Poison - Flesh & Blood (1990)

The lads dilute the plastic glam image and are now decked out like cowboys with a catalogue pose! I guess only the US bands of this ilk can get away with this image and sound for so long. Of course, Poison haven't completely disowned their bubblegum rock, 'Unskinny Bop' is as popcorn and sickly as it gets but the band have attempted, on a few cuts anyway, to find a little more depth and grit. Michael's is on form on 'Valley Of Lost Souls' although it's a little too Van Halen for me, whereas '(Flesh And Blood) Sacrifice)' has a sleazy edge. The cowboy skiffle of 'Let It Play' really should have been omitted from the record but thankfully the band find some kind of emotion on 'Something To Believe In' and 'Life Loves A Tragedy'. Naturally the band find it impossible to avoid the cliches and when 'Ride The Wind' comes cruising through the speakers like a glammed up Harley Davidson, I find myself reaching for the cheese bucket, but then again, that's what Poison are all about...I guess. Fourteen cuts, including two short instrumentals, and sadly too many teenage rockers, i.e. 'Don't Give Up An Inch', prove as to why Poison can only be taken in small doses.

Metal DOES need bands like this and I respect them for it...but sitting through an album can be a tad too sickly. Bizarrely, I find 'Open Up And Say...' far more rewarding!

6/10

Re-Animator - Deny Reality (1989)

Although the comedy edge peppered too many UK thrash acts back in the late '80s, the scene was pretty healthy. Re-Animator were certainly one of the better thrash acts intent on getting their chugging riffs out to the masses. Sadly, too many of these half decent mini albums were tainted by the awful imagery of the cover which seemed to bear very little relation to the actual album, giving the UK scene an almost low-budget feel. However, John Wilson's clunky bass and the formulaic vocal attack will still provide the listener with something to get the teeth into even if it's pretty standard. Best cuts being 'Follow The Masses' and the moshing frenzy of 'Fatal Descent' which has some nice orchestrated moments. 'D.U.A.F. speeds things up. Imagine something like a cross between Anthrax in the chugging department and UK's Slammer and you'll get an idea where Re-Animator are at. Pretty average but still worth owning as respect for the scene back in the day.

6/10

Ignorance - The Confident Rat (1991)

Now, I've reviewed several 'funk metal' albums and been pretty critical of them all...well, nothing's gonna change here my friends. Right, Ignorance...once a thrash band from Corby, who decided that after an okay-ish demo, to turn into a bloody funk metal band...like so many others who felt left out by the current trend. These guys even got a chance to support the mighty Mordred which irritated me to high Heaven, mainly after seeing their stupid vocalist pulling faces, dressed up as a poor version of FNM's Mike Patton and trying to mimic his whole act. All this fake weirdness grates my soul and makes me puke and the music does exactly the same...silly songs with slap bass and awful lyrics which attempt to be colourful but instead emerge as wishy-washy bandwagon-jumping bollocks. And bollocks it all is. From the irritating 'Sean' to the underwhelming 'The Garden' and tragically titled 'Momma Hocus', and the horrendously funked up version of their old 'classic ' 'Why ?'

This type of music is so watery and bereft of idea that anyone at the time could slap a bit of bass and pull a face to become a cartoon band, and that's what Ignorance were. Completely out of style and time 'The Confident Rat' attempts slapstick but at least the band live up to their name. And check out that cover for more vomit-inducing twatness. Deserves inclusion just so I can warn you to stay clear.

4/10

Tankard - Alien (1989)

Some strange releases used to emerge back in the day from bands either eager to promote a tour, or on a more positive note, to give the fans something extra to listen to. 'Alien' is a short EP from German thrashers Tankard who've spent their entire career in debt to the booze and in turn created numerous records in celebration of hangover's, piss-ups and thousands of bottles of beer. This type of humour often gets injected into the scene and that can prove to be a negative but Tankard are a no frills bunch who simply like to rock hard whilst slightly intoxicated! A handful of tracks, including the title cut, '666 Packs' and '(Empty) Tankard'. Not too furious, but certainly alcohol influenced thrash that I'm happy to lend an ear to.

6.5/10

AC/DC - Flick Of The Switch (1983)

At least you always know what you're gonna get with the boys. Some would call it predictable, others would drool over the three-chord metal magic. For me I'm stuck in the middle...but still always fall for the charm, wit and boogie rock they've churned out since year dot. This isn't to say that 'Flick...' doesn't hold any aces, but of the cuts on offer this comes nowhere close to the mayhem of 'Back In Black', but 'Flick...' does remain one of the best AC/DC albums with Brian at the helm. 'Rising Power', 'This House Is On Fire' and 'Brain Shake', like so many other tracks on this record, offer those punchy chanted choruses and Angus' unique yet oh so simple riffage. 'Nervous Shakedown' slows the pace whilst 'Bedlam In Belgium' does pretty much what it says on the tin! And that is pretty much the AC/ DC motto...no fancy stuff, just good rock 'n' roll for the masses. Time and timer again AC/ DC are able to churn out these type of albums and yet the listener never feels cheated because this stuff is timeless without moving with the time. Docked half a point for the rubbish cover.

