Extreme - III Sides To Every Story (1992)

Whilst 1990's 'Pornograffitti' made me vomit, I was still man enough to appreciate its greater moments, and there were indeed a few big, brassy tracks on offer. however, clocking in at a mighty 80 minutes, 'III Sides...' is an extraordinary record, catapulting Extreme to new heights occupied previously by the likes of Van Halen and Kiss. This is stadium rock, bolstered by the guitar heroics of Nuno Bettencourt and those silky Cherone tones. Opener 'Warheads' could be just another wock track if it wasn't for that sugary chorus, and 'Rest In Peace' is an irritatingly catchy, uptempo rocker awash with colours that slots between that Saigon Kick groove and the mightiest of bands such as Queen.

Extreme could well have been a gargantuan rock act. Able to churn out and weave together a myriad of styles, from funk to sleaze, and a bit of glam and pop, the complexities of the band are clear to hear, as horns accompany searing solo's. The funk twang of 'Politicalamity' swaggers into its strutting chorus. Extreme suddenly becoming one of those sugary, diverse rock acts...but one which actually made it! Strange to consider when alterno-metal during the late '80s and early '90s was much talked about but fizzled, and yet Extreme, for all their irritable dabblings, although never slotted alongside the likes of Saigon Kick, FNM, Mindfunk etc, have somehow risen through the ashes of several trends, to be considered such a monolithic metal act. The sweeping, soulful 'Color Me Blind' has Nuno chugging with the best, but at once, like so many of the tracks on the album, their is a haunting melody patched together with synth-driven '80s rock, and that air of futuristic alien metal which so many other bands attempted but failed miserably. I'm not sure how this album sold, I've no doubt that this would have been appreciated by prog rock fans and those with a serious musical knowledge, but there's no cheesy 'Get The Funk Out' to pump the party, because the band are clearly too talented to succumb to cheese. 'Cupid's Dead' effortlessly jerks into motion, backed by a funk riff which Mordred had used a year or so earlier. Cherone's vocals are immense, somewhere between Dave Lee Roth and that alterno-funko-metal brigade. My only real quib being are Cherone's rappy chops on 'Cupid...', and admittedly, the track does sound a little too like Fishbone's 'Freddies Dead'.

Fourteen cuts on offer here, the band still not as bloated after the success of the previous record, but clearly intent on alienating anyone seeking a disposable pop metal record. Extreme have split the album into three parts, titled 'Yours', 'Mine' '7 The Truth', and it's the middle section which has echoes of true genius. yes, genius. 'Seven Sundays' is a breezy, lavish, Beatle-esque piano-laden love song which melts into the acoustic spectre that is 'Tragic Comic'. Try as you may to detest Extreme, by this point their ability to craft so many classic rock tracks is bewildering. 'Our Father', and 'Stop The World' (which reminds me of 'Song For Love' in its structure) follow suit into beautiful arena's of grace and crystal. The third section of the record is even more gargantuan in idea and production than previous chapters. For some by this point the record is already too long, and the lack of metal may infuriate anyone looking for a little bit of chug, but one can only be mesmerised by the anthemic, lush drama of 'Everything Under The Sun', the band incorporating all manner of instrument's for full effect, leaving the listener dripping in tears. 'Am I Ever Gonna Change' and 'Who Cares ?' enable the sunlight to blast through the windows, the former a guitar driven fist pumper, Bettencourt's wild solo's veering of into giddy stratosphere's, Cherone's voice excelling, the percussion sharp and bombastic.

By the time 'III Sides...' is over, you'll find yourself lost in its greenery, a dense, confusing landscape of mellowing skies and heavenly pasture's, but a place so alien. How Extreme got to this point I'll never know....but on this occasion, they brought with them the kitchen sink and played this soundtrack within its hallowed walls as if it was their last moment on Earth. Heavenly.

9/10

Living Colour - Vivid (1988)

Despite 'Cult Of Personality' being a big hit for the funky four-piece, Living Colour were always, a little too clever for the mass market. Their recorded output never enabled them to enjoy the success of say the Red Hot Chili Peppers, although Living Colour were as equally, if not more talented. Corey Glover and co produced a handful of quality, groove-based records which passed many by, and I think the band's reluctance to play ball with the corporate machine eventually destroyed them. Sure, the grooves were at times infectious, i.e. 'Middle Man' and the hit 'Cult...' but there was always something awkward, possibly inaccessible about their sound. They brought to mind the jerky rhythms of say prince, but Like Fishbone, 24-7-Spyz, only a certain individual appeared to pick up on the talent within. Some were confused by the messages, aggravated by the licks, and unmoved by the funk-rock, even though a metallic streak ran through it. Despite the likes of Chuck D, Flavour Flav and even Mick Jagger involved with the recording, 'Vivid', even through its diversity, hit home. The bass bubbly 'Funny...', and happy-go lucky jangle of 'Glamour Boys' left many, including myself, a little bereft. Follow up record 'Time's Up' was more bolshy and hip, but again, those jagged edges still hurt. For me, Living Colour will always remain a bit of a mystery, despite enormous potential, and enough splashes of colour to survive several fads, 'Vivid' has cult written all over it, but the personality is a little straight-laced for my liking.

6.5/10

Manowar - Sign Of The Hammer (1984)

If any dragons need slaying, then ring up Manowar. Swords at the ready, shields raised high, chest pushed out...'Sign Of The Hammer' is here, a thundering iron horse blazing across the horizon, supplying electricity for the world, and creating earthquakes on other planets. Many have mocked these men of steel, but if you're a traditional metalhead seeking loud, ballsy heavy metal, then Manowar are for you. 'All Men Play On 10' might sound cheesy, but it burns the speakers, leaves the castle shaking and cracks in the sky. How can you knock something so damn rockin'....forget Judas Priest and their leather conquests, this is global destruction for the masses. The rattling chug of the frenzied 'Animals', Ross The Boss, Eric Adams, Scott Columbus and Joey DeMaio all hands to the pump, waves crashing, rubble scattered, smoking fires, a smouldering anvil...it's soul-battering power metal, as simple as that. I can see why black metal bands have been influenced by such axe-wielding fantasy metal, I mean, check out those drums on 'Thor (The Powerhead)', and the soundscapes of the seven-minute epic 'Mountains'. It's enough to shake Middle earth to its foundations. In my eyes, Manowar could have taken Tolkien's 'Lord Of The Rings' to other dimensions, and when the thunder cracks on the title cut and those guitars shred, you know Manowar, for that particular moment, are indeed the kings of metal.

'Sign Of The Hammer' is far spikier than its predecessors and is equipped with a sharp, thrashy edge, that intro to 'The Oath' a great example of a guitar sound so many death/thrash acts were incorporating into their sound, and check that clanking rhythm out. Manowar don't just reach for the sky, they rip the clouds from it and bang on the door of God's abode.

