Great Metal Albums of 1985: Warlock- Hellbound

 

Keeping with 80smetalman tradition, I am posting an album from an artist I'm about to see live in the imminent future. Tomorrow, I shall be heading to Bloodstock and on Friday, I fully intend to see Doro Pesch headlining the Sophie Lancaster Stage that night. Now, some might call this cheating but Doro didn't have an album out in 1985. Back then, she was with her band Warlock and it's their second album, "Hellbound," that gets the posting this time.

This was another album I listened to following the event. My first experience of Warlock came when I saw them open the Donington Festival in 1986. Even then, I thought there was something about this band and more so about the lead singer. Therefore, it was a no brainer that I check out the works of this band and for me, their output on vinyl, (actually it was cassette,) matched what they had shown me on stage on that historic day in August of 1986.

"Hellbound" starts very fast paced, in fact, I was convinced they were more speed metal when I first heard the opening and third tracks on the album. Both of those songs just get stuck into ripping your eardrums to pieces and the track in between, "All Night," while not as fast is still a ferocious tune to head bang away to. I've always thought it surprising that it was released as a single because it trendies would consider it too metal for mainstream radio. Still, I like the song.

With the fourth track, "Wrathchild," the pace is set for the rest of the album. It's more like the second track beginning with a great guitar solo. It's killer, not losing any of the edge set by the first three tracks. It definitely gets a vote for hidden gem on the album and if I had anything to say, that one would have been the single, especially with the cool guitar soloing throughout the song. "Down and Out" is ideal for heavy metal purists because it is pure metal. Some more great soloing begins "Out of Control" and that grabs you by the ears and makes you enjoy the rest of the song, which is why it too can be called a hidden gem. "Time to Die" goes more back in the speed direction but with this song, that's only natural. Normally, a song called "Shout It Out" opens an album and it could have on "Hellbound," but it sounds just as good in the eighth position. That leads to the closer which lures you into a false security by pretending it's a power ballad but not long in, the mask comes off and it blows you away. Still a great song to end the album on.

There is absolutely no argument in my mind that the main reason for why this album is so good is the vocal talents of Doro. She has always had a great singing voice and here's where it started. However, I must also sing the praises of her guitarists who both play very well on the album. They go a long way in making her sound that much better and makes this album great.

Track Listing:

1. Hellbound
2. All Night
3. Earthshaker Rock
4. Wrathchild
5. Down and Out
6. Out of Control
7. Time to Die
8. Shout it Out
9. Catch My Heart

Warlock

Doro Pesch- lead vocals

Rudy Graf- guitar

Peter Szigeti- guitar

Frank Rittel- bass

Michael Eurich- drums

https://www.youtube.com/watch?v=KmppI8coD3o

The big question is, Will Doro play any songs from "Hellbound" when she ascends the stage at Bloodstock? I hope so and I'll be particularly over the moon if she plays "Wrathchild." But if she doesn't, this is still a great album to headbang away to.

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

To b

Great Metal Albums of 1985: Kreator- Endless Pain

 

Maybe I should do a list of bands whose second albums I bought before their first one. It would be a long list, that's for sure. This hold true for German thrashers, Kreator. My first experience of them was their better known second album, "Pleasure To Kill." I really loved it and played it to one of my friends who first introduced me to thrash. It was good to tell him about a cool album for a change. He was so impressed with that album that he bought the debut album, "Endless Pain."

I know I shouldn't compare an album to one I haven't reviewed yet but I'm going to anyway. The only contrast is that "Pleasure to Kill" is more polished than its predecessor, that's it. What both albums have in common is the intense ferocity of all the songs on them. "Endless Pain" is one total thrash fest from beginning to end. Each and every song pounds your head in every way. Only some brief melodic moments, actually I should say seconds, in "Storm of the Beast" and "Flag of Hate" give you any rest from the onslaught on your ears and it's always been hard to pick a favourite track. After listening to it again, maybe "Flag of Hate" just edges it out.

