Hurricane - Over The Edge (1988)

Sultry heavy rock fronted by epic tonsils - this is hairy chest metal, played by guys who are a dab hand at writing minor hits that rely on those lion roar vocals and smooching, Whitesnake-esque swagger. There's something very nice about all this, Hurricane aren't original at what they do, but they do it well, and the lyrics of 'We Are Strong' pretty much sum this befcake rock up, "We are strong, You and me, Keep on fighting, Never let it be..." You catch my drift ? 'Over The Edge' is a lush, albeit tame record, not too disimilar to House of Lords in its almost mundane pomp. Hurricane can't help but have intro's to a lot of their songs, enabling the listener to imagine stormy emotions before anothers emi-commercial riff comes in. It's not quite Heaven's Edge, but there's some fantastic guitars on plodder 'I'm On To You' (half decent 'na na na na' chorus), but the fact the vocalist ended up in Foreigner will give you an idea of what kinda band Hurricane are. Women only ? 6/10

Dark Wizard - Devil's Victim (1984)

This album wasn't the evil-fest I expected, maybe I was drawn in by the cover, but it's still a gem of as record that relies on mid-paced songs and semi-moody vocals to guide us through the dark. Straight-as-an-arrow metal that occasionally likes to pick up the pace, 'Big Typhoon' and the horror chug of 'Trip To Doom' provide the best moments, whereas 'Poisoned Whiskey' rattles along like a tepid Motorhead. Basement metal for collectors. 6/10

Scanner - Hypertrace (1988)

These German techno thrashers were on the Noise Records roster. The fantastic 'Hypertrace' was a concept album with sci-fi influences. It does sound like Helloween in places, particularly on the jovial chorus of a track like 'Across The Universe,' which features a cool riff, but for me the band are at their best on more uptempo rockers such as the speedy 'Terrion,' where vocalist Michael Knoblich comes into his own. Admittedly, some of the choruses leave me cold, and that's a shame because the song structures are clever and the musicianship extremely tight, in fact it's typical Euro metal to some extent, but it pales in comparison to a band like Rage. After a while Scanner grate on me. 6/10

Rock Vista - You Better Believe It (1986)

If you like female metal groups then this obscurity is one for you. Quite fiery in parts, especially the rather epic sounding vocals of Andrea Schwarz. Okay, so it's not Meldrum, this has a very melodic edge, but a track like 'The Tables Have Turned' is instant, some neat guitar work from Anca Graterol who throughout this mini-Lp delivers some hot riffs. 'Sound Of Your Love' is far more slushy, Barbara Schenker provides the synth backdrop, but fave track on the album is the simmering 'Sadistic Lover' which has a great riff and hushed, poppy chorus. Better than average if you ask me, kinda puts them old Lita Ford albums to shame. 6/10

Viva - What The Hell Is Going On ? (1981)

Is this really from 1981 ? I'm sorry, but when I hear 'White Snow' I just have to smash the place up, a pompous rocker of a track featuring the brilliant lyrics, "I need another bottle of booze, whiskey on the rocks so I am loose..." and let's not ignore that killer riff and keyboard effect. What a stonking metal track, and the vocals are killer too, German I'm guessing, but everything about this is attitude, sneer and oomph. I could harp on forever about these type of straight laced metal acts, all fist pumping and mega melody. I can't get enough of a track like 'Breakout' or the synth swept 'Screaming For Your Love.' Who the hell are these guys ? These guys are that good, and oh so very metal that I'd have to put this record alongside Tyrant's 'Too Late To Pray' as being 100% molten metal, even with those epic synth's this is masterfully obscure. Grab yourself a copy and set fire to your parents...and check out that cover! 8/10

Trance - Power Infusion (1983)

"Heavy metal queen...." roars the singer. Another Euro metal band that have produced a punchy affair of great melody and great driving metal. Great vocals, slightly gravelled and raw, yet ful of soul - 'Child Of Illusion' has a progressive feel about it and there's a great drum echo on the catchy 'Sensation.' This probably won't appeal to everyone, but it's classy metal nonetheless, a german band so obscurely cool that they wrote a song called 'Rockstar' a great, shuffling track that reminds me of Twisted Sister, especially in that vocal delivery. Cool cover too. 7/10

Saints Anger - Danger Metal (1985)

Blimey guv, this is a real headbanger of a record. I'm now wondering where Metallica got there album title 'St Anger' from ?! Mind you, I'd much rather listen to the fury of 'Danger Metal' because this is superb German metal with high pitched vocals which cut like a razor. Even today this album sounds fresh, great production and guitar work that early Metallica would be proud of and a real cool groove to the sound. I suppose this could be deemed classic metal, apart from the fact no-one has heard of it, but boy, it's just so tight, big on melody when you hear a track like the mid-tempo 'Highway' and the epic 'Megalomania' and devil horns to the fiery 'Crashing On Steel' with vocals from hell. Burning metal. 7/10

Pandemonium - The Kill (1989)