7.5/10

New Idol Sun - Reach (1994)

I can churn this stuff out all day but choose not to as it gives me toothache. New idol Sun, another of those alterno-metal acts with a bad name who leave me bereft of anything to say. Okay, where do we start ? Well, again, after all the grunge hype bands like this found themselves in a bit of a no man's land, but it didn't stop them grinding out this Mindfunk (later years) type of slo-mo metal, with its feet firmly in quicksand. Thankfully the clear vocals enable me to escape from the caramel soundscape which drags the record into some kind of stoned, mild psyche hole, bringing to mind tinges of Soundgarden and that type of gluey, occasional heavily grooved rock. I'm sure this would appeal but after the grunge hangover, I just feel numb. (No cover)

6.5/10

Motherland - Peace For Me (1994)

Wrong place, wrong time...big sounding, should have made it big, like so many others, but never picked up by the record companies, and so faded into nothing. A mix of everything bombastic, never driving itself to the grunge cess pit, instead always applying a hint of Zep against those sharp corners of what could have been stadium rockers. Certainly influenced by the likes of Pearl Jam and Soundgarden, but with elements of so much else, big production groove rock, and even Jason Bonham on drums. Slots itself into no category, but not because it's so original, but simply because it emerged at a time when you were either grunge or nothing. Cool vocal delivery, all very casual and swaying but with muscle and plenty of dream-like visions. In other words, a lost record that never finds its place or its feet, but still worth a listen if you're one of those alterno-metal muso's. Cover says it all really, pretty faceless.

6.5/10

Deathwish - At The Edge Of Damnation (1987)

One of my fave UK thrash acts, Deathwish weren't around too long, falling into the dismal pit occupied by so many Brit thrash acts. Even so, this, and their other decent album 'Demon Preacher' were very listenable slabs. John Van Doorn's vocals were nothing special, Dave Deathwish's (nice name ha!) riffs did their job and pounded causing cracks in those concrete pillars, and the band wrote a few memorable cuts, i.e. opener, 'In The Name Of...', and stuff like 'Exorcist'. Mind you, what I really like about UK thrash is it's obscure nature, all unintentional I'm sure, but with a cover of stone walls and hooded figures, I can't but help become consumed by the witchery and Medieval echoes of it all, even if that's not its intention. Deathwish thrash pretty hard, just a shame this sort of stuff never really saw the light of day except in rainy England.

6.5/10

Testament - Low (1994)

Thrash kings Testament drive into the '90s and beyond and 'Low' is not only one of if not their best record, but it's one of thrash metal's finest moments. In fairness, it would be unfair to call this a thrash record, Testament have matured beyond those years and never they effortlessly create rumbling chasms of dense, layered metal, maybe with a nod to the like of Pantera who pretty much ruled the mid-'90s metal scene. Opener 'Low' is a brooding slab, beefed up by Chuck Billy's immense vocal growl...Billy is now one of metal's finest front men vocal wise, bordering on all kinds of death and doom rantings. Great to see James Murphy on board, a guitar master, 'Low' exists on he and Peterson's chugs which mould themselves into black sounds of doom. 'Legions (In Hiding)', obliterates the thrash void, an earthquake in itself and as those pummelling riffs and heavyweight elephant feet stamp on the head, I can only mock the likes of Metallica for not sticking to their guns and being as respectable and cool as the likes of Testament. I really enjoyed the more recent heavyweight records from the likes of Exodus and Overkill, but hearing 'Low', and realising how old it is, I can only smile with appreciation for such a monstrous record. 'Hail Mary' reminds me of C.O.C. circa 'Blind' the way it grooves, Billy at once smooth yet ominous. 'Dog Faced Gods' features some Eastern sounding guitars before ripping the face off and 'All I Could Bleed' harkens back to the bands glory days.

'Low' destroys everything Metallica and Anthrax made after 1987, so if you call yourself a true metalhead or thrasher, then 'Low' is the album to get. Time to fix those speakers...or what's left of them!

8.5/10

Winter Of Torment - Immoral World (1992)

I don't know a thing about these Brit thrashers, except to say they are a four piece, my vinyl is a dark green and it's signed! This eighteen-minute EP features three tracks, all kinda basement, but chugging, mid-paced thrash I guess. 'Slowly Ticking Clock' has quite a chug going on and the b-side features two six-minute cuts in the form of 'Words Of Ammunition' (featuring some rather tin-can drumming)and 'The Sacred Words'. It's all kinda stuffy, has that demo/basement feel which a majority of UK thrash acts seem to suffer from. Even so, it's better than a smack in the nuts and they deserve a bit of exposure, even if it's decades too late! (Image is not the cover)

5.5/10

Obituary - The End Complete (1992)

I've always been a huge fan of Obituary and felt that the bands first two records, 'Slowly We Rot' and 'Cause...' were pretty much unequalled slabs of death metal. This means of course that the band have a need to move on but as is often the case, fans want the band to try to emulate what went before, which isn't really about progression. 'The End...' is nine cuts of buzzing death metal, star performers being the guitar evil of West and Perres. This is a darker, more complex record than previous, Tardy's vocals less intense, mind you, after a few years of those kind of vocals it's no wonder at it, and opener 'I'm In Pain' could be a direct reference to Tardy's sore throat!! Donald Tardy's drums are dense throughout, and there are some killer riffs on offer, fave cut being 'Dead Silence' with its twisted riffs. Another quality record from the swamps of Florida, and for those of you stuck in the time warp of the first two albums I ask you to lend a severed ear to 'Corrosive' as proof that Obituary can still desecrate a grave or two with their sound.

8/10

Lucifer - Black Mass (1971)

WARNING - This is NOT a heavy metal record, BUT, if you want to sacrifice a virgin tonight, or set the mood for a bit of stormy sorcery, then this obscure, crusty record could be for you. Compiled by Mort Garson, this is best described as something akin to a '70s horror movie soundtrack, bereft of vocals yet as disturbing as a majority of metal albums you're likely to hear. Weird, obscure electronica is what escapes from the speakers, and with track titles such as 'Exorcism', 'Evil Eye', 'Black Mass' and 'Witch Trial' I'm sure you'll find something to savour. Rolling n at a spooky-kooky thirty minutes or so, this has all the Gothic quality of a ruinous castle or church bell of doom. Don't expect guitars etc, there's nothing cheesy here, just muzack for those of a mysterious disposition!