8/1o

Ozzy Osbourne - Ozzmosis (1995)

Back from the wilderness, this is probably Ozzy's best album since 'No Rest For The Wicked', combining the elements of those recordings to, on occasion, come up trumps here. Opener 'Perry Mason' reminds me heavily of 'Miracle Man' in the sense that it's clearly Ozzy's attempts at the first big hit single to promote the album. Apparently this is a more personal record for the Ozzman, and whilst his voice appears strained on occasion, the scarf-waving, tear-jerking tracks are far more dense than previous, 'See You On The Other Side' a momentous anthem, which sits nicely alongside his odes to kids Jack and Aimee. Several collaborations pepper the record, Steve Vai drafted in, Lemmy contributes too, and Rick Wakeman's lush keyboards layer a handful of cuts whilst Wylde's recognisable searing solo's drift through the record. it's still familiar Ozzy, only this time he seems more rejuvenated and more energised. Fave cuts being 'Ghost Behind My Eyes', the clanking ' My Jekyll Doesn't Hide' with its monster riffage, and the dreamy 'Old LA Tonight'.

It's unlikely, like most artists, that Ozzy will ever better his classic works from the '80s, and his more recent albums, although heavy in the rhythm department, have failed to move me, but on 'Ozzmosis', the varying shades and general feel of freshness and revitalisation has enabled the Brummie rock god to produce more than a handful of sturdy tracks, making 'Ozzmosis' a pretty decent rock album.

7.5/10

Paul Stanley - Paul Stanley (1978)

After listening to Tigertailz, I'm almost embarrassed to put Mr Stanley's record next to it. I haven't a clue why the heavy metal marketing machine known as Kiss released solo albums. Sure, Ace Frehley's isn't bad at all, but the rest are pointless. We don't want to hear the drummer sing, and Mr Simmons, you may have a long tongue and once had the ability to scare young American kids, but your image and voice makes no impression in the UK. After Slade, T-Rex, Bowie, Sweet and Roxy music, Kiss sound exactly as they are - a watery, barely glittered publicity stunt which has gone on too long. Stanley as a frontman had no real swagger or presence, and that's reflective in his voice, because this solo album is full of tracks which wouldn't even make Kiss b-sides. 'Tonight You Belong To Me' and 'Move On' are just tiresome rock tracks so mediocre that the middle of the road is even too wild a place for them to be slotted. It's the same ol' thing, empty of oomph, bereft of weight, ridden with cliche, and simply another addition to a rock 'n' roll circus which often failed to entertain. Tepid to say the least!

4/10

Tigertailz - Bezerk (1990)

Moving on swiftly from their all too tame, looking and sounding previous platter, the 'Tailz revamp big time. Adorned in a cracking, gatefold and glammed up sleeve (Pepsi Tate responsible for the imagery), 'Bezerk' steps up aside Crue's 'Theatre...' and Poison's 'Open Up..', more cocky, well produced, and layered in make-up. However, cool riffs on offer from Jay Pepper, Hooker's vocals with extra sneer. In my opinion, Tigertailz were a very underrated glam rock act, in fact not many UK acts achieved the status of their rivals who were clogging up the strip clubs in Hollywood, but 'Bezerk' is as good as most of that feeble, fake stuff. Anthem's in abundance, 'Sick Sex', and the superb 'Love Bomb Baby' make this album very accessible glam rock, but it doesn't rely on weak, bubblegum pop, but instead kicks ass with its musicianship and catchy tunes. Again, the packaging appeals and shows that Tigertailz were now ready for the next big step to stardom, but it never came, tragically. Ballad 'Heaven' should have been an accidental hit which may have catapulted the band to greater heights. Tigertailz shouldn't be forgotten, because 'Bezerk' is a super little record that screams glam.

7.5/10

Moral Crusade - An Act Of Violence (1990)

Quite enjoyable Irish thrash that certainly slipped by the wayside back in the day. Reminds me of Deathwish, and that kind of underground UK thrash. Nine cuts of reasonably aggressive metal, a few chugging riffs, frantic drums, the album only really being let down by the almost naive vocal attack of Pincher who struggles to rise above the noise created by his fellow members. Even so, the attack of the title cut brings to mind that almost demo standard which was produced back in the '80s, giving such a record a raw edge. Certainly to be filed alongside Acid Reign, Toranaga, Xentrix, Deathwish, and possibly Hydra Vein, a field which was often ignored by thrashers who went in pursuit of highly produced technical, yet dull US death metal. I've always liked this kind of stuff, strong solos on 'Hate War', but I can't get it out of my head that the vocalist was probably doing his homework whilst straining for those notes. Nice cover.

5.5/10

Anthrax - Caught In A Mosh (2007)

Some metal live album's are better than others, and it's great to final have an official release of the New Yorker's gigs, recorded at Hammersmith Odeon and the Donnington Festival, in 1987 respectively. I was never fortunate enough to see Anthrax live in their heyday but have seen many video's. Both these gigs, released as a double cd, encapsulate the moshing, chugging splendour of one of thrash's finest bands. All the classics are there, 'I Am The Law', 'Madhouse', 'Metal Thrashing Mad', 'Medusa', 'Indians', 'Among The Living', 'Caught In A Mosh', so you know what you're letting yourself in for. If you're new to Anthrax however, I suggest you purchase the 'Spreading The Disease' and 'Among The Living' albums which have become classics in their own right. For those of you who want to purchase a decent live album, then two gigs here for the price of one is pretty essential listening. In total, twenty-one tracks over two discs, all you need to create a mosh pit in your front room.

8/10

Sebastian Bach - Angel Down (2007)

Back in the late '80s who'd of thought that Sebastian Bach, whilst crooning out '18 And Life', would have emerged as a true metal rock god. Skid Row's abandonment of the rock scene in puking out 'Slave To The Grind' wasn't just a two fingered salute to the corporate rock machine, but it also alienated many fans. However, with so many rave reviews and much respect since then, Skid Row dissipated into a shadow of their former selves, whilst Mr Bach continued to rock...big fuckin' time. 'Angel Down' is an enormous record, a kick up the back side of metal, this has all the anger, weight and fist-clenching metal of 'Slave To The Grind'...only multiplied. The even more bizarre aspect of all this is that Bach recruited one of my favourite bass players of all time, Steve DiGorgio, of Death/Sadus/Cynic. What the fuck!!! And what a record...'Angel Down' kicks in like some kind of mutant Judas Priest/Pantera/death metal juggernaut, straight for the throat. Bach becomes the leader of the old school with this record, as Ozzy/Alice/Dio pass into their later years. Clad in leather, still sportingt hat mighty, feminine mane and voice, he holds no prisoners on the vocal attack however. The true metal wizardry of 'You Don't Understand' reeks of Maiden, only deeper and darker, the guitar attack of Chromatic and Chlasciak dominate the record, meanwhile tracks 3 to 5, recruit the elusive Axl Rose, who truly nails 'Back In The Saddle' (Aerosmith cover) with his distinctive whine. Immense. '(Love Is) A Bitchslap' is a leather-laden skull-crusher, Axl backing up the chorus, riffs aplenty, solo's soaring everywhere, but the true mosh pit of the album is the ferocious grind of 'Stuck Inside', and I'm wondering how much Axl was inspired by this monolithic record for his 'Chinese...' album.