Another terrible album cover, but a sleeve that hides a decent metal album. I had to get used to the slight warble of the vocals, but overall Pandemonium are a solid, tight power metal band. 'Last Star' boasts a catchy riff and melodic vocal wehich reminds me of Exodus' Paul Baloff, whereas the bass-driven 'Cold Night' is a real riff monster. 'The Kill' has an uncanny ability to get its hooks into you, and the more one listens the more one will find themself enveloped by this record. 'The Kill' is a real grower, a dense sounding and melodic opus that deserved far greater recognition. Quite rare to see three brothers in a band, but give this a chance and Chris Resch's vocals will begin to stick, as will those huge riffs and melodies. Only minus being the cover of Golden Earring's Radar Love' - a god cover, but I'm just not a fan of cover versions. 'The Kill' is a pretty ferocious and catchy as hell record, one of metal's obscure classics. 8/10

Preyer - Terminator (1986)

This eight tracker is somewhat of an obscurity, Preyer being a raging, frothing, leather-clad Welsh power thrash act, the bastard offspring of Judas Priest no doubt. Sure, the singer in some of the old vids looks like keith from the famous children's entertainment duo 'Keith And Orville,' but musically this is beefcake metal that refuses to let up until the gates of Hell have been blown open. This is full on metal that parades around in bullet belts and spiked wristbands, the kind of molten fury that could draw blood from a stone. Smoking hots solos and riffs - hell, these guys even have a song called 'Rifferama' - and the type of vocal atatck where you expect the singer to take a breath at some point. Lyrically it's pretty cliched sort of stuff, but tracks like 'Street lethal' boast some of those most furious riffs I've ever heard for a relatively unknown band. This album got a deserved reissue in 2006, so if you can pick a copy up then do so, because this is smoking metal from the UK. 7/10

Dirty Blonde - Passion (1989)

This another one of those sleaze bands much forgotten and swept away in the grunge tide. However, whilst so many bands floundered without recognition, Dirty Blonde deserve another mention, especially the meatier vocal sneer of Jimmie St Jaimz who was an underrated star, the big hit of the album being the title track, which spawned a ratehr cliche video for Headnager's ball, even so, this band weren't your average weak and weary sleaze trolls. The guitars on the catchy title cut are killer, much respect to Kezzy's axework, and the heavy drum boom of Brad Williams. Other lost hits are the struttin' 'restless, Young & Wild' with its poppy edge and the bubblegum metal groove of 'Girls Nite Out' which plays out like a loose version of Crue. Again, St jaimz provides great, raw vocals for this record, and sure, the band can't help but make references to school ('2 Cool 4 School') which so many hair bands seemed to do back in the day - maybe it was their way of trying to appeal to those rebellious teenagers, but it's still a half decent anthem. Overall, not a bad lil' record that struts and swaggers more than most... 7/10

Angel Dust - To Dust You Will Decay (1988)

This is powerful German metal from the late '80s, at times it borders on thrash, especially when the band rise above a gallop - the title cut a prime example of the band in full sprint, raging with heavy guitars and melodic, epic vocals that hit the high notes. The guitars on this record are astounding, check out the riffs on 'Mr Inferno' and the band know how to slow the pace to great effect, 'Hold On' shows subtle touches but still killer axe work and magical lyrics which cast one away to far off mystical lands. Considering their talent, this band were still pretty much overlooked and yet I much prefer this cold steel attack to that produced by the likes of Helloween. Vocally Angel Dust are far stronger and musically more potent. This record occupies the same cold dark corner as Artch and their majestic 'Another Return...' opus, cracking stuff. 8/10

Hirax - Raging Violence (1985)

Considered a bit of an oddity this one, mainly due to that strange cover art. The mid '80s produced some fantastic and at times original thrash, Hirax made all the more original by the manic guitars of Owen and maniacal wails of Depena. The title cut is all over the place, incorporating a peculiar riff amidst the wayward drums and seemingly out of tune vocals which lead to the chorus screams. This is a real frenzy of an album that rarely chugs, but simply pulls the face of the listener into a heavy metal blender and tears it to pieces. Any band who has a song called 'Blitzkrieg Air Attack' has got to be mad, this is thrash from the asylum, a hyper and far more demented Overkill to some, played at crazy speed and dishing out the mayhem. There aren't many bands today who could come up with such a frenetic record, check out the crazy soloing on 'Executed' or the relentless 'Destroy.' Hirax sum up mid '80s thrash, but not many bands were faster. 7/10

Bitter End - Harsh Reality (1990)

Signed to Metal Blade Records, the little known Bitter End are a Washington thrash band who sound more like a bunch of UK thrashers. Maybe it's the production, maybe it's the fact that the vocals of Matt Fox are relatively weak, but despite being tight as a band, there's not enough here to make an impact. Thankfully a track like 'Harsh Realities' is more guitar than vocal, whereas 'Save Us' is straight thrash, lacking weight despite a twin guitar attack, but the major downfall of this record is the terrible 'funk metal' track 'Just Say Yes' where Fox attempts some style of choppy rap. Lyrically it is embarrassing, a complete mess of a track, goodness why so many thrash bands succumbed to such sickness, and it's no wonder Bitter End faded away, although it's fair to say that this record is mild at best and receives a very lukewarm reception from me. 4/10

King Diamond - Fatal Portrait (1986)