7.5/10

Prong - Beg To Differ (1990)

For me Prong were always a band hard to pigeon-hole. I saw them supporting Faith No More in promotion of this record and remember the icy feeling that emanated from the stage as thousands of confused FNM fans looked on. Prong, like their name suggests, have always delivered a short, sharp boot to the head, reliant on muscular crossover type of sounds from a spiked punk-hardcore, to industrial tinged anger. Whatever Prong choose to spit out always fits within their grey hue of a noise and 'Beg To Differ', is no different, except now the band are more groove based, punchy in their rhythms and at times, dare I say it, slightly funky, but all the while beefy, and sure to inspire bands such as Pantera. 'Take It In' has a full throttle thrash feel to its structure, and the title cut digs in like a rusty hook. Prong have no limits as long as they can muster some kind of icy, metallic and bruising groove which has earned them respect from day one.

7/10

Kiss - Rock And Roll Over (1976)

Dressed in one of my favourite album covers, Kiss once again strut faintly through glam rock soup. 'Opener 'I Want You' actually boats a little beef, Stanley finding a bit of soul behind the make-up, but again, I'm still questioning the whole existence of these weightless pomp rockers, wondering how they've inspired so many. As 'Take Me' stomps with a whimper and the tin-can 'Calling Dr Love' exposes Mr Simmons' all apparent vocal inadequacies, I'm bereft after listening to the Kiss machine. I'll never know how they survived so long in the music biz and yet the dollars keep rolling into their bank accounts despite the junk-shop glam riffs, and bar room boogie of tracks such as 'Ladies Room' which must have taken seconds to write. There is no thought process behind much of that Kiss do, but with each bubblegum riff passing by, and Stanley spluttering through the twang of 'Mr Speed', I can only scratch my head in confusion then hang it in shame for listening to the whole damn thing. There's a lift from T-Rex's 'Get It On', and as Gene Simmons does an awful job of convincing the brain dead listener that he's the lord of sleaze, sex and kinky darkness, I can only think that maybe kids just liked the cover of these albums, because behind those images of black 'n' white, I'm hearing just a clattering noise. 'Makin Love' closes the album and believe me, intercourse is the last thing Kiss inspire me to do...and yet somehow, after every Kiss album, I come back for more. Why, I'll never know.

6/10

Deicide - Scars Of The Crucifix (2004)

Only Deicide can get away with such unholy cacophony. Released through Earache records and blessed with a sordid image of Christ chewing his own finger off in order for his hand to form the Devil horns, this is without doubt one of the best death metal albums I've heard in a long time. The demonic Glen Benton's 'Evil Dead'-type vocal delivery is now even darker and deeper, and Deicide have move away from the sound of the early albums to construct a far more evil, double-barrelled noise. In fact, 'Scars...' is quite a terrifying experience that spits in the face of everything holy on every track, 'Fuck Your God', 'Go Now Your God Is Dead', 'Mad At God'....this is brutal, unrelenting and frothingly heavy, bolstered by the guitar attack of the Hoffman brothers and Asheim's ominous drums of hellfire. Deicide stuck to their weapons long after metal had apparently lost its crown, and they continue to shock by way of these pummelling sounds and vicious verses. In its bludgeoning horror, 'Scars...' sounds so refreshing considering countless bands have attempted similar hatred, and whilst this sort of unholy experience may not appeal to every metalhead, every church will be shaking to the core...exactly what Benton and co intended. Evil.

8/10

Laaz Rockit - Know Your Enemy (1987)

These guys have been banging heads since the early '80s and I never really gave them a chance back in the day, mainly because I was overloaded with thrash, the scene was saturated, and many similar acts were no competition for the Big Four and those immediately beneath them. However, as soon as 'Last Breath' screams into motion chugging with its stern bass courtesy of Willy Lange, you realise that Laaz Rockit are certainly one of the most underrated but accomplished of thrash acts. 'Know...' is more than just a solid slab of a record, instead, whilst more melodic than most thrash acts, it propels Laz Rockit to new heights, possibly those now occupied by the likes of Overkill and Exodus. For its time, and for now, 'Know...' is a superb thrash album, vocalist Michael Coons has a better voice than most and one of variation and the record boasts some fantastic guitar work from Jellum and Kettner. 'Euroshima' is classy pounding thrash, and my fave is 'Most Dangerous Game'. Laaz Rockit are mid-tempo mostly but know how to vary the sound and also dig in with memorable choruses and they should be applauded for this work.

7.5/10

Napalm - Zero To Black (1990)

You can tell by the cover this is something that wants to appear a bit different. In fact Napalm (misleading band name) are the closest thing I've heard to a hybrid of Mordred, Anthrax and possibly Mindfunk. Certainly unfair to call it thrash metal and to restrictive to call it funky or alterno. It certainly has a thrash edge ('Time And Time Again') with a few chugging, albeit not overly heavy riffs and even a few chanted vocals, but this is quite refreshing and not annoying in the slightest which was my biggest fear all those years ago when I heard the funk label in the same breath as the band name. 'Teenage Illusion' is a full on deep funky bass groove with buzzing riff and soulful vocal. Most tracks have an ability to bleed in to quite memorable choruses which are backed with jerky, scratchy rhythms. 'Gone' could easily fit onto Mordred's superb 'Fools Game' record and 'Alternative Life Of Style' could pass for Anthrax. 'Zero To Black' (their second opus) rises above the mediocre in that it appears loose, care-free and sincere in its intention to vary. The only down side being the rather weak vocals, but you'll soon forgive Napalm and find yourself grooving along to this well-diced platter of funky thrash.