Metal needs albums like this, and when 'American Metalhead' kicks in, it's time to smash down the doors, take to the streets and bang that head. 'Angel Down' is a metal masterpiece in my opinion, Bach's vocals bordering on some kind of thrashy-guttural bellow, astounding. And so it goes...fourteen tracks of soul-grinding heavy metal. Fans of Megadeth, Machine Head, new G 'N' R, Beautiful Creatures, Skid Row at their best and heaviest...and a dose of thrash, will adore this record. Let's face it, 'Live & Die' IS thrash, 'By Your Side' chugs like an iron elephant, and so on and so on....brilliant. Just brilliant.

9.5/10

White Lion - Pride (1987)

White Lion used to be one of those bands that thrashers and the like laughed at. Big hair, sun-tan, a pert smile, and those frilly leather jackets....but when I listen to this album so many years later, I find myself wiping the egg of my face. White Lion were in fact a rockin' outfit, fronted by the white-toothed glamour boy Mike Tramp. Sure, it's got all the metal cliche's, the lyrics for one leave a lot to be desired...it's all love, hunger, heartbreak and more love...but behind those smarmy, yet fulfilling vocals there's a guitarist with an attitude. Step forward Vito Bratta, who co-wrote this album. This guy has some serious talent, I'd love to know what he went on to do. Anyway, 'pride' is a bit of a metal cushion, or even a rock 'n' roll breast to suckle up to and lay your head on, I find it all soothing, well produced, but with enough oomph to wrench it from hair metal Armageddon. Okay, so 'Don't Give Up' does sound like the sister of Journey's 'Don't Stop Believing', but 'Lonely Nights' (imagine the breeze through the window, the satin sheets!!!) cradles the heart, and 'Lady Of The Valley' crushes it with a killer riff. Great drums by Greg D'Angelo, Tramp taking on a persona I never gave him credit for. 'Wait' is lush as a ballad, sweeping acoustic guitars, Tramp's cosy pipes wheezing over the waves. 'All You Need Is Rock N Roll' a cool little ditty which transforms into a cavorting, Crue-esque, hip-shaker.

White Lion recorded three very good albums in their day, 'Pride', 'Mane Attraction' and 'Big Game', and I for one feel wholly refreshed listening to such a silky sound. And much respect to the boy Bratta.

8/10

Lock Up - Something Bitchin' This Way Comes (1990)

During the late '80s and early '90s there was no doubt that major label Geffen (the big boys behind G 'n' R) were keen to inject the music scene with some truly diverse bands. Although the record sales may not have lived up to expectations, it's still great that Geffen were responsible for bringing to the world the likes of Warrior Soul, I Love You, and to some extent Lock Up. Fans of Rage Against The Machine will recognise Tom Borello slapping the bass through this record, and will find much to savour - as for me, I find the whole record grows tired all too quick. There's no doubt this is a more sincere brand of funk-o-metal than the more cartoon and weak stuff that emerged at the time. Even so, after a few chugs, lots of cool, thudding bass, and Brad Gillo's almost graceful vocal swoon, it all gets a bit dull. The main problem, despite a handful of good songs is the formula, it all becomes very predictable and 'Nothing New', 'Can't Stop Bleeding', 'Punch Drunk' and 'Peacekeeper', kind of drift by aimlessly, never once making their mark. There is something ever so tame about the record, especially when you consider that Faith No More had pretty much invented a whole scene, a majority of the bands eager to please within it were reasonably tragic, so there was always a torch waiting to be passed on, but in the end FNM preferred to blow it out. This was a scene without any movers or shakers, and Lock Up are a prime example as to why. It's all rather chilled, and the main fault with the machine is Gillo's vocals. Lightweight, watery, bereft of punch, he saunters in without any menace or even colour, and is happy to sing along to the trickling bass and guitar grooves.

My fave cut is the mellow 'Everywhere I Go It Looks Like Rain', but maybe the title of this track expresses just how Gillo feels, because he comes across a tad underwhelming to say the least. For me, the idea of funk, when on its own or alongside any other form of music, is to cause a jig, a stampede, a dance, or even a nod, and this record makes me simply stand, stone-faced, my lack of reaction a reflection of what I'm hearing. Lock Up make Atom Seed seem rockin'!

5/10

Skin Yard - 1000 Smiling Knuckles (1991)

Lumped in with the grunge scene, Skin Yard deserved better for their troubles. For a start, it has a darker, more inaccessible edge than say, Pearl Jam etc, and it certainly likes the early primal fuzz of the Sub-Pop scene. Slotted alongside other no-thrills rockers Gruntruck, Skin Yard remind a helluva lot of Mindfunk. Although Mindfunk (mainly because of their name0 were lumped in with the funk metal trend, they eventually slipped into a more quicksand approach to things. Skin Yard are more rubbery, imagine a Mindfunk from the first album meeting a Mindfunk from their more gluey days and you may have an idea as to what Skin Yard are about. I like it, mainly due to its cool flow, at times like a darker Mother Love Bone or slightly funkier Soundgarden. 'River Throat' brings to mind the angst-ridden obscurity known as Kinghorse, there's even a touch of Sabbath and C.O.C. in those grooves. 'Burn A Hole' has a cool bass lead, Alice In Chains in approach, whilst the badly titled 'Psychoriflepowerhypnotized' is more of a rattling trip.

A decent album from an underrated band. Quite wholesome and fulfilling in its nature.

7.5/10

Slow - Against The Glass (1985)

A long, long time ago...in a galaxy far, far away...Slow were way ahead of their time. So much in fact, that after exploding onto the scene with this six-track EP, Slow did what all potentially great bands do...they died. This is best described as dark, and greasy, very Brit-Goth inspired fuzz metal swagger. Slow hail from Vancouver and are probably now stacking shelves in some supermarket, but at least they can look back and say, "Well, what a cool record we made".

This is a record tinged with a darkness, it lacks an image, but in the sense that it's "don't give a shit" attitude IS its image. The band really should have broke big under the weight of 'Have Not Been The Same', but hey, life's a bitch. Incredibly catchy, 'Have Not...', and the rest of this cult record, are said to have influenced the entire grunge movement. Claustrophobic, tense, angst-ridden, brooding...very rock 'n' roll and totally fucked up. A bucket of oil mixed in with The Damned, Stooges, and a punk sneer. Cool stuff...

7/10

Naked Planet - Naked Planet (1996)

I don't intentionally seek out the most obscure albums to review. I try in vain to review albums i find great, or innovative, or simply meaningful in my life. However, Naked Planet, hailing from Canada, are so obscure, I couldn't even find a photo of their album! Anyway, to cut a long story short....if you're a fan of Faith No More at their 'funkiest', and a Chili Peppers at their heaviest, you may enjoy this. Way too late to be part of the annoying funk metal trend, this album literally came out of nowhere, sunk without trace, and its embers only wafted into the hands of a select few. There's quite a bit of flavour in the mix, a few industrial rhythms, a muscular funk brew, and a rappy, choppy spit courtesy of Vic Branco.

The more I listen the more I wish that this had raised a few eyebrows because it's not as sickly as the early '90s funk crap, and has the slickness and invention to rise above trends anyway. Trouble is, this came out when metal was 'nu' and judging by the promotion...or should I say lack of it, this dive-bombed. Mind you, what is it they say ? Oh yeah, "Only the good die young..."