'Fatal...' is the debut album by the lord of creepiness King Diamond and his band of unmerry monks and ghouls who have carved a career out of theatrics. Without a doubt King Diamond is probably the only metalhead to continue with the horror theme on a successful basis, but I'm sure as hell that some people would've taken an age to get used to those high pitched cries of Mr Diamond, and there are some who find those shrill wails to uneasy on the ear. For me, King Diamond have always been what metal should always be about, those pure molten guitars, those Gothic atmospherics and haunting melody and vocal. 'Fatal...' would prove to be the start of something big for these guys, and whilst not as Satanic as Mercyful Fate, KD still conjure dark spirits and ectoplasm. 'Fatal...' offers us nine solid tracks which are drenched in Gothic grandeur and made all the more bone shuddering by Andy LaRocque's sublime guitars and those ground shaking drums of Mikkey Dee. KD have surfed the wave of mid '90s grunge and never once strayed from their horror-themed path, always attempting to create nightmarish plots and hideous characters amidst those metal screams. King Diamond as a vocalist is unique, although I originally found his style inaccessible, but such was the Hammer Horror style of subject that I found myself drawn into his theatre of terror. KD tell stories through their songs, almost as if a horror film is coming to life in the music, and creating such conceptual ideas is no easy task, but KD have made a career out of their Satanic tales. A perfect soundtrack to any night in by the glow of a full moon... 7.5/10

Lethal - Programmed (1990)

This is epic US power metal, high on melody yet full of power. I know little about these guys, but 'Programmed' was their debut opus and featured the soaring vocal talents of one Tom Malicoat and shredder Eric Cook (R.I.P.), who was accompanied by Dell Hull on guitar. Sound wise, Lethal live up to their name, playing a crystal clear and infectious style of power metal that reminds me of a hybrid of Queensryche and Crimson Glory, with elements of Priest along the way. Pick any track and you'll be more than fulfilled by the classy guitars and red hot musicianship in general. Shame these never guys got beyond a couple of records, and sadder still that founder member Eric Cook lost his life to cancer in August 2012. 7.5/10

Wolf Spider - Kingdom Of Paranoia (1990)

These thrasheads hail from Poland, and on this record I'm hearing a lot of Megadeth, those Euro vocals flitting between slightly awkward and a Mustaine sneer at times, until the vocalist reaches a higher pitch and then ends up a hybrid of Anthrax's Joey Belladonna and Nuclear Assault's John Connelly. The band play pretty well accomplished techno metal, a few chanted choruses and the occasional jarring chug, most certainly on a track like 'Black n Whites' which is a decent thrasher, as is the heavier 'Pain'which reminds me of a more clinical Nuclear Assault. 'Foxes,' despite its dodgy title is a complex thrasher featuring some excellent guitar work and disorientating drums, but these guys did very little to break into any of the major thrash divisions, but I'm all ears for anything slightly technical, and this has that type of vibe about it, Wolf Spider clearly being talented musicians. 7/10

Excalibur - One Strange Night (1990)

This is pretty standard UK melodic rock that offers little except a collection of mid-tempo rockers, but deserves einclusion considering some of the wastes of space I've included on this blog! 'Round And Round,' 'Running Scared,' all follow similar suit, half macho rockers with bolshy vocals and half-cocked guitars that drive the sound down the middle of a dark road without any real effect. These guys supported Saxon many aeons ago, which pretty much sums them up, because this is mediocre at best when one considers how many far better US bands there were at the time, and playing far better music. It's the sort of average album one coulod get bored of very quickly, only lighter tracks such as 'Carole Ann'lift the mood, but here is when the band stray into hair metal territory. It all passes by harmlessly, like so much British metal I'm afraid. 5.5/10

Deliverance - Weapons Of Our Warfare (1990)

Not to be confused with another, far more evil sounding band of the sdame name - these guys are Christian thrashers, but don't let their belief systems put you off, because this is crunching US thrash. If you like chugging riffs and heavy, moshing metal then 'Weapons...' will most certainly be to your liking. This record, the bands second, reminds me a lot of early Death Angel, particularly on the title track with its catchy hooks, whilst a song like 'Solitude' features some stunning drums and cutting riff, bringing to mind Anthrax in certain parts as well as Exodus, Testament etc. This is quite refreshing, and certainly not afraid to display subtle touches and great melody. 'Greetings of Death' meanwhile is the closest you'll hear a band of Christian nature, compete with Slayer, because this cut has 'Angel Of Death' et al written all over it. Okay, so this isn't original, but it's thrash in its purest form, and good it is too. 7/10

Black Task - Long After Midnight (1986)

This is one of the amateur sounding metal bands who have all the dark atmosphere's and cauldron stirring to somehow mask their inadequacy. It's another lost gem of a record that features almost a lordly style of vocal chant, above the weird effects and cosmis guitarsd which, a times border on thrash ('The Terminal Frost'), whilst on other occasions it's standard metal that has occasion to flair, 'Set To Explode' has all the dramatics of a pub band. This is all very basement desite some nice razor riffs, but the vocals do kind of ruin it, because whilst they attempt to spout as warrior chants, they seem out of time with the music, but speaking of the music, there really are a few strange experimentations here, such as whizzing keyboards and a few spaced out effects which make for an interesting listen. Terrible album cover. 5/10

Convict - Go Ahead...Make My Day (1985)