7.5/10

Fungo Mungo - Humungous (1992)

Released on Island Records Fungo Mungo (another woeful, childish cover), although not as irritating as Psychefunkapus and the rest of the funk metal brigade, are still a scrambled bag of mixed nuts. 'Shut The Fuck Up' - oh, I wish you would sometimes. All my nightmare's came true with the invasion of funk metal and what little talent there was out there got completely smothered by this kind of stuff. This is like Vanilla Ice trying to be 24-7-Spyz, failing miserably. This is novelty music, a few soul chants, a bit of silliness, a few cop sirens and scratches and enough funk bass to make a porn soundtrack. Fair dues, Fungo Mungo (another atrocious name) are more bearable than most, but this playground fad was never going to last, and yet it's quite tragic that this kind of alternative 'rock' wiped out '80s hair metal for quite a while, and yet when looking back, I'd rather listen to Poison than this trash.

5.5/10

Psychefunkapus - Skin (1991)

This is the band's second record...another appalling cover, and it's straight to the bath tub of bubblegum funk. Psychefunkapus have one of the worst names in music and to go with it they play that irritating, grating style of spastic funk metal which gave us the talents (!) of Scat Opera, FFW, yawn...I can't even list them. Summery, stupid, migraine-inducing, face-pulling, cartoonish, made up funk metal. Silly clothes, swirling colours, and stoooopid track titles such as 'Surfin On Jupiter' - gimme a break! Totally bereft of class, charisma or brain, it's no wonder funk metal lasted as long as Hubba Bubba gum in the mouth. Included on this blog because funk metal was very much part of metal in the late '80s and early '90s, and however tragic it was, I was there!

4/10

Attacker - Battle At Helm's Deep (1985)

Blessed with dodgy, fantasy artwork, Attacker are on to a surefire winner with this raging metal fest. one helluva fiery metal rendezvous, the amateur cover hiding a dungeon of dastardly cuts, from 'Satan's Blade', to 'Downfall' to 'The Hermit'. All delivered in true metal warrior style, interwoven with clanking riffs and orc-skin drums. Certainly makes you wanna scream into the night and air guitar until the sun comes up. More fire than a dragon's arse.

7/10

Carnival Art - Thrumdrone (1991)

A genuine oddity that appears innocent yet trickles from the speakers like some no quite as strange offspring of Primus, and to a lesser extent Mr Bungle, especially if the track 'Mr Blue Veins' is anything to go by. The band look like nice boy students fronted by an '80s hair metal guy, and yet the odd jerky rhythm and slightly deranged circus twiddlings makes me wonder just what possessed them! Kinda creepy, or maybe that's just my take on things, but I'm quite enjoying the melody of the choruses, 'Octopus', 'Drop Dead', 'Hammer & Nails', a funk-ridden carnival of strangeness, yet delivered with a smile. Is it for real ? Lacking the ultra sinister in-joke formula of Mr Bungle or even the cartoon leer of Primus, but striving, I feel, to create similar in-jokes and elastic oddness.

6/10

Castle Blak - Babes In Toyland (1986)

8 tracks, a cover of 'Black Diamond', and a sound reminiscent of early crusty Crue dabbling with Van Halen. It's a bit of an odd one this. Cereal box drumming, some decent guitar works, chanted choruses, and proper metal from the Heavy Metal records roster. Hailing from San Francisco, Castle Blak (quite a good band name) keep it pretty simple, 'T.G.I.L.' and 'Throw The Book' probably my favourite's on this quite brash and ballsy record. Not much else to say really, it's metal. Buy Dr Mastermind instead!

6.5/10

Satan - Court In The Act (1983)

Am I the only person who thinks that Satan is a cool name for a band ? This creaky New Wave of British Heavy Metal band weren't in the habit of breaking any boundaries with their stuffy, basement metal, and many have scoffed at such gloom. Sure, the intro sounds like something from a dodgy horror film, and those vocals appear drowned out by the fuzz of nothing, but I can still dig this sort of antique sounding material. 'Trial By Fire', 'Blades Of steel' and 'Break Free' are all pretty uneventful, 'Hunt You Down' and 'No Turning Back' as stale as that crusty roll you left in the bread bin, but this stuff can be endearing, especially when purchased on vinyl back in the day. Not a complete bad egg, I still visit this experience once in a while even if it's just to stare at the cover to pretend that the Devil himself is behind that moniker. Mind you, putting the actual record on is a far less rewarding experience I have to admit.
6/10

Cobra - Warriors Of The Dead (1985)

Bring on the traditional metal. Classy '80s fantasy metal has always been my thing, especially when the craftsmanship is of this quality. This is coated in battalion imagery and armour-plated and riddled with sharp guitars and seething vocals which never let up. The title cut gallops like a metallic stallion and 'Wildest Dreams' confirms my belief that this type of stuff when experienced by the young and innocent kids of yesteryear, could have been life changing. Cheesy to some, even dated, but bands like Cobra were of their time and of great musicianship, proving more depth to the cauldron than just dungeons and dragons. Most of the tracks come it at three minutes apiece, and by the time 'We Rock You', 'Stand With Me' and 'On My Knees' have passed, I'm sure you'll be eager for another spray of Cobra venom!

7.5/10

Freak Of Nature - s/t (1993)

I loved White Lion and their lush career, their beautiful ballads, and Bratta's stirling guitar work, but silken-voiced Mike Tramp clearly felt it was time to move on. With the advent of alterno-metal and grunge, Freak Of Nature was formed, and yet there was never any hint of success for this talented guy and his new outfit. FON were a slightly more funky, groove-based act, bereft of hair metal ballads, instead came a psychedelic tinge and tie-dye hue. The swaggering 'What Am I', the rattling 'Turn The Other Way', and funky 'People', which wouldn't seem out of place on a Living Colour album - all softened slightly by Tramp's subtle tones. Long gone are the rodeo cliches and AOR dramatics, Tramp seeing FON as a natural progression into avenue of colour and vibrant vision. Shame it wasn't to last that long.