7/10

Larva - Waiting For Daybreak (1994)

Another decent alterno-rock record that became lost in a sea of scruffy grunge. Larva weren't quite in the same league as say Saigon Kick, Kik Tracee, Liquid Jesus etc, etc, but this lush record sways nicely...if you can get hold of it. It's a tragedy that such records began obscure, and ended up even more obscure. This probably does exist on the shelf of some dusty basement somewhere. However, forgotten it may be in most circles, but for now it deserves a little mention for its Jane's Addiction style haziness, existing as some kind of slightly dreamy, bewildering, out of focus, at times Zep driven, psychedelic rock album. Vocally, very peachy, a sprig of light grunge, and plenty of color...before all fades to grey and the album disintegrates like a dream.

6.5/10

My Sister's Machine - Diva (1992)

Okay, let's pretend the grunge fad never existed. Why ? Simply because bands like Mother Love Bone and My Sister's Machine were so much more than that sickly trend. 'Diva' is one of the best albums of the '90s, a dark-edged but ultra-cool rock 'n' roll records that was criminally ignored. This sits alongside Alice In Chains 'Facelift' because the sick reality is, Nirvana made grunge big, which meant that the kids only seemed to buy and appreciate the stuff from around that time. Soungarden's 'Superunknown', AIC's 'Dirt' and Pearl Jam's 'Ten' were good records, but they weren't a patch on 'Diva', or the earlier records by Soundgarden and Mother Love Bone. 'Diva' is a truly monstrous record, Nick Pollock one of metal's finest vocalists, effortlessly wheezing through those gargantuan riffs and mysterious dynamics. However, this was just too good to be true...too good to fit into the scene as such, because My Sister's machine did play ball with the commercialism which the scene quickly succumbed too. 'I Hate You' and the brilliant 'I'm Sorry' slide in unnoticed, then slip out the back door, consumed by the shadow of Kurt and all his troops....and yet 'Diva' is more than grunge, it's a mighty fine rock record, a slab of fluent brilliance which pulls the listener in via quicksand melody, before shocking the listener into trance with so many instant choruses. Again, just like AIC's 'Facelift', 'Diva' creates a dark corner for itself, it's labyrinthine riffs and black wells to wallow in are simply too dangerous for the kids to endure. And so, with the bands equally cool 'Wallflower' to follow, My Sister's Machine tragically melted into their own hip slime whilst the big boys escaped the grunge plunge and headed for the charts.

8.5/10

Babylon AD - Babylon AD (1989)

Too many sleaze bands spoil the broth...even so, always worth going back to sleazeville and checking out these bands. Not mind-blowing exactly, and of course this kind of stuff fizzled embarrassingly when the grunge-droid sauntered...or should that be, stomped in. This debut boasts some decent fluid sleaze, in fact 'Bang Go The Bells' has a well and truly kick-ass (as they'd say in the USA!) riff.

I file this alongside Every Mother's Nightmare and Cats In Boots, in the sense then when you listen back many years later, you realise it's not as wimpy as you thought. So, in other words, appreciate this stuff now, while you can, and try to appreciate it for what it is, good time party rock. It may not have broken into the mainstream like Guns 'n' Roses did, and it certainly doesn't have diversity of say Love/Hate, but it deserves some of your time.

6/10

Blood Circus - Primal Rock Therapy (1989)

Long before Nirvana gave me an ulcer, bands like Blood Circus were rattling out the 'real 'grunge sound. I prefer to call the sound 'sub-pop', which of course was the name of the famous label that housed all these cool bands. This six-track EP had a hard-edge to it, enabling it to grate on the cranium, especially in the greasy vocal department and the clanking fuzz. I imagine that if Glen Danzig formed a grunge band then Blood Circus would be it! 'Six Foot Under' is a slow, brooding monster which flattens buildings in its stomping angst. 'The Outback' is a Sub-Pop classic, and I don't know if it's just me but does Oasis' classic track 'Morning Glory' borrow heavily from that dirty riff ?

'Lime Green' hits harder than Mudhoney ever did, leaving dirt under the nails and fuzz in the throat. I used to love buying EPs like this, it['s just a shame that bands such as Blood Circus never escape the grunge wave and made a better living for themselves, although the angry sincerity in this kind of fuzz-rock meant that Blood Circus and the likes would never become anything more. It's real, and not chart-friendly, and dressed in a typical Sub-Pop sleeve.

6/10

Wildside - Under The Influence (1992)

Now here's an album that came out at just the wrong time. Slot this back into the mid to late '80s and Wildside would have been on to a sure fire sleazy winner, but as grunge-invaded the US, there was no room for this type of stuff anymore. And that, is a tragedy. Wildside (bad name though!) are a pretty cool bunch of rockers with a lot of talent, who suffered at the hands of trends. inspired heavily by Guns 'n' Roses, especially in the vocal department, this is a pretty cool record with a few juggernaut riffs thrown in behind those cat-scratch vocals. 'How Many Lies' has a great acoustic intro before becoming a G 'n' R party stomp, 'Just Another Night' is classic hair metal with its slow build then hairspray chorus, and 'So Far Away' is extremely catchy, but Wildside's greatest ability is their ease with which they kick out the jams. there are a few noisy moments on here, some great riffs, particularly on 'Clock Strikes' and the 'Dr Feelgood' groove of opener 'Hang On Lucy' which worms its way into being a G 'n' R bitch slap.

Sadly, the album cover reminds me of some irritating early '90s funk-metal record, but don't let that put you off.

Good, solid sleaze metal that deserves more recognition.

7/10

Saints & Sinners - Saints & Sinners (1992)

If I'd have known these Canadians were fronted by ex-Sword frontman Rick Hughes, I would have sort this hard rock record out sooner. And what a stonker this platter is. Full-blown heavy metal, but with enough subtlety to be accessible. Good, clear, solid production, a few scarf waving anthems, and a dash of fiery rockers. What more can a metalhead want ? 'We Belong' may be slightly mediocre but 'Slippin Into Darkness' 9which reminds me of Skid Rows '18 And Life') is a surefire unknown hit, but for me the best tracks on the albums are of two extremes. 'Wheels Of fire' and 'Kiss The Bastards' are fine examples of heavy groove rock, but it's the Beatle-esque and breezy 'Takin My Chances' which wins the prizes. This melodic stomper transforms into a truly memorable anthem that even the likes of Saigon Kick would have appreciated.

This isn't typical, classic axe-wielding metal like Sword were, this is very slick and melodic, bereft of skulls and blood. Three quality ballad-type rockers, and a set of not quite face-scorching make this a nice listen.

7/10

The Tea Party - The Edges Of Twilight (1995)

Okay, where do I start ? I've been looking back over some of the reviews and thinking, "Is that really essential or not ?". Of course, there are so many albums out there which are cool, or personal favourites, or just records I have a soft spot for. Some are fabulous, others genius...some bands are cult fave's, others the coolest bands you never heard...so, where do The Tea Party stand ? Well, let's put it this way, for those of you who think Led Zeppelin are the greatest rock 'n' roll band on the planet...and believe me, many people do believe this, then The Tea Party are for you. For those of you who wish Zep had continued forever, there is no need to fear, because The Tea Party exist to fill that hole left by Plant and co.

