along and I do really enjoy hearing John's guitar ability on "Deceiver." He is an underrated guitarist and would have been my first alternate for guitarist in the 80smetalman's band of underrated musicians.

"Steal Away Your Love" is the hidden gem on the album. It tackles a very serious and sensitive subject, the song is about a rape and the perpetrator getting away with it. These are lyrics that make you think and even the great guitar solos by John don't dampen the message behind the song. Plus, I think the footsteps walking away at the end make the point. Then after two more good tracks, "Hold Out" being the better of the two, we come to the closer, "We Will Be Rockin.'" Definitely the best song to end the album here.

Track Listing:

1. Metal Queen
2. Lady of the Darkest Night
3. Head Above Water
4. Got to Be the One
5. Shake It Up
6. Deceiver
7. Steal Away Your Love
8. Hold Out
9. Breakdown
10. We Will Be Rockin'

[caption id="attachment_3675" align="aligncenter" width="204"] Lee Aaron[/caption]

Lee Aaron- vocals

John Albani- guitar, backing vocals

George Bernhardt- guitar, backing vocals

Atilla Demjen- drums

Frank Russell- drums

Jack Meli- bass, backing vocals

https://www.youtube.com/watch?v=P54mua-LbDs

It was "Metal Queen" that got people South of the Border and across the Atlantic to take notice of this Canadian fire cracker. Then again, with an album as good as this one, it's pretty hard not to.

Next post: Krokus- The Blitz

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

Great Metal Albums of 1984: Anthrax- Fistful of Metal

 

Normally, when I hear a band's second album before their first one, I appreciate what a great album the debut was, even if I prefer the second one. That was the case with Twisted Sister, Van Halen and Molly Hatchet for sure. However, there's always an exception and that comes in the form of Anthrax. My first experience with this band was the second album, "Spreading the Disease," and you will hear me sing its praises to the heavens. Now, I in no way, shape or form, dislike Anthrax's debut album, "Fistful of Metal," it has some great songs which I will elaborate on in a minute. What I do think is that "Spreading the Disease" was a major improvement from this one.

The big improvement comes in the form of the lead singer. While I have nothing against the vocal ability of Neil Turbin, he does some great things on "Fistful of Metal," it's just I think Joey Belladonna is a far superior singer. That's just my opinion. Therefore, I will cease the negative and go for the positive because I have always thought this was a brilliant, in your face, thrash album. In fact, I'll change my personal history and pretend that I first heard "Fistful of Metal" when it first came out in 1984.

Power chords of Scott Ian and Dan Spitz, combined the shrieks of Neil begin the album in a totally mad metal mayhem. Even though I hadn't yet heard the term 'thrash,' I would have thought that the opening song "Deathrider" comes out and grabs your attention. With the exception of Motorhead, I would have thought it was the most aggressive sound I ever heard back then. Following on immediately after is my favourite song on the album, "Metal Thrashing Mad." It's just as thrashy as its predecessor but there is a slight melody to the chorus and I do mean slight. Of all the tracks on the album, this one highlights Neil Turbin's voice the best.

What I have always liked about the cover of the Alice Cooper classic, "I'm Eighteen," is the fact that they don't thrash it up and they pretty much stick to Alice's formula. Hell, if it ain't broke, don't fix it. The next three tracks go back to more mad thrash. It is on the tracks, "Panic" and especially "Subjugator" that I fully hear the brilliant guitar work from Dan Spitz. Also on "Subjugator," rhythm guitarist Scott Ian has a cool guitar bit on it. It's certainly the best song of the three and I've always questioned why "Soldiers of Metal" was released as a single as there are better tracks to choose from. It still gives you a good mosh. Oops, that word didn't come out til 1985.

[caption id="attachment_1602" align="aligncenter" width="201"] Scott Ian- Anthrax[/caption]

"Death From Above" is my second favourite song on here. I can't explain the semantics as to why but I really love this song. Maybe it's how the song starts with a cool guitar solo from Dan but it just does it for me. The album concludes with "Anthrax," followed by a very cool instrumental, "Across the River" and probably the best song for the closer, "Howling Furies." Now there's a song that lets you know you've just had year ears bashed by a cool album.