Early Kreator was never a band for those with sensitive ears. Those are the people who say that thrash metallers can't really play or sing. Yes, sometimes it's difficult to tell Mille and Ventor apart on the vocals but that's part of the fun. Definitely not the most tuneful voices in music but their guttural barks fit very well with the frenzy of the music. Someone also once remarked that all the members could only play three chords fast. He reckoned that guitarist Mille Petrozza had only been playing six months. I thought he was brilliant on the closing track, "Dying Victim." Having never seen any Kreator music sheets, I can't debate it. However, if that is the case, then it's certainly the right three chords because the album sounds fantastic.

Track Listing:

1. Endless Pain
2. Total Death
3. Storm of the Beast
4. Tormentor
5. Son of Evil
6. Flag of Hate
7. Cry War
8. Bonebreaker
9. Living in Fear
10. Dying Victim

[caption id="attachment_4569" align="aligncenter" width="300"] Kreator[/caption]

Mille Petrozza- guitars, vocals on even numbered tracks

Rob Fioretti- bass

Jurgen 'Ventor' Reill- drums, vocals on odd numbered tracks

https://www.youtube.com/watch?v=Jp9lFWI9b-8

Thrash metal was in its early infancy in 1985 although it would grow astronomically over the year. There were many great bands just waiting to burst out onto the thrash scene, grab the world by the throat and shout, "We are here!" Kreator was one of those bands as "Endless Pain" shows. I am frothing at the mouth at seeing them at Download on Sunday.

Next post: Bryan Adams

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: 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 Metal Albums of 1983: Scorpions- Blackout

  

First of all, let me say a well done to Deke for picking out all four albums on display in the last post. He gets 50 80smetalman points for that, not that they're worth anything in the real world. For those who didn't get all four and many got some, the albums were Van Halen I, Twisted Sister- "Stay Hungry," Led Zeppelin- "Remastered" and Grace Slick- "Dreams." Thank you all who participated and I hope everyone is happy that they finally got to see those famous ammo cans. It is really a cool way to store cassettes.

Now onto the album. "Blackout" by the Scorpions might have been released in 1982 but it brought my 1983 in rocking style. I spent the first seven weeks of the year at a small camp near Mt Fuji, Japan so music news was something scarce. It was when I returned to Okinawa that I heard this album though I can't remember if I first heard it at Sgt Pepper's or Kin Loo. It's not important, what was important was the fact that when I heard "Blackout," I was totally blown away.

It just happens that the album starts out with my favourite Scorpions song of all time. The title track is such an energy producing song that it's only right that it should open the album. I mean talk about power chords. What is really cool is that after your ears are pummeled by "Blackout," the album doesn't stop to catch a breath but immediately goes into another great song, "Can't Live Without You." This song praises the fans who buy Scorpions records and see them live. And as the song goes, I do play an imaginary guitar when I hear these songs.

Things continue nicely over the next four songs. The single, "No One Like You," follows on perfectly from its predecessors and goes very well into the next few after. After those three harder songs, things go slightly melodic with my second favourite Scorpions of all time, "Arizona." The power chords are very melodically done in such away that I just say 'wow' each time I hear the song. Maybe they should have released that one as a single. After "Arizona," there is what seems to be a concept song in "China White" before closing with the eerie sounding ballad, "When the Smoke is Going Down," which is the best song to end things with on this great album.

One constant which is heard on every song on "Blackout" is the great lead guitar work from Mathias Jabs and at times Rudy Schenker. Jabs has been called underrated by many metal fans and the way he smokes the finger board here supports that statement. As always, I won't take anything away from the rest of the band, especially as I have always considered Klaus Meine to be one of the best in the business.