This is pretty much genius. Canadian rock music that blows all the grunge scene out of the water, into the sky, and out of the universe. Beyond the dreams and visions of man, this is one band who truly deserved to be absolutely huge. Of course, they weren't, like many ultra-cool and inventive bands on this blog, but The Tea Party are living proof that when a band is this criminally underrated, nearly all other big, famous bands should be shot!

This is a ridiculously brilliant, innovative, diverse alterno-rock record. Everything, in its complexity and stunning variety of musical instruments, is effortless beyond description. From Jeff Martin's Jim Morrison rasp, which oozes sex and arrogance, to the Zeppish guitars from Heaven, and those majestic Eastern influences which soar on the wind like fairy dust. 'The Edges...' is a magical landscape created by these wonderfully talented musicians, who've constructed a truly monstrous record that if say, Queen, Zep, etc had recorded, we'd be masturbating over. However, this is far cooler...too bombastic and at ease with itself to be appreciated by millions, instead it swirls, writhes and cavorts like some beautiful behemoth. Way ahead of its time, yet borrowing from the likes of The Doors and Zep, this is a mish-mash of all that's great but even more...so much more. 'The Edges...' is a blissful record, one which sweeps you away, but always, just like Zep at their finest, keeps its groove on.

'Sister Shake' is monstrous, 'The Bazaar' an aching, uncoiling masterpiece, and 'Fire In The Head' gyrates with crystal hips. Wrapped in delightful production, blessed with a serene, dreamy tinge, and bathed in sonic light from Utopia, this is one of my most cherished albums, alongside Mother Love Bone's 'Apple', in that it breathes so easily amidst the myriad of noises. Like one enormous glass butterfly it soars, it's laced wings twinkling as its flutters shake the foundations of the Earth, the only downside being that the earthquake was not experienced by many people, because this record is proof that mid-'90s rock wasn't just about scraggly-haired grease balls.

Every rock fan should own this towering album. Laughably great....what more can I say ?

9/10

Horrific - Your Worst Nightmare (2009)

I know nothing of this band but got pulled in by the b-movie artwork, and what a pleasant surprise the music was too. Horrific play a kind of rock 'n' roll thrash if that makes sense! It certainly makes for interesting listening. '...At Midnight' borrows Motley Crue's 'Live Wire' riff but adds a thrash edge and hellish vocals, but again, always intriguing. 'Metal Cemetery' has a cool metal solo and gargled vocals splattered over the top whilst 'Death Rock' is doom 'n' roll!!

This will appeal to fans of thrash and hopefully just metal fans even if the vocals are quite extreme, but like Acid Witch before, although sounding nothing like each other, there's something quite thrilling about hearing a combined set of styles. I was expecting something rather cheesy, but this is quite refreshing in its approach.

7/10

Acid Witch - Witchtanic Hellucinations (2008)

Apparently this is the blogs 667th post....and Acid Witch are worthy of it. In fact this is one of the most refreshing albums I've heard for a while, although one of acquired taste. With a name like Acid Witch you can expect some kind of extreme metal, but this is way above and beyond what I expected. From it's absorbing 'metal' cover to its intriguing song titles which could in fact evoke images of almost child-like menace. This record has all the trappings of a cult classic and reeks of the foulest cauldron! Acid Witch are about as Halloween as it gets, and they literally burp out a mesmerising brand of obscure doom-death sludge and I absolutely adore it. Too many bands seem intent on being either a) stoned, or b) slo-mo which can get rather tiresome, but Acid Witch refuse to plod, in fact they opt to take the listener into some slug-infested cave, cover them in slime, drag them through a cess-pit and dispose of the corpse in some old hag's fetid lair of rats, warts 'n' all...Acid Witch are a fine doom band. 'Swamp Spells' (great title) conjures a great mid-tempo atmosphere, but not only is the music wonderfully heavy, it always remains interesting and eager to create some kind of gruesome atmosphere. Vocally, this is deep and very guttural, and the bubbling into to the track takes me straight to the mad scientist's lab for a delve into brains and smoking vials. The riffs are pure doom sludge, creeping like a monster slug over some cold, damp wall, 'Into The Cave' is pure mystical doom 'n' roll dredged from the soggiest quagmire. 'The Black Witch' is slightly more uptempo but the synth-driven 'October 31st' had me gagging for a witch's brew and the brilliantly titled 'Broomstick Bitch' beautifully ominous and saturated in moss and slop.

Acid Witch are quite a find, a unique doom outfit who've avoided any kind of Sabbath cloning to create a truly monstrous mutant of an album. This is music straight from the boggy swamp, intent on filling the nostrils with its gaseous menace and filling the ears with the blackest silt. This is for witch's everywhere.

8/10

James Michael - Inhale (2004)

I expected so much more from the man Nikki Sixx worked with on his Sixx A.M. project, but James Michael again delivers a very flat performance. The opening title cut promises in that it reminds me of a delightful rocker in the vein of Enuff Z Nuff or even the great Fab Four, but from here on it's a case of gritting ones teeth as Michael takes us on a slo-mo', reflective flatliner. 'January', and 'Chemical' attempt some kind of emotive structure but it's downright boring to be honest. 'Simple Thing' is the only track which offers a ray of light among the driftwood, making inhale a very middle f the road American rock record. If I'd wanted Bryan Adams I'd have flushed my head down the toilet.

4/10

The Outpatience - Anxious Disease (2006)

Relatively cool rock project featuring Slash, Izzy and Duff, all ex-Guns 'n' Roses. All a bit half-cocked in reality because after the sassy, Mother Love Bone-esque 'Wound Up In Vegas' slithers in, it's all pretty tame afterwards. The album comprises mostly of bluesy, slow, acoustic numbers that unfortunately do remind me of Bon Jovi, although I'm sure the band were thinking of a more loose, G 'n' R, alcoholic swoon. We have to wait for the album's latter part to get any kind of swagger, in the form of 'Black Eyes', 'I.F.H.' and 'Purchase My Freedom', although of all the slower cuts, the twang of 'Walk On By' appeals most.

For me, too many of these super groups fail miserably in their attempts to make decent albums. This is a bit half-baked, lacking the sleaze I expected, and although it fails to kick up any dust, it does deliver partly.

6/10

58 - Diet For A New America (2000)

This one passed me by in 2000, mainly because I had no real interest in the nu-metal scene so if anything decent was released, it would've suffered at the hands of the commercial tripe which people were now calling 'metal'. 58 are an experimental rock cat and, with the help of Nikki Sixx, have crafted a half-decent album. The trouble is, this kind of stuff leaves me feeling empty with its light industrial beats, watery vocals, and mechanised dynamics. Typically 2000 I guess, with a few reasonable rock 'n' roll tracks thrown in for good measure, 'Songs To Slit Your Wrists By', the dreamy 'Stormy'...reminds me of what Crue were trying to do on their 'Generation Swine' with its cyber-edge and more complex rhythms. It's all very accessible and is quite far removed from metal, 'Shopping Cart Jesus' with its trip-hop beats, and 'Piece Of...' reminding me of Lou Reed.

Worth a listen, because you know that when Nikki Sixx is involved there's usually something of note.