Track Listing:

1. Deathrider
2. Metal Thrashing Mad
3. I'm Eighteen
4. Panic
5. Subjugator
6. Soldiers of Metal
7. Death From Above
8. Anthrax
9. Across the River
10. Howling Furies

[caption id="attachment_4427" align="aligncenter" width="347"] Anthrax[/caption]

Neil Turbin- vocals

Scott Ian- rhythm guitar

Dan Spitz- lead guitar

Dan Lilker- bass

Charlie Benante- drums

https://www.youtube.com/watch?v=ZcLXOTwZ5tA

Looking back at history, I now realize how important "Fistful of Metal" was in establishing Anthrax in the metal world and laying down a foundation for them to go onto to better things. The band is certainly hungry on this album, no doubt. The weird thing is that shortly after the album's released, Dan Lilker would be forced out of the band by the same two band members whom he'd join up with a year later to make my all time favourite album. Still, that's something to worry about in the future but if you want a thrashing good mosh, then "Fistful of Metal" is one to have.

Next post: Lee Aaron- Metal Queen

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

Great Metal Albums of 1984: Metallica- Ride the Lightning

 

I have said many times throughout the journey through 1984, it was the golden year of the golden decade for heavy metal. Many metal bands got mainstream exposure on radio and MTV. Not only that, the exposure gave many metalheads a look into bands that were up and coming or just out of the limelight. One of these up and coming bands was Metallica with their second album, "Ride the Lightning."

Thinking back to that year, I don't ever recall Metallica getting any airplay on the radio or MTV. As I listen to the album, I have to conclude that while mainstream media gave many metal bands some great exposure, I don't think they were quite ready for a band like Metallica, even if metalheads were. After spending the year listening to all the great bands, Metallica was something different but interesting. It definitely had my attention. When I heard this album, I was blown away by the sheer power and hunger of this band.

While their debut album, "Kill'Em All," just wants to pound the crap out of you, "Ride the Lightning" does offer some, I stress some, melodic moments. One gets that impression on the opening notes of the first track, "Fight Fire With Fire," because it starts out with a full acoustic intro. However, it goes right into some very hard chords which lasts for three songs. In fact, all the times I've listened to the album, I seem to miss where "Fight Fire With Fire" ends and the title track begins. The comes the great "For Whom the Bell Tolls," a loud pounding but at the same time rhythmic tune. I really like this track but I was disappointed when they played it at Donington 1987. It just didn't grab me the way that it always does on vinyl.

Afterwards comes what I mean about melodic moments, my favourite track on the album, "Fade to Black." The first half of this song is a near power ballad and while it would be another seven years before we got to hear their most famous ballad, "Nothing Else Matters," I do hear some resemblances on "Fade to Black." But it doesn't stay melodic as the second half of the song goes back to more traditional Metallica soundings. An added bonus is the way that Kirk Hamett rips his guitar solo at the end.

With "Trapped Under Ice" and "Escape," you get more great Metallica mashing and like the first two songs on the album, you have to listen carefully or you'll miss where the one ends and the other begins. Then, if you thought your eardrums might get some relief, you'd would be sorely disappointed because "Creeping Death" comes along to kick your ass. This is a power song only slowing down slightly to deliver a more melodic chorus but then goes back to ear bashing. "Creeping Death" is decidedly my second favourite track on "Ride the Lightning." It may not have the melodic approach of my number one but it lets you know it's there and says you will like this song. Kirk's solo on here is very cool too. The album ends with the very interesting instrumental "The Call of Ktulu." All in all, this is a fantastic album and it reminds me of when Metallica were hard and hungry. The music on "Ride the Lightning" bears witness.