Track Listing:

1. Blackout
2. Can't Live Without You
3. No One Like You
4. You Give Me All I Need
5. Now
6. Dynamite
7. Arizona
8. China White
9. When the Smoke is Going Down

[caption id="attachment_1572" align="aligncenter" width="240"] The Scorpions[/caption]

Klaus Meine- lead vocals

Rudy Schenker- rhythm and lead guitar

Matthias Jabs- lead and rhythm guitar

Francis Buchholz- bass

Herman Rarebell- drums

I can't think of any way better to start of a year than with "Blackout" by the Scorpions. It is such a great metal album and it brought my 1983 in just right. However, even after all these years, I still don't grow tired of it.

Next post: Billy Squier- Emotions in Motion

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

Great Metal Albums of 1981: UFO- The Wild, The Willing and The Innocent

Like Riot, UFO were another band that I should have listened to back in the day but never did. While, Riot were always in my to do tray, UFO almost completely passed me by. I had heard of them but nothing more. It wasn't until I came to Great Britain in 1986, that I finally listened to them thanks to a friend who had been listening to them for years. More unfortunate was the fact it wasn't this damn fine 1981 album, "The Wild, The Willing and The Innocent" but due the the year, it was the material they had put out around the time.

Now that I have rectified that mistake, I feel slightly sick that this great album escaped my notice for so so many years. What's not to like on it? The album starts with a very attention grabbing guitar riff and then blossoms into "Chains Chains," a song that will be added to my ever growing list of great album opening tracks. "Long Gone" moves the album along very nicely and makes me want to bang my head (against a wall for missing out this album.) While some people may debate whether UFO should be considered "proper metal," I must bring a little history into the debate. See, back then, even as early as 1981, there were some who were quick to label any music with a hard guitar riff, heavy metal and right or wrongly, UFO were put into the group. True, the next two tracks, I would consider to be more AOR sounding, but not really any less heavy. However, the three tracks after that, do stamp UFO's heavy sound. I love how "Lonely Heart" where the combined title and intro sucks you in with the belief it's going to be a ballad before ambushing you with some really heavy sounds and the guitar riffs in "Couldn't Get it Right" are just sublime. The album finishes with a bit of irony. Any song called "Profession of Violence" would lead me to believe that it would play well to those in a mosh pit. Instead, it's a very well played bluesy number with some impressive soloing. Well done lads, this album made a believer out of me.

Track Listing:

1. Chains Chains

2. Long Gone

3. The Wild, The Willing and The Innocent

4. It's Killing Me

5. Making Moves

6. Lonely Heart

7. Couldn't Get It Right

8. Profession of Violence

[caption id="attachment_2420" align="aligncenter" width="189" class=" "] UFO[/caption]

Phil Mogg- vocals

Paul Chapman- guitars

Neil Carter- keyboards, guitars, saxophone, vocals

Pete Way- bass

Andy Parker- drums

If like me, you let this album slip past you, do like me and listen to it straight away. If you do so on Youtube, you may have to search one track at a time but it's worth it. "The Wild, The Willing and The Innocent" is a great album.

Next post: Motley Crue- Too Fast For Love

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Also available on Amazon, Barnes & Noble and Froogle and on sale at Foyles Book Shop in London

Great Metal Albums of 1980: The Scorpions- Animal Magnetism

One major advantage to listening to a band's later material first and then trawling back through their archives is that you get a deep appreciation for where they came from and what they did to get to where they were when you first heard them. This was definitely the case for me in regards to The Scorpions. The first Scorpions album I was treated to was "Blackout" in 1982. While that is my favourite album of theirs, when I listened to the "Animal Magnetism" album, I can say that I was very impressed with that one as well.

"Animal Magnetism" reveals a very hungry group on the album. Each song has the power that I would love so much on the next album. "Make It Real" is a great opener and the third track "Hold Me Tight," reminds me why I have always held the vocal ability of Klaus Meine in such high regard. Then there is the seemingly ballad "Lady Starlight." Yes, it sounds like a ballad and for all purposes it is, but I have to say that Mathias Jabs really nails it on the guitar solo. After that brief slow down, it is back to business with three more hard rocking jams before it gets to the final title cut. That track may appear to be a bit way out there but the riffs laid down by the band on it reassure the listener that it is still the Scorpions all the way.