6/10

Suicidal Tendencies - Lights, Camera, Revolution (1990)

Suicidal Tendencies proved that there weren't simply a one-dimensional skate punk act. 'Lights...' had the ability to cross over into more dangerous waters, which front man Mike Muir would embrace greatly later on with his funk outfit Infectious Grooves. Thankfully, Suicidal Tendencies have always been more clever than ever being given enough credit for. Here's a record that slows down the manic, hysterical ramblings of Muir, the guitars are heavier and crunchier, the melodies bigger and so resulting in a bigger audience for the combo. 'Lost Again' may exist on a Slayer riff, but 'Lovely' ans the irritatingly catchy 'Send Me Your Money' proved that the band were eager to experiment, both cuts heavy on the funky, soulful flavour without the corniness. 'Disco's Out...' and 'Go...' remain true to the ST moshing sound, but within the psychotic rages there's now a more subtle element enabling ST to become accessible instead of alienate. Strangely, whilst so many bands were slated for bringing a funky flavour into their sound, Suicidal tendencies got the balance right, able also to fit the fresh approach in with their already slightly zany sound. 'Send Me Your Money' could well have been an accidental hit, in fact it was played a lot on the airwaves and certainly on MTV, but ST were always more than that, which is why, 'Lights, Camera...' remains a solid, crossover record.

7/10

Carnivore - Carnivore (1986)

Crossing a brutal hardcore with post-apocalyptic style of thrash, Carnivore, fronted by the enigmatic, and late Pete Steele, were a force to be reckoned with for their two album career. This debut, and follow up 'Retaliation' are cult classics within the field, displaying a depressive, nihilistic edge and courting controversy. 'Predator', ' Carnivore', 'Legion Of Doom', 'God Is Dead'...all relatively heavy, political and melancholic in their approach over the typically '80s thrashy riffs and crashing drums. Excellent stuff for its time, the sinister sludge of 'Armageddon' and the clattering 'World Wars III and IV' displaying Steele's darkest desires, fears, and revelations which would flower in later years.

Carnivore were very much of their time, and underrated amidst a flourishing crossover scene. Worth checking out if you like your music of voice and venom.

7/10

Joan Jett & The Blackhearts - Sinner (2006)

I can hear the metal purists and extreme metal fans among you chuckling...but beware, Joan Jett inspired a lot of rock 'n' roll women, and has bigger balls than most of the leather-studded men in metal. Firstly, her early records were very good, ballsy albums, and 'Sinner', is one of the best albums I've heard this decade. Yes, you heard it here first, Joan Jett rocks. Sure, we all have a bit of a soft spot for those looks, but whilst she may have spent the '90s as a criminally underrated performer, a tad weighed down by the bubblegum hit 'I Love Rock n Roll', 'Sinner' proves as to why she's a legend in the genre. Joan Jett effortlessly slips into the rock 'n' roll hall of fame alongside the likes of Debbie Harry, for her ability to still show the imitator's how it's done. The ultra-cool Brody Dalle of Distillers and Spinnerette probably owes more to Joan Jett than anyone.

'Sinner' fires fourteen cool, sassy tracks in your face, stomping hard rock which sees Joan's throaty wail as sexy as it is dominant. The mega-catchy glam stomp of 'AC/DC' will have you nodding, and the riff-heavy 'Riddles' and 'Five' you'll be humming for months. Joan has an ability to write great catchy tunes, 'Androgynous' a subtle yet classy hook that digs int he flesh like all quality rock tracks should.

Do not be so cutting or cynical of what is a quality album from a woman who has carved a very decent and admirable career. Whilst many artists have sold out over the years, Joan has trudged through the mire of trends and 'Sinner' is proof that if it wasn't for people like Joan Jett, there'd be no rock 'n' roll.

One nil to the ladies.

7.5/10

Gunfire Dance - Archway Of Thorns (2007)

Could this really be the greatest band you never heard ? I've said it alot on this blog, y'know, always talking about the great bands who either a) split up too quickly, b) died too quickly, c) carried on but never got any recognition. I haven't a clue as to why Kiss made millions and Kik Tracee didn't, but it's one of those magical qualities which seems to make all the cool bands cooler. Now, Gunfire Dance, where do I start ? Simply slot together Iggy Pop, New York Dolls, Rolling Stones, T-Rex etc, and nowadays we have a kind of Primal Scream type sound, but back in the '90s there was Gunfire Dance...a beautiful sleaze band of great potential, and I mean great. They sparkled, they flirted, they glided effortlessly through gigs, sexy, sensual, creative, a beacon of light...and they faded, creating a wonderful myth as each member went on to do very normal things (sadly singer Ant died...isn't that always the case ?). Gunfire Dance were rock 'n' roll, and their career can best be summed up by 'Archway Of Thorns'. It's a bit like finding one of those great psych records from the late '60s which tend to put together the best, albeit scarce works of a little known band. I spend my life seeking out such records, and when you hear 'Archway...' you'll know what I mean.

Gunfire Dance were rock 'n' roll personified, slot alongside The Throbs, and Thee Hypnotics, although these Brit rockers (from Birmingham) had more edge, somewhere riding high on the Hanoi, Lords of the New Church, Bolan train to stardom and tragedy. There's an eerie quality about this compilation, and it's a must have for any fan of real dirty bad ass rock 'n' roll. Nothing fake here, just loose-living quality. Magazines and websites still rave about them, and hopefully the flame will still burn. Certain to shed a tear in those who delight in getting off on short-lived genius. My cup of tea....you beautiful, beautiful people.

8/10

Dekapitator - The Storm Before The Calm (2007)

More of the thrash brigade, this is slightly more satisfying in its weight of sound, bass heavy, slightly darker vocal approach courtesy of Matt Harvey. The mid-paced chug of 'The Call...' is quite pleasurable as is 'Earthscorcher' and the pounding 'Deathstrike...' I'm still not sure about this thrash resurgence, although credit where credit is due, Dekapitator's debut emerged in 1999. It all seems genuine, but I really see no point in imitating bands from the past which can't be bettered. Dekapitator ARE one of the better acts, mixing the likes of Pantera, Exodus with a hardcore lean, but if this was 1988 I don't think this kind of record would have risen above the fourth division. Even so, this is far angrier and guttural than so many other acts in the genre, and worth checking out. Cracking sleeve too.

6/10

Havok - Burn (2009)

I probably shouldn't be reviewing these new thrash bands, or for that matter, the old funk acts because they never changed my life and probably don't deserve any recognition at all. However, Havok....part of the new wave of thrash acts currently doing the rounds and being touted as the next big thing. Of course, none of this new wave of thrash is the next best thing because it's too much of an imitation of the old best things, and doesn't come anywhere near the great age of Death Angel, Slayer etc. 'Burn' is a well trodden path which the likes of Warbringer, Evil, Hatchet, etc are taking, at once saturating the scene all too quickly. It's crunchy, it's relatively heavy, you know where the time changes are going to occur, when to headbang or not to headbang, and there's the countless nods to acts such as Slayer.

Now, I like my thrash..I was a thrasher, but my advice is this. Go and listen to Violence, Forbidden Death Angel, Defiance, etc, and then you'll hear real thrash. I take my hats off to these guys owing their sound to the days of old, and fair play for bringing it back, but it's nowhere near as good in 2009 as it was an '89. As for the cover, I think my mate drew something like that on his maths book....he was thirteen.