Track Listing:

1. Fight Fire With Fire
2. Ride the Lightning
3. For Whom the Bell Tolls
4. Fade to Black
5. Trapped Under Ice
6. Escape
7. Creeping Death
8. The Call of Ktulu

[caption id="attachment_3378" align="aligncenter" width="362"] Metallica[/caption]

James Hetfield- lead vocals, rhythm guitar

Kirk Hammett- lead guitar

Cliff Burton- bass

Lars Ulrich- drums, backing vocals on "Ride the Lightning"

https://www.youtube.com/watch?v=WEQnzs8wl6E

In the opening pages of "Rock and Roll Children," while the main characters are driving to the first concert in the book, one of them introduces the others to a new band called Metallica. It was the "Kill'Em All" album. Yes, back then, they were still making their way in the world and "Ride the Lightning" provided a springboard that would help launch them to greater things.

On another note, this album has been labelled thrash and speed metal. These were terms which I wouldn't hear for another year. I just considered Metallica great metal at the time. Furthermore, this trip down memory lane makes me sad that I missed the Metallica, WASP and Armoured Saint show. That must have been fantastic.

Next post: Anthrax- Fistful of Metal

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

Great Metal Albums of 1984: WASP

 

At this moment, I'm kicking myself for my lack of foresight in these last few posts. Knowing I would be posting about Black Emerald, I should have waited until after my posts about them to visit the Armoured Saint album. This would have made my links to this debut album from WASP and the "Ride the Lightning" album from Metallica more cohesive. Why am I obsessing about this? You may be asking yourself. Well that's because back in 1984, Metallica, WASP and Armoured Saint toured the US together. While I didn't see this package, something I duly regret, I heard some amazing accounts of the shows and that's why I wanted to post the 1984 releases from these three bands in succession. After all, it is part of our metal history.

The second this album was released, it became the subject of much controversy from the American religious right and eventually groups like the PMRC. The first target was the track "Animal (Fuck Like a Beast)." If you bought this album back in 1984, this track wouldn't have been on it. Reason being was that it caused such an uproar with the zealots that Capital records decided to pull it from the album. Wimps! Therefore, I'm going to rewrite history a little an include it here because it is my all time favourite WASP song.

On the original copy, the album begins with the single "I Want to Be Somebody." This was the song that actually got a little airplay on the radio and it is good. I don't know how he does it but Blackie Lawless manages to write tunes with a catchy vibe to it. Fortunately, Blackie and the band don't veer too far from that formula on the rest of the album. It is certainly there on the follow up track "L.O.V.E. Machine," although the following track "The Flame" isn't quite as catchy as the last two but not a bad song in any way. "B.A.D." has a a very cool opening riff and possibly the best guitar solo on the album.

If offending the religious fanatics wasn't enough, WASP had to go and have the America right question their patriotism. The track "School Daze" starts with a class full of children reciting the pledge of allegiance, which some attacked them for. However, if they bothered to listen to the lyrics, they would know that it's about the drudgery of high school and nothing unpatriotic. The pledge of allegiance was there because that's how the school day begins in America! Not that that ever bothered me because right after the pledge, the song goes into some hard  riffs and it's possibly the heaviest song on the album.

WASP's formula ticks things over very nicely on "Hellion." It's a cool track but nothing about it stands out from the other songs on the album. Afterwards though, comes the weakest link on the album. Now most of you know, I love a good power ballad and "Sleeping (In the Fire) is a brave attempt at one. However, Blackie doesn't have the voice for singing such songs. He sounds to strained as if his voice is going to crack at any second. It is redeemed by a great guitar solo.

Three really good songs close out the album. I especially like how "Tormentor" begins with the guitar solo but keeps its pace throughout. It's my vote for the hidden gem on the album and "The Torture Never Stops" makes the best closer for the album and gets the runner up vote for hidden gem.

Track Listing:

1. Animal (Fuck Like a Beast)
2. I Want to Be Somebody
3. L.O.V.E. Machine
4. The Flame
5. B.A.D.
6. School Daze
7. Hellion
8. Sleeping (In the Fire)
9. On Your Knees
10. Tormentor
11. The Torture Never Stops

[caption id="attachment_4414" align="aligncenter" width="234"] WASP[/caption]

Blackie Lawless- lead vocals, bass

Chris Holmes- guitar

Randy Piper- guitar, backing vocals

Tony Richards- drums, backing vocals

https://www.youtube.com/watch?v=7COTI8k-rgo

The debut album from WASP would be a tool used by the religious right to wage war on rock music all throughout the 1980s. Like KISS, idiots would say that the band's name was an acronym for We Are Satan's People and We Are Sexual Perverts. While I am still lmao about this thirty plus years on, I still enjoy what a great album their debut was.