7/10

Catfish - Neighbours & Dogs (1993)

Whaddya mean who ? Catfish hail from Vancouver, and slipped in on the end of the alterno-metal fad and like countless others (and I say this countless times) faded rapidly into obscurity. This is a loose sounding record, not exactly sugary, but elements of groove-based sleaze I guess but of much creation. Can't really put my finger on it but slots nicely alongside Six Was Nine, Soul Tattoo, Naked Planet, as being from such an obscure field that such bands never even got out of the starting blocks. Some nice, catchy melodies, charming in its outlook, a few nice ballads, bits of funk and alt-rock...hope you can find it! Comes complete with an annoying cover which seems standard for these type of bands.

6.5/10

Intricate - [va:l] (1993)

I hate bands who have album titles like this. it may mean something to them, but to us it's all jargon not required in a genre of already too much self-indulgent attire and opinion. Even so, Intricate are somewhat of a remote space oddity, a combo floating in the cold wastes of cyber-thrash cosmos, a place where not many people dare to tread. However, don't let the cold steel of its glare, or the frozen touch of icy fingers put you off because this German outfit are quite a find. Mind you, those of you seeking a slab of sugary hair metal or red-hot funk had better look elsewhere, because this inhospitable vacuum is way beyond the stars above and instead loiters like some piece of wispy gas in a stratosphere yet formed. Intricate are pretty technical, remote, alien, isolating. In fact, those of you who like your thrash cold and extraterrestrial will probably get a kick out of this, although this has a more crushing, effective bite. The band name says it all, and the album title distances as it intends. Put the heatin' on!

7.5/10

Ram Jam - Portrait Of The Artist As A Young Ram (1978)

Not sure if that title sounds mystical or just stupid! Either way, Ram Jam (responsible for the one hit wonder of 'Black Betty') turn about face and construct this heavy metal record of some note. This one passed me by, probably because of too many rainy afternoon's listening to Black Sabbath, but this is pretty heavy, groove-based and slightly sexual rock 'n' roll ahead of its time. A one-off record of snake hips and dark corners, highlighted by Scavone's vocal delivery. Under stated to some extent, casual, effortless, at times dense and oaken with an air of mystery. Not in league with Satan by any means, 'Turnpike' is more of a song to drink yourself to death to, but 'Wanna Find Love' and 'Just Like Me' are lost classics and will leave the listener feeling overwhelmed, if slightly confused as to what happened to these guys. Such albums are sent from above to make their presence felt oh so fleetingly. However frustrating that may be, it's best to hear 'The Portrait...' as a one-off than see the band spiral into a career of bad records and awful imitations. Very good '70s rock.
8/10

Omen - Warning Of danger (1985)

RIP metal vocal god JD Kimball, whose soaring vocals saturate this album, making it a wondrous heavy metal outing. Omen inspired so many later thrash and black metal acts with their mystical approach to metal. Those razor-sharp riffs and barbed-wire drums resulting in underated classics such as 'Ruby Eyes (Of The Serpent)', and the more eerie 'Don't Fear The Night'. Mesmerising metal for the masses back in the '80s, and sure to ring out as distant roars of thunder for many decades to come. Never forget this type of metal, because it formed the foundations to all that we hear to day. Great stuff.
8/10

Angeles del Inffierno - Diabolica (1985)

I haven't got a clue about Spanish heavy metal, but if I'd have heard this when I were a lad, then I'd have been setting fire to plastic skulls way into the small hours. This is quality heavy metal, and don't be put off by the Spanish lyrics, because if you like your guitars loud, your music mystical and your leather tight (okay, maybe not the last one!), then this is for you. Imagine a power metal Dio, cool, heavy riffs ('Con Las Botas Puestas'), anthemic ('Fuera De La Lay'), and some great solo's ala Priest ('Prisionero'). Raise your fist and yell indeed. And what an album cover!

7/10

Joan Jett & The Gits - Evil Stig (1995)

What a skin piercing punk album this is. This project came about when one time Gits vocalist Mia Zapata was mysteriously murdered, and so in her honour, The Gits wrote a collection of cuts for her, fronted by the ever-young Joan Jett. What we get is a roller coaster ride of melodic punk 'n' roll, full on attitude, anthems, and gob in the face. Reminiscent of The Distillers in slightly more mellow mood, 'Sign Of The Crab' is a clunking punk stomp, but it's Jett's sexy rasp which steals the show. 'Drinking Song' is raw, primal, 'Spear & Magic Helmet' fast and furious...the only slightly commercial track, yet one of my fave's being 'Bob (Cousin)'. I'm sure Mia would be more than proud of this effort by her former band mate's and the sultry Jett. So, if you like your punk a little more fleshy, then check out 'Evil Stig' for some rollicking good, spiky fun.

7.5/10

Omen - Battle Cry (1985)

If, like me, you still exist in a void of '80s metal, and get more from goblins, dragons and elves than the commercial shite which has drowned a majority of the airwaves since the early '90s, then Omen will be for you. Respected in the thrash field for many years, Omen is metal for that fuckin' metallic time warp. Warrior steel, blood on the battlefields, and visions of mountains and hidden treasures. there once was a time when these ingredients were very important in making a decent heavy metal album, and that's why 'Battle Cry' is a stomping, dragon-slaying platter to put lead in your pencil. 'Be My Wench', 'Die By The Blade'...yeah, it all sounds corny and is adorned in so much armour that it's hard to hear anything else above the clamour of clanking, but step aside sceptics and revel in the vocal attack and the power and fury of Omen's brand of metal thrashing beef. Quality.