Tack Listing:

1. Make It Real

2. Don't Make No Promises (Your Body Can't Keep)

3. Hold Me Tight

4. Twentieth Century Man

5. Lady Starlight

6. Falling In Love

7. Only a Man

8. The Zoo

9. Animal Magnetism

The Scorpions

Klaus Meine- lead vocals

Mathias Jabs- lead and rhythm guitars, backing vocals

Rudolph Schenker- rhythm guitars, backing vocals

Francis Bucholz- bass, backing vocals

Herman Rarebell- drums, backing vocals

Like so many of the great metal bands back in 1980, The Scorpions would go onto even greater glories. Still, it's good to go back and appreciate where they came from and with "Animal Magnetism," they came from a good place.

Next post: 1980 Ends in Tragedy

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An Anvil Got Dropped on Gloucester

It's been less than 24 hours since I went to Gloucester to see the metal delights of Anvil. To make a long story short, Anvil totally kicked ass at the Guildhall in Gloucester, UK. However, it wasn't only a great night on account of Anvil, the two bands in support played their part in making metal history in Gloucester.

It was close, after fighting loads of traffic in my home town of Stroud and then trying to find a parking place in Gloucester, (Geography lesson: Stroud and Gloucester are about ten miles apart), then walking to the Guildhall, waiting in line only to be told that the tickets I ordered on line were waiting for me at the door, getting there and quickly buying my t-shirt, we got there just in time for the opening band.

Classic French metallers, Mystery Blue, opened things up very nicely. They are a five piece band front by lead singer Nathalie Geyer. While the sound sometimes made it difficult to tell, she does have a very good voice. But she is assisted by lead guitarist Frenzy Phillipon who knows a thing or two on how to smoke a fingerboard. Together with a sound rhythm section, Mystery Blue got the crowd in the mood for metal that night. While I can't remember all their songs, the two that stood out were "Running With the Pack," not a cover of the Bad Company classic and the title track from the latest album, "Claws of Steel," which ended their half hour on stage exceedingly well. I'd definitely recommend this band and I was going to go out on a limb and say that Mystery Blue were the best thing to come out of France since Gojira but after a look on their website, I found they have been around longer than their mentioned countrymen.

Mystery Blue begin their dominance

Nathalie proving she has the voice

Second up was German thrash metal band Rezet. While I can't say that they were the best thing out of Germany since The Scorpions, Accept, Bonfire, Helloween, Kreator or Doro, they were a brilliant band nevertheless. The first thing I noticed about Rezet was there was a definite early Metallica influence here and I'm not just talking about their sound either. Their look was the same as Metallica from that era. I remember an article in Hit Parader, (Motley Crue Magazine), in 1985 which stated that Metallica looked like they belonged in the high school detention class. Rezet were just as youthful looking and like the band mentioned, they played like they were just as hungry as that band was in 1985.

Rezet compounded the assault on the audience with some really good thrash. The comments about detention hall kids definitely applied to both guitarists who traded off solos on some songs and played individual ones on others. Frontman Ricky Wagner proved to be both a good singer and guitarist but the rest of the band played their part too. The most memorable song was "Gargantua," which as dig at modern politics and they closed with a tribute to Lemmy by playing the Motorhead classic, "No Class." This is definitely another band worth checking out.

Ricky Wagner and Rezet get things going

Thorben Schultz can also crank out the solos

Rezet coming down the the finish

Everything I expected from Anvil went away as soon as they hit the stage. Things started with Lips going into the midst of the crowd to play and he got a very welcoming response as he jammed away for several minutes. When he got back to the stage, I thought, "Okay, now they're going to play 'Metal on Metal,' they didn't. The first official Anvil song of the night was "Sex" but it got the crowd going. Also my prediction that they would play many of the songs from their latest album proved to be wrong. They only played two, one was "Daggers and Rum," a ditty about pirates and I can't remember the other one but Robb Reiner played a really cool drum solo on it. "Winged Assassin" from the last album I posted about did get played and right after another song from the same album, "Free As the Wind" which Lips dedicated to Lemmy. He also mentioned that Lemmy once invited him to join Motorhead but Lips declined because he was in Anvil.