Next post: Metallica- Ride the Lightning

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

Great Metal Albums of 1984: Armoured Saint- March of the Saint

 

One question I have been asked many times back in 1984 and today by non-afficianadoes of heavy metal is: Don't you get tired of listening to the same sound all the time? My answer is no. The stereotype on metal is that they all play the same four chords over and over. That might be true with some bands but at least every band chooses four different chords to play. That is what makes their sound unique. Plus, it also has a lot to do with the singer and lead guitarist as well. I was asked this question when I was listening to some Armoured Saint back in 84 and their debut album, "March of the Saint" proved my point. They were pure metal but at the same time, sounded unique.

Most people who have experienced Armoured Saint know of the title track to this album. It has become their trademark song pretty much and I was exceedingly glad when they played it at Bloodstock in 2015. Boy, how time flies. If one song were to be used to introduce anyone to Armoured Saint, it would be that one. A great song to bring in the album and a great song to hear live. Of course, everything they played live on that day sounded great.

[caption id="attachment_2820" align="aligncenter" width="289"] Armoured Saint establishing their dominance at Bloodstock, 2015.[/caption]

Following the historic title cut are nine equally, well nearly equally, fantastic songs. Each song possesses the unmistakable vocals of John Bull and the guitars of Dave Prichard and Phil Sandoval backed up the rhythm section laid down by Joey Vera and Gonzo Sandoval. What you get is a total metal package. While most of the songs are pretty much equal in the kick ass stakes, I do think that "Seducer" does slightly rise above the rest in my opinion. I can't explain it but it just catches my vibe. However, there are lots of great things about the other songs. "Glory Hunter" is also a really cool track with some interesting little riffs in the middle of the song. Then again, there are some rather cool intro riffs in most of the songs. "Take a Turn" and "Envy" are great examples of that. That's the problem when I listen to this album. Every time I want to praise one particular track, the next one comes along and deserves equal praise. So, I have to go back to my previous statement, you get the total metal package on "March of the Saint."

Track Listing:

1. March of the Saint
2. Can U Deliver
3. Mad House
4. Take a Turn
5. Seducer
6. Mutiny on the World
7. Glory Hunter
8. Stricken by Fate
9. Envy
10. False Alarm

[caption id="attachment_4377" align="aligncenter" width="366"] Armoured Saint[/caption]

John Bull- lead vocals

Phil Sandoval- guitar

Dave Prichard- guitar

Joey Vera- bass

Gonzo Sandoval- drums

https://www.youtube.com/watch?v=L764e7zZQvU

Since "March of the Saint," the band have said that they were totally disappointed with the final mix of the album because it was too commercial for the more heavy metal sound the band wanted it. They would make up for that for sure in future albums. Still, I have always enjoyed this album and will continue to do so.

Next post: Another band I who impressed the hell out of me at Bloodstock 2013, Black Emerald, will be having their album launch party for their debut: "Hell Can't Handle All of Us" in Reading, UK this Saturday. I'm on their 'Special Guest' list to which I am truly honoured! See, a note to fellow bloggers, say great things about a band and you get invited to album launch parties. Although everything I have said about Black Emerald is certainly true. Don't worry, next post, you will all get a full account of the evening with plenty of photos.

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

Great Metal Albums of 1984: Mercyful Fate- Don't Break the Oath

 

To this day, I'm not sure whether or not I should be disappointed by "Don't Break the Oath," the second album from Danish metal band, Mercyful Fate. I have to admit, I was expecting great things from them after hearing their great 1983 debut album, "Melissa" and another admission, it did take me a couple of listens before I really got into it. When I did, I discovered that it's still a pretty cool album.