5/10

Scatterbrain - Here Comes Trouble (1991)

I'm getting used to writing 1991 when it comes to this type of trash. Tommy Christ, formerly of Ludichrist, now waves the silly banner in favour of turgid funk metal, and this time it's really stupid. Think Scat Opera, White Trash (mind you, at least the guy could sing!) and all that corny styley funk-o-metal dog shite. This is painful to listen to to, pure comedy (for those who are as silly as a bag of spanners), silly songs, terrible lyrics, a mish-mash of jokey hokum that lasts for about ten minutes and then wears off like one of those novelty tattoos you had when you were a kid. 'Don't Call Me Dude'...just fuck off. 'Down With The Ship'....just fuck off. It's cringe-worthy, goofy, face-pulling, costume-wearing, funk metal.

I bought this album on cassette in Shades Records in London....and of all my albums it's one of the worst I've ever bought. Anyone who found this remotely entertaining really must have been deluded or accused of sniffing to much sherbet, because it's tripe.

3/10

Scat Opera - About Time (1991)

I promise not to review too much of this atrocious funk metal shite. But this stuff gave '90s metal a bad name. Sure, bands were trying to move away from Satan's neighbourhood, but why experiment with someone that seemed so awkward and unnatural ? The funk and soul should have been left to the experts - Bad Brains, Fishbone et al, not these goofy idiots with their multi-coloured album covers. As if the promo video for the title cut was annoying enough - the band dressed up as jerks, pulling faces, and rattling out stupid raps - Scat Opera somehow managed to get a support slot on the 1991 Mordred tour! 'About Time' is shockingly bad, but it's one of these albums, and scenes I guess, that had to be heard just to appreciate just how vomit-inducing it all was. Time and time again, it's a sound bereft of weight, splattered with nonsense, wrapped in slap bass, and shit out like one long bubblegum turd. Songs ? Who cares. Even Primus for all their bass-heavy genius, became slightly tiresome, but this kind of stuff didn't even get to the first hurdle before it suddenly transformed into some rubbery cartoon character with 'FALSE' stamped on its head and thrown into the reject bin.

3/10

White Trash - White Trash (1991)

You can just tell by the cover that it's some kind of funk metal ulcer in the mouth of the metal genre. Silly, tomfoolery of the highest order, wrapped up like bubblegum which came free with a novelty sticker or card. This is just more of that vomit-inducing stupidity that reeks of awkwardness. White Trash have the horns, the jingle-jangle funk riffs, and the irritating vocals which on this occasion do sound all too feminine, bringing to mind that US high school irritation which Ugly Kid Joe brought to the table around 1992. 'Apple Pie' (yawn!) must've had Fishbone squirming in their seats and 'The Crawl' is predictably foul. So disposable and bereft of sound, the whole funk trend a mish-mash of average bands trying to be weird - pull a few faces, have a stooooopid album cover, and throw in a few bass slaps - but it's not what makes a good record, as can be heard here. Pass the sick bucket and turn it into an album cover.

4/10

King Of The Hill - King Of The Hill (1991)

I can see why the alterno-metal scene fizzled out so quickly. Sure, there were some very cool acts amongst that crowd who sought out a more inventive or colourful rock sound. Of course, everything was being labelled as alternative back in the late '80s and early '90s, especially after Faith No More has lit metal up with 'The Real Thing' classic album. However, for the most part, the scene experienced a negative uprising - too many bands moving away from metal to vomit out an almost fake new fad - funk metal. I could reel off so many awkward sounding acts who succumbed to the 'funk metal' curse, and probably count on the fingers of one hand the few bands who actually made it work. Mordred, Faith No More, Fishbone, weren't officially funk bands - Mordred were a thrash act who diversified their sound. FNM were a cool, original rock band, and Fishbone were always a soulful, and sincere funk rock act. On the down side, Scat Opera, Ignorance, Freaky Fukin' Weirdoz, Fungo Mungo, Boot Sauce, Atom Seed, Psychefunkupus, ...to an extent the names speak volumes. They all got caught up in the funk metal melee and it made me want to puke. King Of The Hill no doubt found themselves caught up in the trend.

There were a few bands also who weren't funk metal, but because of their unusual rock sound, got lumped in with the 'funk'' crowd - Saigon Kick, The Front, Mindfunk, even Love/Hate, were put into the alterno-metal category, many suffered for their talent. King Of The Hill suffered because in reality, their sound, like so many others, seemed unnatural. A hybrid of hair metal and funky rock just wasn't going to be a career. 'I Do U' a prime example of that weak, cheesy, horn-littered pizza with it's dire chorus and Prince-influenced groove.

'If I Say' on the other hand was the token hair metal ballad. None of this melted together, and, like so many other similar acts, King Of The Hill faded into obscurity. The real tragedy being that this kind of sound doesn't even enable such bands to even exist as a cult phenomenon. The victims of the funk metal fad went down with the already sinking ship, forever labelled as bubblegum rock bereft of weight and any real soul. The songs weren't good enough, the image was corny, and the career short. Funk metal probably had to happen, but as a genre it was made up of too many bands similar to King Of The Hill.

5/10

Darkthrone - Circle The Wagons (2010)

More true metal from the kings not only of Norway, but of metal at the moment. Fenriz, just like me, losing himself in the shadows of '80s metal. Darkthrone stick to their rusty guns and once again treat us to a clattering, thorny metal fest, combining the grunting chaos of Celtic Frost, the oily rumble of Motorhead, and every quality of just about every '80s metal act you've known. They wear their black hearts on their tatty sleeves, fists in the air, studded wrist bands at the ready. Moving further away from the black metal evil of their second and third album, Darkthrone now play their very own brand of black heavy metal. And it's great.

Anthemic, grim, punky, rough, and as dark as anything they've ever done in reality, especially if you understand what metal is all about. Darkthrone bridge the gap between bands such as Sodom, Destruction, Bathory, Agent Steel, and old school Maiden, Motorhead etc.

'I Am The Grave Of The '80s' pretty much sums up what Darkthrone are about. If anyone else wrote a song like this it would sound corny, but when Darkthrone venture into their Necro Hell studio, they churn out sincere heavy metal. Imagine playing Warhammer in the dark and you might get some idea of this leathery noise. The title cut sees Fenriz opting for a clear vocal, and the album closer, 'Brann...' is a mystical chant, but you can hear where Darkthrone's influences lie, especially on the bone-rattling 'Eyes Burnt...' and 'Running For...' with its NWOBHM slant.

As expected, the drums are trashy and clattering, the guitars a dirty fuzz, and Darkthrone once again rule the roost with another quality heavy metal album. And blessed once again with another cool cover.

8/10

White Wizzard - High Speed GTO (2009)

I really like this mini-album. I was dreading it being some kind of retro-cliche ala The darkness, but what we get are a bunch of guys who really do sound as if they've spent too many night's listening to New Wave Of British Heavy Metal stuff such as Angel witch, Diamond Head, early Priest and Maiden. James Paul Luna has a voice straight from the old school cellar,and the music has an endearing, stripped down feel to it. Seven tracks of denim and leather. pretty melodic, nothing too heavy, echoing early Saxon too and possibly even early Anthrax in one of two plodding moments with that rattling bass. Worth checking out if you want to dust down that denim jacket one more time.