8/10

Buckcherry - All Night Long (2010)

The party boys are on a roll, it seems like only a few months back that '15' was on the stereo, and then 'Black Butterfly' hit quickly, and suddenly 'All Night Long' lands on the doorstop. So, we do we get this time ? Well to be honest it's rather predictable rock 'n' roll, what else can the boys do mind you ? The title cut could be a sequel to 'Crazy Bitch', 'It's A Party' is as basic as it is anthemic, and the token half-ballads are thrown in for good measure. However, whilst Buckcherry never fail to shake the foundations, it's now beginning to grate just ever so slightly. Todd's vocal rasp can be infectious on the right track ('I Want You') but the tattooed love rock doesn't always go down a treat. It's fair to say that Buckcherry have a filled a hole which bands such as Guns 'n' Roses left, and when clearly more talented bands such as Beautiful Creatures remain obscure, it will always be down to Buckcherry to remind us that whiskey drinkin' rock 'n' roll is here to stay...the only problem is, we could do without Buckcherry so frequently. Maybe the guys should have taken more time with this record, but then again, there's always that fear that when a band is away a fan base may decline. Even so, 'All Night Long' is a solid rock record, and you can't really expect anything else.

7/10

Love Battery - Confusion Au Go Go (1999)

Love Battery suffered the grunge metal curse. Clearly far talented than most of the Seattle bands who made it big, Love Battery slipped by the wayside, yet despite their ability, still got lumped in with the dirty trend. Put simply, Love Battery were a cool, fuzzy rock 'n' roll band, hints of Nirvana, entwined with the Rolling Stones, a bit of Mudhoney, some punk, even Mother Love Bone I guess, all resulting in an accessible psychedelia. I much preferred their earlier works 'between The Eyes' and 'Dayglo' but 'Confusion...' deserves its place for its raw-edged rock 'n' roll. 'Dead Boys' has an indie buzz about it, the title cut a dreamy edge and one small step a psych, cool go-go feel. 'Monkey Brain' and 'Snipe Hunt' have a harder edge.

Certainly a cult band and proof what a negative effect the grunge scene actually had, because so many more talented bands suffered at the hands of the sickly trend.

6.5/10

Lita Ford - Wicked Wonderland (2009)

Holy shit Lita, what happened ? Lita Ford was the sexy MILF most metalheads wanted just two minutes with! Of course, most of us headbangers had to be content with her rather middle of the road rock records. However, after a huge hiatus (her last album being 1995's 'Black') Lita is back, and this time she means business. She's teamed up with her husband, and one time vocal rock god Jim Gillette, who, if you don't know, could once shatter glass with his high-pitched pipes. Bizarrely, the couple haven't spat out a mediocre or any way predictable rock record, and I'm sure that after hearing this many of Lita's fans are gonna either be pissed off, or simply drowned by the heaviness as well as bloated production, because 'Wicked...' is almost like a Gothic theatrical show put to record. The dynamics are immense, the layers impossible to unfold, and as for cheesy hair metal ballads...not a soul in sight. This is dense, over-produced metal for the modern day, and not only has Lita upped her vocal delivery, her husband's contributions, almost on every track, will even please the more extreme metal fans out there. However, some, including myself, will see this record as a messy, confused affair...sure, Lita seems to be back to top form and certainly wants to play ball with the major league teams, but 'Wicked...' is so far removed from her original sound it's almost impossible to grasp any of it. I'm not going to knock progression, but where tracks such as 'Crave' might well have existed as stripped down metal, they are now existing as labyrinths of sound.

I like Lita Ford. She was always a nice bit of crumpet, and she rocked pretty hard...now she rocks even harder and may actually scare a few metalheads away with this unexpected foray.

7/10

Six Was Nine - A Single Senseless Word (1994)

We appear stuck in 1994, what with Soul Tattoo's ocean spray, the awfully named Six Was Nine also wade in alterno-metal waters, but this is more rewarding than 'Transcend', in fact the promise was there...only to be broken. Lush, breezy, clever, sugary, all the ingredients which eventually killed the mesmerising Saigon Kick despite towering talent. Six Was Nine succumb to the same despite a well furnished sound that's slick and memorable, bordering on hair metal at times with its peachy outlook, sliced and diced by some cool, groove-based guitars and vocalist Frank Raposo puts in a wondrous performance...but, like even the most delightfully sugary of sweets, they dissolve in your mouth, leaving a feeling of, "What if....". Certainly worth a listen, but a record way out of place as nu-metal charged through the streets and invaded our record stores like ulcers in the mouth.

6.5/10

Soul Tattoo - Transcend (1994)

Way too late off the bat, Soul Tattoo (any photo's of the cover anyone ?) tread alterno-metal waters hesitantly. This would have been appreciated more, albeit fleetingly at the right time. Fans of Liquid Jesus and I Love You will appreciate the breezy intelligence, but I don't know where I stand with it. I cringe at the band name, but half-appreciate the half-baked fusion of colour. Peppered with horns, sprinkled with variety, even the vocals are slightly peculiar...and of course, Soul Tattoo drift aimlessly in a void now occupied by no-one. Do these bands see/hear things no-one else sees ? Are they being awkward for the sake of it ? Fleeting genius to some, to others it's flaky junk out of time and place.

6/10

Into Another - Seemless (1996)

Irritating band name, neither here nor there for me, a bit like metal in the mid-'90s! A fair bit of fuss was created by Into Another, and this badly dressed 'metal' record drifts aimlessly through awkward grunge tinged with sugary melody. I just don't get it...some metal is too clever to achieve monumental status, i.e. Mind Over Four, Non-Fiction, whilst at the other end there are bands like Into Another and their alterno-rock which appears blessed with half-decent yet distant lyrics, and a Cornell-type vocal warble. I'm just too removed from this though, or maybe it's too removed from me, because when an album cover irritates, I just get a feeling the album will too. Buy it if you wish...if you can find it, but maybe my despair at mid '90s metal is justified when I hear this sort of stuff which exists out of any trend, but not in a cool way.