For those of you who read my post on the "Melissa" album, you might remember that it was the album that really got me into black metal. What I liked about it was the fact that there were no backwards messages from the Dark Lord. On their best known song, "Black Funeral," lead singer King Diamond comes straight out and sings, "Hail Satan!" He doesn't do that on any of the songs on "Don't Break the Oath" and maybe that's what the disappointment was for me. After all, when I put the album on, I had my altar prepared and my knives sharpened so I could sacrifice a few chickens and goats. The album didn't inspire me to go through with it. Shame, I know.

On this album, King Diamond not only doesn't sing "Hail Satan," on some of the songs, it's hard to hear what he's singing. He could be telling us to eat our peas and carrots and we'll never know. Of course, the counter argument here is that with that versatile trademark voice and falsetto vocals, he could be singing about vegetables and would still sound good. I think the clearest he comes in is on the third track, "Desecration of Souls." However, it is the track after that I think is the best track on the album, "Night of the Unborn." King comes in nice and clear although at one point when he goes falsetto, he briefly sounds like a chicken being strangled but he pulls it down and delivers a great performance backed up by the guitar work of Hank Shermann and Michael Denner. This song reminds me so much of the black metal I loved on the previous album.

Speaking of the guitars, it is the work of Shermann and Denner that stands out the most. I didn't mention the first two tracks above on account of not being able to fully understand the vocals but these two guitarists push the songs through at a break-neck pace and that what makes those songs good. Even when they go a little prog metal on "The Oath," the guitars are just spot on. The vocals are good as well. I love how the slamming guitars mix well with King's vocals before going out on a cool guitar solo. That tight chemistry remains on the much more power metal like tracks"Gypsy" and "Welcome Princess of Hell." Always loving a bit of unpredictability, things slow down a lot so Michael and Hank show their softer side on the guitar instrumental, "To One Far Way." But things go out with a bang with the closer "Come to the Sabbath" and by the end, I forget why I thought I should be disappointed in the album.

Track Listing:

1. A Dangerous Meeting
2. Nightmare
3. Desecration of Souls
4. Night of the Unborn
5. The Oath
6. Gypsy
7. Welcome Princess of Hell
8. To One Far Away
9. Come to the Sabbath

[caption id="attachment_3680" align="aligncenter" width="362"] Mercyful Fate[/caption]

King Diamond- vocals

Hank Shermann- guitar

Michael Denner- guitar

Timi 'Grabber' Hansen- bass

Kim Ruzz- drums

https://www.youtube.com/watch?v=uoA7rBJIOPU

Unfortunately, after "Don't Break the Oath," Mercyful Fate would break up due to musical differences. As you will see in future posts, King Diamond would go on to have a fabulous solo career. But for now, I enjoy what a good album this is, even if I don't want to sacrifice anything.

Next post: Armoured Saint- March of the Saint

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

Great Metal Albums of 1984: Iron Maiden- Powerslave

 

Having had a glance back at posts about previous Iron Maiden, I mentioned when I posted about the "Piece of Mind" album, that the first Iron Maiden album I actually bought was "Live After Death," which wouldn't come out for another year after, "Powerslave." But it was buying that great live album that got me to get off my ass and check out their earlier albums, including this great 1984 offering, "Powerslave."

When you hear a song on a live album and then hear the studio version or vice versa, it's hard not to compare and contrast the two versions. It is even more of the case when listening to "Powerslave" because four songs from it are played on "Live After Death." There are some interesting comparisons both ways here. Take the opener. "Aces High" is a great song to open the album with. However, the live version is an even better song to open a concert on. It seems that the live version is played with much more intensity. That's just my opinion. Thinking about it more, one thing that pisses me off is the fact that whenever there is talk about the Battle of Britain, "Aces High," which is a great song to commemorate the battle, is never mentioned. This song is not only a great metal tune, it should be used as a teaching tool in schools.

On the other hand, the title track, sounds just average on "Live After Death." It's played well and all that but it just sort of blends in along with all the great songs from the other studio albums that are played live. However, it does stand out more on the studio album that bears its name and as a result, I get into it more. In regards to the other two songs from this album that appear on the live album, "Two Minutes to Midnight" and "Rime of the Ancient Mariner sound just as good played either way.