One glimpse at the cover and you'd be forgiven into thinking that this is a mighty power metal album. In some aspects it is, especially in those gravel vocals, but musically it lacks weight despite the attitude and imagery. These Canadian's only existed for this album, which is a shame because there are some good songs on here, particularly the basic plod of 'metal Warriors' with its cliched lyrics, and the mid-paced 'Bite The Hand...' Trouble is, the guitars and drums seem too much in the background, giving the album a rather watered down feel. A track like 'Don't Turn Away' exhibits itself like a mediocre '80s hard rock track, and I guess that's all Convict are. There's nothing going here in the sound that suggests pure metal, but if you like catchy heavy rock with deeper vocals then Convict might be your thing, especially if you hear a track like 'Evil Eyes' which has a darker edge. Apparently Convict were simply the side project of a chap named Gord Kirchin who, allegedly, doesn't like to talk about this record! 6.5/10

Excel - Split Image (1987)

Alongside D.R.I. and Dr Know, probably the coolest crossover band, I loved their 'The Joke's On You' opus, and this follows the same moshing theme. Some great songs here, given that streetwise edge and melody by Dan Clements choppy vocals. Excel followed in the footsteps of bands like Suicidal tendencies and Cryptic Slaughter, carving their own career of socially aware hardcore thrash. Excel probably lacked the weight of some of the other bands, but on a track like 'Sonic Decapitation' the rawness and attitude shines through whilst the title cut has a wicked catchy chug. These guys were teenagers when they puked out this stuff, and whilst it may not be the most complex music, it isn't meany to be, the record exists on self pride and anger, and you can guarantee that even when the experience is over you'll find those riffs stuck in your head. Excel, just like the already mentioned bands, never let you down, mixing style and punk attitude - the result? A record that leaves multicoloured bruises on the soul. Now, where's my skateboard... 7/10

Taipan - Breakout (1984)

Hard to believe that 1984 could sound so violent. Australia's Taipan would have been a tough act to follow if they'd made it. This EP is a riveting, rollicking, bruising metal experience - striaght to the heart like a metal arrow - this really does rock big time, just one of those pounding metal masterpiece's that froths at the mouth. Driving, crashing guitars, pure power vocals with oomph and pounding drums. There's nothing fancy here, just 100% attitude that exists on killer riff after killer riff. 'Tired Of You' is just pure magic, a ballsy rocker that sums up this EP. It's the sort of record one may hear once in their life if they are lucky, but findinga copy may prove difficult, but when you do manage to hear the chugging riff of a song like 'The Cellar' you have to jump on board. This is a solid ball of rock. 7.5/10

Lyin Rampant - Up And Cumin (1987)

C'mon...the band name might be pants but that's a cracker of an album title and a greater cover! Middle of the road metal yet once again, a record with charm, somehow anthemic, especially on a track like 'Kill Them All' with those background chants and catchy guitars. Vocally it's rather timid, and yet again, it wins me over...how many times can I fall for such obscure metal? I'm a sucker for this type of stuff, from the AC/DC style strut of 'Fantasy Girl' or the ballad 'Don't Walk Away,' the band nothing more than archetype rock with those crusty perms and dodgy attire. All pretty harmless, lacking fire but there's no doub that if you're mum had found the cover laying on the floor you'd have bene grounded for a week! 5.5/10

Axemaster - Death Before Dishonor (1990)

Frightening power/thrash metal with terrible production which somehow gives it a stuffy (literally!) charm. This is pure metal, if you like bands like Titan Force, Savatage-circa 'Dungeons...' then you'll love this. Every swirling solo and chugging riff sounds as if it's slaying dragons whilst the vocal attack is pure power metal warble, high pitched screams and guttural growls, and you just know that any band who has song titles like 'Deliver Us From Evil' is going to be good. Some would argue we've ehard it all before, but when it's played this good one cannot complain, this is real dungeon metal from another of those ill-fated, obscure bands. Christopher Michaels and Terry Wilson both provide vocals - the throaty attack so cavernous and thrilling especally when accompanied by a sky reaching solo or crash of stone drums. It's great to hear metal so epic, the track 'Axemaster' has a Venom-style ramble about it, the vocals a low gurgle over dark bass and tinny guitar lick. Great stuff. "The axemaster, now he can run but we are faster...", lyricsw probably written in a few secondds, and yet the primal clattering of Axemaster wins me over every time. 7.5/10

Titan Force - s/t/ (1989)

One of my favourite metal albums of the late '80s, this is quite a rarity, a classic slice of techno power thrash that combines the cold steel of bands like Fates Warning, Maiden, Helloween et al, combined with some truly mesmeric guitars, soaring vocals and immense melody. A track like 'Chase Your Dreams' should go down as one of metal's finest five minutes, a superb track boasting dazzling, technical guitar work, crisp, fresh and chest pounding vocals and an infectious hook. 'Blaze Of Glory,' (featuring a killer solo and hyper drum attack) 'New Age Rebels', 'Toll Of Pain,' et al, are all blazing metal tunes that drag you into the fire and leave you scolded for life. There si some stunning bass work on this record, Titan Force, despite their overtly yet plain metal monicker, were a band superior to most, and yet an outfit who never got their rewards. One only has to give a track like 'Wings Of Rage' one spin to appreciate the complex and white hot metal these guys churn out. This is real metal, a denim clad, fist pumping, burning hot cauldron of melody and killer musicianship. I hope you can track this down, because this will burn the place down. 8.5/10