6.5/10

Every Mother's Nightmare - Every Mother's Nightmare (1990)

This being the better than average debut from a band who were happy to give nods to the likes of Faster Pussycat, Skid Row, G 'n' R, because they too played real sleaze metal. 'Hard To Hold', 'Ez Come Ez Go' and 'Walls Come Down' are all decent enough, shambolic, groove-based hair shaking tunes. Bubblegum sleaze not exactly quaking with weight, but dirty enough to get under your nails. You know what to expect and at the time that was probably the problem as to why bands of this ilk never really made it, just look at Love/Hate, D.A.D., etc, who were all very cool bands who deserved more recognition.

Sincere in its siege upon the local saloon and worth gettin' up for in the morning. Sad however that once again, as we are treated to a sleaze resurgence, it's the original bands who still seem to suffer but deserve more of the limelight than all the pretenders out there today. This rattles like a bag of bones.

6.5/10

Trouble - Live In Los Angeles (2009)

Holding back the tears of silt, I find myself in a stick y situation. The mighty...and I mean, MIGHTY, Trouble have departed with Eric Wagner and bizarrely drafted in one of my favourite rock 'n' roll singers ever, ex-Warrior Soul front man Kory Clarke. It's a strange turn of events. Surely after King Eric left it would have been better off to have dissolved Trouble and continued under another name ? Not only that, but to continue and then release a live album just seemed weird, but then again, that's the continuing enigma known as Trouble. probably one of metal's greatest ever bands, this elusive lot have been belching out their rock 'n' roll doom for decades, albeit one album every decade or so. i saw them live just before Wagner departed and it was one of the greatest gigs of my life, so to hear Kory Clarke at the helm is quite odd. Now, credit where credit is due...Kory has a fine, wheezy set of pipes with enough grime to actually slot into this type of sound. After all, Trouble is somewhere between a black Zeppelin and a groovy Sabbath, and Clarke has had the trials and tribulations to respond to the monolithic tracks put before him. Even so, this is a bit like Zeppelin without Plant, because however much you are still hammered by 'R.I.P.' or 'The Sleeper' musically, vocally it just ain't Eric. Kory does his best to slink over the mammoth riffs and bomb drop drum beats, but be warned, this album is really only for those of a curiosity. I'm glad that 'Psychotic Reaction' isn't here, or 'Memory's Garden', and I don't feel sick after listening to it, because Kory is one helluva cool guy, but for me, Trouble is a magic force, bestowed upon the planet to bridge the gap between Zepp and Sabbath.

Leave the monster be and let it slither back to its cavern to be remembered forever as a wondrous myth. Good try Kory, but stick to Warrior Soul, who just happen to be one of rock 'n' roll's coolest ever bands too.

6/10

Hatchet - (2008)

Once again the new thrash craze lures me in, Hatchet's record dressed in a mighty fine '80s style sleeve without making me cringe. As I've said many time, it's okay bringing thrash back, but is there really any point when we know that every band is a poor imitation of what's gone before ? Sure, some of these new thrash acts are giving it their best shot and making many a nod to the likes of Death Angel, Anthrax, Slayer, and 'm sure they believe in what they do, but if it's not good enough to break into that framework and standard set by those mentioned, then this latest trend will simply fade away. Hatchet aren't that original, but I do like this album. It reminds me heavily of very early Metallica, Megadeth etc, quite speedy, with that Bay Area crunch, particularly 'Frailty Of The Flesh'. There's touches of maiden and Helloween too, as well as the expected Heathen, Testament, Exodus.

I've trawled through so much of this recent stuff that it makes you realise just how truly great, and I mean GREAT...the old school stuff is. However, if we are going to have a thrash revival, however talented some of these bands are, I don't think the album's should be completely influenced/borrowing, from the '80s scene. The chugs are identical, the acoustic sections are predictable, but of all the recent thrash brigade, Hatchet are one of the better bunch. However, it's no good putting Death Angel's 'Act III' on afterwards because then you'll find yourself mocking Hatchet as just a bunch of amateurs in comparison to what went before, and seemingly so many years ago. Long live thrash.

6.5/10

Heaven And Hell - The Devil You Know (2006)

When Ronnie James Dio caught up in 2006 with Iommi, Appice and Geezer Butler, I doubt whetehr they knew what was going to come of it, but wow, this is probably the best Sabbath...er...non-Sabbath, since the Ozzy years, and I mean that. Effortless, casual, bone-breakingly heavy, this has the magic ingredients Sabbath have been looking for since the infrequent cauldron's of doom they've put out over the years. 'Dehumanizer' was a good album, but this has those black riffs back, and I'm so glad that Ronnie, considering his passing in 2010, managed to get his vocals onto a classic album. His legacy is magic, whether you like his style or not. One thing Dio does is create atmospheres of stark forest, and great chasms of fire and fantasy. The slow, ponderous menace of 'Atom And Evil', to the magical 'Bible Black' and truly monstrous 'Double The Pian' brings back the hazy days of monolithic riffs, lazily arrogant as Iommi strums another sky shattering string, backed with Butler's booming bass and Appice's ground-chiselling drums. It's frightening in its almost playfulness, suggesting that Sabbath was not simply about the melancholy of Ozzy like many people have thought.

The militant plod of 'Follow The Tears' and strut of 'Rock And Roll Angel' feature all the hallmarks of classic Sabbath. Something special was going on here as the foursome knitted together and created this barbaric, metallic groundhog of a war machine for one last time. Now I can only hope that Ozzy puts aside his soap opera life and attempts one last quest for thunder with his original Sabbath band mates, because what Heaven And Hell have created, is at once modern, and a nod to the past, all the while casting a looming shadow over Ozzy's solo career, since 1993 and making him look rather silly. 'The Devil You Know' is the sound of modern doom. Superb cover art also.

8.5/10

Onslaught - Killing Peace (2007)

Holy moses...Onslaught, back in the day, were a very much below par thrash act who released a couple of records, all sounding different, with different vocals, to the extent that they were always basement level metal that couldn't even acquire cult status. I personally loved the demo-standard stuffiness of 'power From Hell', and 'The Force' was okay too as primal thrash goes. However, this monster, from 2007 has all the hallmarks of an undiscovered thrash classic, that reminds me heavily of Slayer's early works, particularly 'Show No Mercy' and 'Hell Awaits'. Not necessarily in the fury or even style, although there are a few Slayer-isms on offer here, but the general feel of this record brings back those days of black smoke and flying demons from the pits of Hell.

Vocally it's quite brutal, but clean, decisive, in the mix, with some furious and fast tracks, but not a blur to the extent of losing the listener in a wall of sound. 'Destroyer Of Worlds' has a slow build and turns into a scorcher whilst 'Pain' is my favourite cut, vicious in its approach. Strangely, this record reminds me of another even more obscure Brit thrash act, Hydra Vein, a band who I adored back in the '80s. Since 2007 everyone in the circle of metal has been talking about the thrash resurrection but it's great that the original boys are back in the fray and churning out, finally, quality metal to show the new kids how it's done. Respect top Onslaught and their newly found powers from Hell. Cool cover too.

7/10