Now before stones start getting hurled at me, when I say that the title track stands out more, I am no way implying that the other songs on the album are sub par. I enjoy listening to all the songs on "Powerslave." "The Duellists" is a great song where guitarists Smith and Murray trade off solos very well. I also find the instrumental, "Losfer Words" very enjoyable as well. I think that like the previously mentioned song, Adrian and Dave were given more liberty to shine on their six strings and with fantastic results! "Back in the Village" is a more powerful Maiden track that gets more in your face. So you have a little bit of everything Iron Maiden can do at their best here and that makes a fine album.

Track Listing:

1. Aces High
2. Two Minutes to Midnight
3. Losfer Words
4. Flash of the Blade
5. The Duellists
6. Back in the Village
7. Powerslave
8. Rime of the Ancient Mariner

[caption id="attachment_3532" align="aligncenter" width="339"] Iron Maiden[/caption]

Bruce Dickinson- vocals

Steve Harris- bass

Dave Murray- guitar

Adrian Smith- guitar

Nicko McBrain- drums

https://www.youtube.com/watch?v=Xg9aQvjMS60

Heavy metal was exploding across the world in 1984. Great bands from all around the world were making their mark but it was still great that all the great NWOBHM bands like Iron Maiden were leading the charge and still proving they were a force to be reckoned with. "Powerslave" stamps that point emphatically.

Next post: Mercyful Fate- Don't Break the Oath

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

Great Rock/Meal Albums of 1984: Billy Squier- Signs of Life

 

With all the great metal artists, old and new, releasing stellar albums in 1984, it was only natural that the best American artist not to have cracked the UK put an album out as well. Billy Squier's "Signs of Life" album came out in the summer of that year and would go platinum. However, I have always been reluctant to call "Signs of Life" a metal album because Billy tries to mesh his hard rock style with what was the current techno sound of the time. He uses a lot more synthesizers on the album and though they don't make the album suck, I still like it a lot, I do prefer "Emotions in Motion" and "Don't Say No" to this one.

Everybody identifies "Signs of Life" with Squier's best selling single, "Rock Me Tonight," which is on it. Before I go into that, I would like to mention the other tracks that appear here. On the opening riffs of the first track, "All Night Long," you are led to believe that this is going to be a total Squier metal fest. It is one of the hardest tracks on the album and has a pretty cool guitar solo. "Eyes on You" which follows the hit single, goes more into the vein I was talking about. The synths are there but you the hard rock roots which brought Billy Squier to the top still are present. Less keyboards appear on "Take a Look Behind Ya" and the guitars dominate. I do think it would have sounded better if the guitars were turned up a little more. Then it would have been an even cooler rocker, especially the way it ends on a guitar solo.

When I wrote about the Billy Squier concert in "Rock and Roll Children," I had to pick my sister's brains as she saw it and I didn't. During the playing of "Reach For the Sky" she said he used lights that flipped up. Listening to the song, I can imagine that this combination would have been amazing to see and hear. He couldn't have picked a better song to do this to. However, playing live, he wouldn't have had Brian May on stage with him to do the guitar solo on "(Another) 1984" and Mr May does work his magic here. Oh well, I guess you can't have everything.

On "Fall for Love," the keyboards are done very well to mix with the music. This is a more mellower song and the keyboards as well as the guitar suit it nicely. On the other hand, "Can't Get Next to You" is one of the best rockers on the album. The keys are used to compliment the music and are done so sparingly. Again, I think they should have turned up the guitars a little more but that's me. I think producer Jim Steinman must have had other ideas. Except for Brian's efforts on "(Another) 1984," this song has the best guitar solo on it and I sometimes think that this would have made a better closer than "Sweet Release." I stress, sometimes!

Now onto the single, "Rock Me Tonight." To be right to the point, I have always liked this song. It's my fourth favourite Squier song behind "In the Dark," "Everybody Wants You" and "The Stroke." See, Billy was great at putting out singles I liked. Back in 1984, I didn't really clock the effeminate nature behind the video to it. I was too busy rocking out to the song. However, this video is believed to have destroyed his career as a singles artist. It is said to have alienated him from hard rocking males and made him appear 'gay.' Unfortunately, this was more down to the narrow minded attitudes of people in 80's Reagan America than anything else. For me, video or not, I will always like "Rock Me Tonight."