From the outset, Anvil were out to have a good time during the 90 minutes they were on stage. They didn't care about the small venue because everyone inside was cheering them on. Lips especially was enjoying things and yes, he pulled out the sex toy and used it to play guitar to "Mothra." Unlike the documentary however, this one was battery operated and that also produced some cool sounds from Lips' guitar. Even without the toy, Lips surprised me by his ability to play. I knew he was good but I didn't realize he was that good. He really jammed away. Plus, I got to mention new bassist Chris Robertson. When introduced, Lips stated that it was great to have finally found the right bass player after going through so many. I have to say, Robertson is the real deal.

We were treated to a good cross section of Anvil material. The title track from "This is Thirteen plus a couple of songs from "Juggernaut of Justice," one of them being "On Fire." While he didn't open with "Metal on Metal," it was the last song they did before leaving the stage. The audience wouldn't have let them leave without playing that one. Then when they returned, a dude behind me and I both started yelling for "Forged in Fire." Lips looked in our direction and said, "This guy wants us to play "Forged in Fire" so we will play "Forged in Fire." That made my night totally complete. After that, they played one more song, a cover of the famous Steppenwolf song, "Born to be Wild." I thought it was a great way to end the night.

Lips in the crowd

Meanwhile Chris Robertson moves across the stage

Lips jamming on the guitar

Lips and Roberson going for it

Chris's bass solo

Singing to the crowd

Out came the toy

Here's a better picture of it

Robb's drum solo

The End

In their 39 year history, this was the first time Anvil toured the UK as a headliner. Hopefully after this night, they will be back again to tour even bigger venues because they were brilliant. When coming home from the gig, my step son couldn't fathom why Anvil weren't bigger. That is what's strange.

Next post: A Non Musical Tragedy

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Great Metal Albums of 1979: The Scorpions- Lovedrive

I have to make a confession here, I have never, until now, listened to an album by The Scorpions pre- "Blackout." I know, I need my head examined. In fact, I never knew of their existence until 1982 when I was stationed on Okinawa. There are some cool rock bars on that island and it was in such a place that I was first acquainted with them but that full story is for another time. What makes me feel even more foolish is that fact that I have been missing out on this great album from 1979.

"Lovedrive" is typical of why The Scorpions are probably Germany's best musical export. Having now finally listened to it, the album totally does it for me. I love the riffs on the opening track "Loving You Sunday Morning" and other tracks like "Just Another Piece of Meat" and "Can't Get Enough" had me going full tilt. I was also very impressed by the instrumental "Coast to Coast." That really blew me away. Another reason why I should see a shrink is the fact that I know the ballad "Always Somewhere." I had it on a compilation tape a long time ago but my car stereo decided it wanted the tape for lunch. Still, shame on me for not at least trying to find out what album it was on.

Track Listing:

1. Loving You Sunday Morning

2. Just Another Piece of Meat

3. Always Somewhere

4. Coast to Coast

5. Can't Get Enough

6. Is There Anybody There

7. Lovedrive

8. Holiday

The Scorpions

Klaus Meine- lead vocals

Rudy Schenker- rhythm guitar, backing vocals

Matthias Jabs- lead guitar, backing vocals

Francis Buchholz- bass, backing vocals

Herman Rarebell- drums, backing vocals

Guitar legend Michael Schenker plays lead guitar on two of these tracks as well adding another dimension to this album. What it has made me do is want to go out and buy all of their earlier stuff. If you haven't listened to the album yet, don't wait like I did, you'll regret it.

Next post: The Boomtown Rats- The Fine Art of Surfacing

To buy Rock And Roll Children, go to www.strategicpublishinggroup.com/title/RockAndRollChildren.html

Also available on Amazon, Barnes & Noble and Froogle and on sale at Foyles Book Shop in London