5/10

Frank Hannon - Guitarz From Marz (2005)

I love Tesla, but I wasn't a fan of Moon Dog Mane, but Hannon's project, 'Guitarz From Marz' is certainly refreshing. This is a cocktail of funky rock, straight up metal shredding, and many other flavours thrown in for good measure. Nigh on seventy-odd minutes, the more you listen the more you become hooked on this sugary guitar trip. Fluent and trippy ('Diamonds...'), soulful ('Re-Evolution') and downright cool ('Touch Of Magic') I'm sure that most rock fans will find something to savour here. I'm not sure how well this stuff sells but it's great to hear it, because Hannon is clearly a talented musician.

7/10

Rock Goddess - s/t (1983)

This trio of leathery ladies were formed when sisters Jody and Julie Turner were literally kids. This debut album is tits to the wall Brit rock, part The Runaways, part Girlschool with a lot of attitude, spiky guitars and well-oiled anthems. It's as sweaty as a backstage dressing room and fist-pumping too, so back in the early '80s these gals had a cult following, but due to limited ideas Rock Goddess never scaled the heights their name suggested. Even so, it's good time metal beneath a frizzy fringe, and the drummer looks quite pretty (the chick on the right of the cover) which makes a change from so many leather-clad ladies back then who looked like they could arm-wrestle and alligator into submission.

6/10

Exodus - Let There Be Blood (2008)

Original members Tom Hunting and Gary Holt decided that they would pay homage to deceased ex-frontman Paul Baloff by re-recording 'Bonded By Blood', an album, considered by some within the thrash fraternity, to be a classic album. Personally, I think they should have simply re-released the original because 'Bonded...' was very much of its time and part of that thrash movement. I see no real reason to go over old ground but I guess it was something the original members needed to do. This time round the record, now renamed 'Let There Be Blood', beefs up the original speed assault, and so cuts such as 'Piranha', 'A Lesson In Violence' and 'Bonded...' are given a new lease of life, but whether it's to everyone's joy is another matter. On its own 'Let There...' is a solid thrash album, and vocalist Rob Dukes puts his heart and soul into those old classics, but I'm not sure this was the best idea, but who am I to say.

6.5/10

Wildside - Wilside (1995)

Wildside were tragically too late for the sleaze invasion, and too late for grunge, but this record still sees the band progress into an alterno-metal groove, laced with a colour of grunge, and as 'Life In The Grid' kicks into its Alice In Chains' style sway, there's a hint of promise. This isn't just a regurgitation of what's been and passed, Wildside do seem sincere in their approach, and effortlessly take certain rock styles and blend them. 'Full Circle' is moderately funky, even with a dash of White Zombie in the vocal mix, and 'Looking To Move' reminds one of Mother Love Bone as it swoons. Whether whiskey sleaze of scented grunge is your thing, you kinda get the best of both worlds here. No points for the migraine-inducing sleeve though.

7/10

Iommi - s/t (2000)

Iommi finally prizes himself away from the blackness of Sabbath, but his riffs remain as dense as thunder. Eleven cuts at almost an hour, Iommi's record is bathed in trademark doom riffs and each track blessed with a different vocalist - something which nowadays appears popular, as the likes of Slash and Dave Grohl have experimented with similar projects. However, Iommi's rises head and shoulders above the rest simply because of those riffs from Hell. And as each of those mighty serpents writhes into action, the likes of Phil Anselmo (Pantera), Skin (Skunk Anansie), Pete Steele (Type O Negative) Henry Rollins, Ian Astbury apply their varying tones. Brian May, Dave Grohl, Billy Idol, and a handful of others also contribute but it's Ozzy's magnificent presence which caps this truly astounding album off. Riffs as dark as they ever was, 'Iommi' brings doom into the next millennium and leaves a mighty furrow in the minds of those brave enough to listen.

A black slab.

9/10

Trouble - Unplugged (2007)

Eric Wagner's distinctive drawl bellows over the acoustics of this fascinating record. Trouble being one of the only heavy metal bands capable of transforming their tracks into an acoustic set. The masters of doom metal still create skies of grey, but 'Flowers', 'The Misery Shows' and 'Rain' are given a new lease of life here, and their version of The Yardbirds 'Heartful Of Soul' is just tremendous. R.I.P. Trouble, and for those who've never experienced the band, it's fair to say that their quality and importance to the genre is monolithic. Zeppelin and Sabbath may have started it, but imagine a brooding mix of both of these leviathans and then you may have an idea of just how great Trouble are...in any style they choose to emit their stormy rock 'n' roll. 'Unplugged' is just the tip of their black iceberg of doom.

7.5/10

Exodus - Exhibit B: The Human Condition (2010)

Like Overkill, Exodus have stepped out of the '80s time warp to batter their fans with a new level of thrash. This is 80-minutes of jaw-dropping heavy metal. Metallica may have reached for the mega dollars of stardom, but the respectability must be aimed towards those bands who stuck to their thrash guns, especially as now they've emerged head and shoulders above Metallica and their U2 status and silly hair cuts and drama. 'Exhibit A...' is a colossus thrash record, hell-bent on pummelling the listener into submission with its myriad of riffs, violent structures and ravenous vocals courtesy of Dukes. Brutal, punishing and epic in its formula, 'The Ballad Of...' is a labyrinth of chaos and destruction and as vicious as modern Slayer in its pace and insanity. 'Hammer...' is slightly more melodic but personal fave is 'Class Dismissed' with its machine gun drums and fearsome guitars. Holt and Altus blaze through the tracks like no tomorrow, and as the ten-minute 'The Sun...' grinds to a halt, you'll be left clearing up the debris for a long, long time to come.

8/10

Johnnie Rotten Junior - The Death Of Harry Potter (?)