Track Listing:

1. All Night Long
2. Rock Me Tonight
3. Eyes On You
4. Take a Look Behind Ya
5. Reach for the Sky
6. (Another) 1984
7. Fall For Love
8. Can't Get Next to You
9. Hand Me Downs
10. Sweet Release

[caption id="attachment_2462" align="aligncenter" width="192"] Billy Squier[/caption]

Billy Squier- lead vocals, guitars, synthesizers

Jeff Goulb- guitar, slide guitar

Alan St John-keyboards, synthesizers

Doug Lubahn- bass, backing vocals

Bobby Chouinard- drums

Brian May- guitar solo on (Another) 1984

I'll let you watch the video for "Rock Me Tonight" and make up your own mind.

https://www.youtube.com/watch?v=WZvl2aqIyNg

When I wrote "Rock And Roll Children," I did so with the intention of showing how narrow minded and intolerant people were back in 80s Reagan America, especially towards metal and metalheads. The fact that everyone stopped taking Billy Squier seriously on account of one video proves my point. People seem to forget that he made three great albums and "Signs of Life" just happened to be one of them.

Next post: Iron Maiden- Powerslave

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

Great Metal Albums of 1984: Metal Church

 

Constant vigilance in perusing the heavy metal and imports sections at the local record shops as well as word of mouth from like minded friends played a major role in severing my reliance on commercial radio and MTV for all of my musical needs. Besides, by my calculations, it was in the Autumn of 1984 that both started down that slippery slope into totally sucking. If I had totally relied on that, I might not have ever discovered the debut album from Metal Church. Fortunately, I had a friend, the late 'Wild Swinging' Stacy Kroger, (may she rest in peace), who introduced me to the album.

For a young metalhead in the 1980s, Metal Church is a brilliant album to listen to. This is a pure metal album to say the least. In fact, I think there are some features that would influence other metal artists, some of whom would be more successful than Metal Church. King Diamond, you're one of the ones I'm looking at here. Take the opening track, "Beyond the Black." It starts with a soft intro where a hoarse whispering introduces things. You know, after all these times, I still can't fully grasp what the voice is saying. However, you can't contemplate it more because before you know it, some great guitar work comes in and the song then proceeds to pulverize the crap out of you. Just when you think, you've got it under control, there comes a tempo change or two. The fact that the song is over six minutes long has one wondering if it's the same song, but it is.

Things evolve nicely into the title track which is another metalhead's dream song. Then comes an instrumental where guitarist Kurdt Vanderhoof gets to show off what he can do with a guitar and it's quite good. However, he's even more impressive on "Gods of Wrath," which is in similar style to the opener. A slow start before going into a mad frenzy.  Only this time, he shares the spotlight with the versatile vocals of David Wayne. On this album, Wayne can do it all. Sing almost ballad like and then screams the house down without straining his voice.

The second half of the album carries things over very well while at the same time, surprising you a little. All of the next four songs are why some future fans would call Metal Church thrash or speed metal. They are all very fast songs but the band shows they're truly up to the task. Then, keeping with unpredictability, the albums ends with a cover of the Deep Purple classic, "Highway Star," which is done very well at a blistering speed metal pace, or so I thought back in 1984.

Track Listing:

1. Beyond the Black
2. Metal Church
3. Merciless Onslaught
4. Gods of Wrath
5. Hitman
6. In the Blood
7. (My Favourite) Nightmare
8. Battalions
9. Highway Star

[caption id="attachment_4358" align="aligncenter" width="357"] Metal Church[/caption]

David Wayne- vocals

Kurdt Vanderhoof- guitar

Craig Wells- guitar

Duke Erickson- bass

Kirk Arrington- drums

https://www.youtube.com/watch?v=aeiOH3jyoFk

With the success of this debut album from Metal Church, they would be signed by the larger Electra Records and the rest would be history. Still, if you want to hear a band when they were at there lean, mean and hungriest, then I recommend this one.

Next post: Billy Squier- Signs of Life

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