Sorrow - Forgotten Sunrise (1991)

Here's a formidable record that slots itself nicely between late '80s death metal and early '90s doom. This is a crushing record that has the weight of the world on its shoulders and guttural growl that enables it to writhe from its many lair like some long forgotten serpent. Doom metal comes in many guises, a majority of bands too reliant on pot-smoking imagery, but Sorrow simply exist as an ashen monster, a mournful yet leadweight bone pummeller that rarely rises beyond a slug-like crawl, and yet to great effect. On tracks such as 'A Wasted Cry For Hope' these Americans effortlessly shift from lumbering doom to raging Floridian style death metal. 'Awaiting The Savior' ups the tempo, providing a big, buzzing wall of guitars whilst 'Eternally Forgotten' is classic death metal, made all the monstrous by the almost audible gurgles. This is a decent EP that doesn't need to resort to hyper drums and blurs to alienate the listener, instead it offers up a sound that bands sucha s Grave have mastered over the eyars with those drawn out riffs and grey, harsh vocals. Good stuff. 7/10

Crystal Pride - s/t (1985)

When I heard the rousing, rebellious screams of Young Heart Attack vocalist Jennifer Stephens a few years back, I felt as though my life was complete - here was a sexy yet fiery femme fatale who had a blisterings et of heavy metal pipes. Heavy metal has, over the years, baosted some great female vocalists, but often they were too sultry, but then I cam across the banshee wail of Susie Christensen, vocal queen of the little known Crystal Pride, an '80s metal band who rip the hairs off your chest and put lead in your pencil. This is a blistering attack of a record, an obscurity that pumps the veins and crushes the brain, a full frontal atatck lead by the glass shattering wails of Christensen, and the warrior guitars of Michael Lundberg and Christer Taimi. This is about as metal as it gets, whether in the form of mid tempo dragon slaying 'Evil Force' or searing hot 'Let You Go' with its strutting groove and high pitched vocal which brings to mind Miss Stephens, although this is several decades previous. I love straight forward molten metal, especially when the band in question is relatively unknown. Crystal Pride also have subtle touches too, the piano-led 'Flight Of Heart' simmers perfectly until two minutes in when the guitars explode. This is fantastic '80s metal...where are they now ? 8/10

Sinful - Gonna Raise Hell (1985)

The cover alone deserves a five start rating! This relatively obscure EP is a barn stormer of a record, a full throttle burning metal mini masterpiece. Fair tos ay that the vocals get a bit lost in the mix, but in general it's a straight up metal stomper, full of cliche but full of fiery heart too. Imagine a metallic mix of early Crue, Twisted Sister, W.A.S.P., Krokus, and even a bit of Journey on the melodic 'Teenage Overdose' with its catchy poppy riff courtesy of Jimmy Ambrose. Vocalist Dana Albert has melodic pipes, which at times seem a little fragile, and while the sound doesn't always live up to the dramatic cover, there is still a wholesome style of metal to grab on to. For instance, thee swirling guitars and effects on 'Midnite Sun' give the record a '70s style prog feel mixed with a bit of early Priest. Albert's vocals soar high on this rocker, qwhilst Rick Shafer's drums come to the fore on the thrashier 'Wasted Youth.' It's easy to see how metal fans could get lost in a record like this, because despite being a basic yet ballsy outing, once you've become bewitched by the cover, there's no escaping, and that's what old school metal is about. Sinful have a certain charm, so I give them a thumbs up for that. 7/10

Dave Lee Roth - Skyscraper (1988)

Despite featuring the guitar shredding talents of Steve Vai, Dave Lee Roth's 'Skyscraper' (like all of his albums in fact!), is one of those rather lightweight, heavily commercial "I'll do what I want" type of records, that features an atrocious copy of 'California Girls' and several more pompous, showy numbers perfect for the time, but not to the taste of every metal head. I was never a van Halen fan, so Roth as the archetype frontman does little for me. Steve Vai steals the show, plucking the strongs of Heaven on the sweeping 'Damn Good,' and cranking up the volume...well, only slightly on the dreamy, stardust sprinkled 'Hina' and moreso on 'Hot Dog And A Shake; with its funky jitters. All too goofy if you ask me, Roth revelling in his own lycra-stretched ego as Sheehan pumps that dizzy bass. Roth wears thin on me, rarely stepping into metal territory, instead churning out a summery pop-rock that irritates just as much, if not more, as Van Halen. Awful album cover too. 5/10

JetBoy - Feel The Shake (1988)

Big hair and AC/DC style riffs on this '80s sleaze record. The album rips straight from the start, the title track struts with an Angus Young inspired groove and those glammed up vocals coutesy of Mickey Finn. JetBoy boast the talent of ex-Hanoi bassist Sam Yaffa who struts all over this record amidst those cool, swanky riffs and solo's courtesy of Fernie Rod and Billy Rowe. It's pretty much minor league glam metal that likes to take inspiration from the likes of Hanoi Rocks, but it's quite rewarding too, from the mid tempo 'Make Some Noise' to the swashbuckling swagger of the poppy 'Fire In My Heart.' This isn't far removed from the bubblegum pop rock of Poison or Tigertailz, but sadly, like so many other bands of the era, it doesn't too enough to grab you by the balls. 6/10