This is an odd one. Chip Z'Nuff, the Enuff Z Nuff legend, releases a stoned, hippy and dreamy album which I actually find quite hard to listen to. Whether it's the haze of pot smoke surrounding it, or those sugary, watery Beatles licks I dunno, but it's not as endearing as Donnie Vie's more tragic serenades. For me, too many ELO and Beatles steals, 'A Day In The Life' on the album opener, but it's still worth checking out for those 'Revolver' loops, Lennon rasps, hippy grooves and cloudy atmosphere's. I'm not a fan of The Kinks cover ('All Day...') at the end, but I guess this is a personal record but The Beatles nods should be kept for the Enuff Z Nuff records where they work best. Light another...and drift away. I guess the album title was simply a ploy to get more hits on the internet.

5/10

Geisha - Phantasmagoria (1987)

I picked this oddity up at a record fair and have to say, this is a fine heavy metal slab. I expected it to be glam rock, but the cover didn't really give anything away except to hint that it might be of dramatic fashion. Sadly, the album is only just over half-an hour but the seven tracks on offer surprise me pleasantly. This is straight forward metal I guess, but there;s a fire raging behind it and even a trace of darkness. For some reason it reminds me of Fastway's 'Trick Or Treat' record, all guns blazing on the guitars and Yenz Cheyenne's vocals are quite Gothic in a theatrical metal sense. 'You Got What It Takes' and the stomp of 'Shock Rock School' are typical of '80s metal...and that's a good thing, believe me. I don't know what else the band did, in fact it's all a mystery I'm quite hooked on to. Certainly worth more than the £2.00 I paid for it!

7/10

Overkill - Ironbound (2010)

Many, many years ago, I was never the biggest Overkill fan. Like Exodus, I found the vocals a grate, ad the thrash so much weaker than the big boys around at the time. Strangely, both bands have soldiered on yet surprisingly, to become leaders of the thrash...and metal pack. 'Ironbound' is finally Overkill finding their true voice, this rampant record is of extreme weight, juggernaut speed, and Ellsworth's vocals finally hit home like a razor to the skull instead of a dinner fork. This is an hours worth of solid heavy metal in its truest form, marvellously structured, pounding, fast, and eternally raging. Not a filler on offer, the band, fronted by twin-guitar attack of Linsk and Tailer, hack and slash their way through a collection of enormous cuts, some rattling in at over six minutes, which would have been pretty unheard of back in the days of '80s thrash, with Metallica being the exception. 'Give A Little', ''In Vain', 'Endless War', 'The SRC', to name but a few are titanic in construction. No longer does thrash hide within its own field, Overkill and the likes now occupy the major league alongside the likes of Priest and Motorhead, but in consistency could well overtake their heroes. Much respect must go to Ellsworth who although of the same vocal style has added greater dynamics and more attitude, his snarl backed by the stampede of the thrash the band now create.

8/10

Asphalt Ballet - Pigs (1993)

This smokes like a bitch in the frying heat! What a stonking rock 'n' roll record, a few years too late, but deserved of much recognition and praise. This act combine the swagger, style, and certainly vocal sneer of Guns 'n' Roses, with a slight alterno-rock approach, the result a cauldron of cracking riffs, refreshing vibes, and sleaze-infested stomp. 'Angry Youth', 'Save The Children' and the fantastic 'Crash Diet' know how to rock...blending a dirty, but free-flowing grunge with a more sugary metal, all the while those Axl-infected vocals make for an interesting listen. Several years before Beautiful Creatures, yet parading the same bravado amidst those sauntering guitars and swaggering beats. Asphalt Ballet are one cool band who slipped by the wayside...a familiar state of affairs with bands bands of this ilk, but don't let that deter you because as we know, it's not always about the success. Uneventful album cover hides a gem.

8/10

My Sister's Machine - Wallflower (1993)

In my opinion My Sister's Machine were probably the best grunge band - with the exception of Mother Love Bone who aren't a grunge band - in fact, most 'grunge' bands weren't! Anyway, for me the bands debut 'Diva' record was a dark, stormy mini-classic, and although less melodic, 'Wallflower' is equally as engaging, hellbent on black riffs and that vocal snarl, this goes way beyond the depths trawled by Alice In Chains etc. There's even elements of C.O.C. circa 'Blind' (track two anyone ?), with the groove-based, monolithic riffage and swirling vocals. The angst and mood created by the band was probably their downfall as other acts succumbed to sucking corporate cock for the sake of a few dollars, but MSM remained cool and cult throughout. Whilst so many similar acts gradually built their aura, My Sister's Machine were born cool...and despite only existing for such a short time, their career and status is far more respectable than most of the acts within the genre. A very good record indeed...just buy it and see beyond the grunge boundaries.

8/10

Moon Dog Mane - Turn It Up (1998)

Don't get me wrong, Tesla guitarist Frank Hannon is a talented guy, but I can't dig this Southern rock shite. Predictable and just dull, only the beefy vocals separate it from so many other bands of this ilk. Maybe it's just me, but twelve tracks of boogie rock just gnaws my soul. Give me the Faces and their cock rock anyday, because this is just too swampy for my liking.

4/10

Forbidden - Trapped (1991)

Apparently this EP was never officially released, but those seeking that typical Bay Area crunch you may have become accustomed to on the bands first two records, may be a little disappointed. I'm not sure if these cuts were demo'd for the bands 'Distortion' and 'Green' projects, where the band adopted a more melodic sound, but on first listen 'Trapped' is more of a straight up metal album than a ballsy thrasher. However, this shouldn't detract from the fact that Forbidden should be respected for their experimentation. The band explore more of a melodic void, a world once inhabited by bands such as Sanctuary who combined icy metal with more moodier soundscapes. 'So Dark...' is a prime example of how Forbidden moved away from the thrash genre. This is understandable when you consider that bands such as Mordred did the same, especially as by the mid'- 90s thrash was a dying genre. 'Trapped' is worth listening to, but I have to be honest and say that 'Forbidden Evil' and 'Twisted Into Form' are far more rewarding.

6/10