Lee Aaron - Call Of The Wild (1985)

Lee Aaron was one of those heavy metal girls that adorned many a heavy metal fans wall. A lot of heavy metal kids probably weren't interested in her music, but instead drooled over her wet n' wild looks, same goes for Gypsy Queen, Lita Ford et al, but despite mostly negative press, these gals were hard rockers. 'Call Of The Wild' may contain the usual sultry innuendo and steamy imagery, but it's still a relatively heavy album, given more depth by some fantastic guitar work courtesy of John Albani who gives some real weight to tracks like opener 'Rock Me All Over' although some songs do succumb to too many keyboards, for instance, 'Runnin From The Fire,' despite Lee's fiery breath, has a touch of cheese about it, but the title track is a real groover, boasting a killer buzzing riff. A majority of the twelve (eleven if you own the vinyl)tracks on offer are pretty decent, and they all attempt to let their hair down, providing the listener with something far more wholesome. Hats off to drummer Jerry Mercy for some heavy drum work, and of course a big thanks to Lee Aaron for giving female metal balls. 7/10

Bonfire - Strike Ten (2001)

Germany's Bonfire have always been an incredibly consistent band, 'Strike Ten' being their eighth opus, and one that once again boasts so many astounding tracks. Forget hair metal cheesiness, their ballad 'I Need You' has to be one of the most beautiful tracks ever written, an acoustic tear jerker if ever there was one. Bonfire have so much soul, and yet power too, just check out the killer chug of 'Damn You,' truly immense, and then there's the swagger of 'Any Time You Cry,' and scarf waving anthem 'Southern Winds.' Very accomplished musically and great that bands of this ilk saw out the dreadful mid '90s, and greater still that they, even through age, have maintained a high standard of metal. 7/10

Tarantula - s/t (1987)

Is this THE worst metal abum cover of all time ? Who cares, because the guitar solo intro on the track 'Adamastor' could well be one of obscure metal's finest moment, leading us into a cavernous metal track that reaches int the darkest depths of the genre to provide us eager metalheads with a dose of deadly power thrash that even boasts some keyboard atmospherics to boot. This is a killer record, probably recorded in some ruinous castle, but a record that exhibits some wondrous musicianship and melody, 'Adamastor' rises above on every listen, a techno-fest of many moods that dazzles us with obscure vocals, and a gem of a bass player who, when combined with those killer solo's and raging drums, makes Tarantula an intriguing listen. 'Battle Of The Victory' is pure old schoolo metal with a creeped out effects-orientated intro that sounds as if it's been lifted from some weird sci-fi movie, but again the ear splitting guitar comes in, puncturing the atmosphere before rolling into an almost poppy riff of some absurd nature. Suddenly Tarantula are a progressive thrash act, creating jarring structures and odd melodies and by this point I'm wondering what's going on, but all the real metalhead's brave enough to stick with this oddity will no doubt find pleasure in the brooding 'Cry For The Spider' and the Gothic rumbling of 'Fear.' I'm not sure how well known these guys were in their native Portugal, but Tarantula are a very unusual 'thrash' band who, in 1987 ploughed the fields of obscurity, and built vamp there! 7/10

Claytown Troupe - Out There (1991)

I really don't understand why Bristol's Claytown Troupe didn't head into the '90s and end up at the fore front of British alterno rock. Considering how grunge and the likes of Pearl Jam stripped metal of its image, and yet somehow supplied countless people with dreary entertainment,I was shocked to find that Claytown Troupe, who were far more rewarding with than the dreary grunge invasion, only lasted two albums. They supported Pearl Jam in the UK, and enjoyed minor success with a couple of top 100 singles, but that's about as far as it goes. Strangely, these guys should've enjoyed some success, their Cult-like swagger was obviously way too cool for some, but when one consideres just how many 'alterno' metal bands bit the dust, I guess CT were just another victim of an ever changing scene. Even so, CT sold out the shows they played in the UK, vocalist Christian Riou could well have become a pin up for a generation, again, especially when you consier the type of bands the record companies were promoting and who the fans were liking. 'Out There' boasts a number of cool, uptempo tracks, but it seems, judging from some reviews that the Cult comparisons weighed them down, but for me these gusy could've replaced The Cult as Goth rock's new leaders when one consiers who dull The Cult became after 'Electric.' Riou does have a little bit of Astbuty in his vocals, especially on the shimmering 'Ways Of Love' with its infectious chorus, and the thump of 'Skybound' which features a cool sassy, sleazy riff but the track is more Soundgarden than Cult rip-off. Maybe Claytown Troupe couldn't make their minds up what they wanted to be, and because of that they ended up in no man's land, like so many of the early '90s 'metal' bands, crushed under the weight of grunge. Give me this over pearl Jam and Nirvana anyday. 8/10

Re-Animator - Condemned To Eternity (1990)

Easily Re-Animator's best offering, just plug yourself into the thrash battering ram that is 'Low Life' and succumb to those immense riffs and gnarled vocals. This is thrash in its purest form - straight from the British mould, exhibiting a slaightly basement style production which somehow enhances those crashing drums and furious guitars. 'Chain Of Command' has hints of Exodus, but although Re-Animator and the likes were not exatly original thrashers they had a certain endearing quality that separates them from today's mimick artists. British thrash never got a good deal and quickly faded despite the scene originally flourishing, but there's still tiem for these guys to come back and rul the scene again. Although Re-Animator were one of those bands who succumbed to comedy, 'Condemned...' is a weighty record, it's only real downfall being the wayward 'What The Funk?' which doesn't need to exist. Strong album though. File alongside Slammer, D.A.M. et al. 6.5/10

Toranaga - God's Gift (1990)

UK thrash never got its due - and yet the scene was a lively one back in the late '80s and early '90s, the country produced some quality bands such as Sabbat, Slammer, and Toranaga. 'God's Gift' was one of a handful of records the band released, enabling them to gain a decent reputation, even if their sound, although solid, wasn't anything out of the ordinary, and maybe that was the problem. For me, it was only Sabbat who had their own sound, Toranaga and the likes of Slammer paled in comparison to the mighty US bands, particularly those bay Area chuggers, but that's not to say that albums like 'God's Gift' were poor, far from it. One only has to hear the plodding intro of 'The Shrine' to understand the potential here, the cut then reaches a fair pace, reminding one of early Overkill. Mind you, the band are more than comfortable to rattle out a few doom-laden riffs too, check out the graven slab of 'Hammer To The Skull' which then picks up pace, providing great melody, especially in those vocals and the heavy bass. Nine tracks on offer here, my personal favourite being the chugging 'Execution'and the epic sounding 'Execution.' Toranaga's 'God's Gift' may not be the best produced album in the world, and it may lack identity, but if one gives this sort of UK thrash a few spins, you'll be pleasantly surprised at how good it is. 'God's Gift' most certainly equals some of the early Overkill and Exodus efforts and a lot of this UK thrash is often found going cheap onthe internet. 7.5/10

Omen - Nightmares (1987)

This six track EP showcases more of Omen's potency (and a live cover of AC/DC's 'Whole Lotta Rosie' to boot), an abrasive trip through thrash heaven that boasts some rollicking metal, such as the thundering title track, and the speed metal face ripper 'Termination' featuring the hilarious lyrics, 'Cyborg lust...program to terminate.' Kenny Powell is a nifty thrash guitarist but it's Kimball's sneering vocals which raise the sound above the mediocre, with this beefy assault Omen exist more of a power thrash act rather than high speed runaway train. 'Dragon's Breath,' and moreso, 'Bounty Hunter' are bone shuddering metal stompers that mix pace and power. It's fair to say you could never go wrong with these type of bands. 7/10

Sieges Even - Steps (1990)

Okay headbangers, try getting your curly locks around this muddled mess of orgasmically complex metal. This sort of stuff should carry a warning - not to be listened to by those expecting catchy, straight forward melodies. This may not be as alienating as the giddy technology of Watchtower, but this is dazzling progressive rock that bubbles, festers and jolts more times than an electric chair victim. How can we pin this down for a description ? Well, it's nigh on impossible because it is so complex, it's no wodner bands like Cynic and Dream theatre exist, and this jumbled box of tricks is up there with them. Although relatively dreamy, Sieges Even are also bewildering in their approach, the bass floats, twists and funks it up yet seems seemingly out of time with thye elusive guitars which steer away from the awkward, inconsistent drums to produce and almost Mr Bungle-esque, jazzed up mish-mash of sounds, and let's not even talk about the vocals. Surem they are crystal clear, but they too skip and hop like an electrocuted bird on a hot wire, never settling in one place. Play a track like 'Disintegration Of Lasting Hope' as many times as you want, but it'll fry the senses and disfigure the ears in its chaotic yet somehow orderly enius. Some prog fans will compare these disjointed soundscapes to the likes of Rush, but all I can really say for certain is that a track like 'Apotheosis' is almost within comparison. You've got more chance of headbanging to Britney Spears than this, because I guarantee that after giving 'Steps' a few spins, your head won't stop spinning and your bones will feel like they've been twisted. A superb record, for those who are happy to mix the jarring assault of Cynic, Mr Bungle, Rush, Dream Theatre, Watchtower, Atheist et al. Now, where are those headache tablets... 8/10

White Lion - Fight To Survive (1985)

White Lion were so much more than an '80s hair metal band, 'Fight To Survive' is a complex hard rock record made all the more enigmatic and driving by the stunning guitar work of Vito Brata who was one of the '80s most accomplished guitarists. His solo's and riffs spatter the record, which is caressed by Tramp's soulful vocal croon, but this isn't just hair rock - 'All Burn In Hell' is a searing hot track that exhibits the mentioned guitar performance of Bratta. The band somehow manage to combine lush balladesque music with exceptional and weighty guitar licks that separate the men from the boys. A majority of bands, if capable of writing a track like 'All The Fallen Men' would in no way be able to construct such monumentous melodies as Bratta chugs away, time and time again producing high quality metal. 'Cherokee' follows suit with more staggering guitars as Tramp swoons over the solos. Extremely underated band, especially when one considers how many people would describe the likes of Poison, and Warrant as true '80s metal, but White Lion were leagues ahead as far as songwriting. 7.5/10

Collision - s/t (1992)

What a cool, funky and refreshing little record this was. Collision were big on the grooves, offering up a strong Zeppish, swaggering strut of no real identity just big and bold songs with a soulful vocal delivery. Hard to describe this record even though it doesn't rely on silly gimmicks to get through, but all I can say is that a track like 'Creepin' stinks of that Kik Tracee style of funk, a real gem of a track with a wondrous riff that you could actually dance to. This is a helluva powerhouse trio who have somehow written tracks bound for stadiums, so ballsy and massive sounding, truly funky, just check out the swirling dynamics of 'Chains,' wow, this band should be huge, and the fact that vocal god Nik Chinboukas provides the killer guitars too, only enhances their reputation, but this is some of the grooviest alterno metal I've heard. Another plus is that whilst they know how to write an unusual tune, there is a weight to the whole affair as the band cross a '70s strut with a modern, metallic shine, showing how funk metal should really be played. Vitureira is one cool bass slapper, 'Maximum Respect' his defining moment, the band crushing Chili Peppers in one great iron fist as they cavort and flex, cruising through some truly monstrous tracks such as 'Who Do You Love' which is one half Prince, another half Zepp and then a Mother Love Bone glittery edge to the soul. I'm not sure how many records these guys sold, but I can't understand why such godawful bands like Scat Opera, Ignorance, Scatterbrain et al were classed as funk metal, and yet all the while Collision were sitting in the shadows and yet the creators of such a mammoth record, a true steaming funk metal masterpeice that provides for a dazzling experience. 9/10

Company Of Wolves - s/t (1990)

There's alot about Company Of Wolves that I like. If you've ever heard the catchy, piano led boozer 'St Jane's Infirmary' you'll see what I mean - it explores the usual route of rock bands who've listened to too much Faces/Stones and eventually Black Crowes. There's a cool twang about this though, a strong bluesy feel with Conte's cool sleazy guitar, the album never really rises above a lazy sway but there's a degree of elegance in the smooth vocals of Kyf Brewer. I wouldn't usually fall for this melodic, at times poppy rock, a track like 'The Distance' reminds me of the Stones now, a very Americanized feel to proceedings, 'I Don't Wanna Be Loved' doesn't really change the shape of the album either, but there's just something soothing and accomplished about this no thrills rock. Just another of those bands with promise who were screwed by grunge fever, but I'm pretty sure you can pick this album cheap somewhere, and it wouldn't be the worst few quid you've spent. 6/10

Pain - Insanity (1986)

Any band who has a song called 'It's Raining Blood' must be good right ? Germany's Pain (rather bland band name!) can be excellent at times, churning out cold as steel power/thrash metal that enabled them to join the Noise Records roster. There's a lot of melody here, particularly on the mentioned '...Raining Blood,' Pain have a slightly awkward sounding vocal delivery, part gruff, part who cares!, but some superb guitar work especially on the faster 'Out For Tonight' which has a classic metal gallop whilst 'Heavy Metal Warrior' doesn't break any musical boundaries, being a typical '80s metal rager full of cliche. Nice to pic up for a few quid, but after a few spins it does get rather tiresome, but there are moments of note which make it one of those little gems. 6.5/10

Revelation - Salvations Answer (1991)

I tell you what, late '80s and more so, early '90s doom metal was far cooler than the scene today. Now it seems as if every band is intent on smokin' so much weed to inspire their lyrics, or ape Black Sabbath, but for me the old, oaken scene with the likes of early Cathedral, Sevenchurch, Winter, Seance, Stillborn, and Revelation was much healthier. Revelation were pretty slo-mo but not to the extent of dull, instead, this elephentine trio churn out stark, but not overly depressing doom metal that doesn't rely on gimmick, instead it exists as a plodding behemoth with clear vocals that rarely ooze beyond a whisper. When the band do get uptempo ('Infinite Nothingness'), it's not he most tuneful, especially in the vocals but the album sports some nice riffing, check out the cool grey groove on 'Long After Midnight' and the toll of 'Lost Innocence.' Revelation released a batch of albums, but some may find 'Salvations...' rather tedious and not the answer they were looking for, but doom metal comes in many guises. 6.5/10

Lord Tracy - Deaf Gods Of Babylon (1989)

When I first saw this record in the stores I thought it was some kind of sleaze record, akin to LA Guns, but when it hit the turntable I was pleasantly surprised. Lord Tracy play a crossover thrash...or so I thought, a manic, energetic, frantic assault on thes enses that can be summed up by the seemingly goofy chants of 'Piranha' with its almost zany vocal chants, but the guitars are hot, a raging speed metal earthquake, and yet 'East Coast Rose' starts like some typical '80s sleaze metal anthem, bringing to mind LA Guns, and at this point I'm scratching my head, wondering if this band are just party metal without boundaries. 'Out With The Boys' is another fiery rocker, and by the time I'm hearing 'In Your Eyes' i'm finally getting a bit of stability, deciding that these guys are very straight forward '80s metal but with plenty of macho flexing, but goodness knows where thrash workout 'Piranha' came from, because Lord Tracy are like a looser, more frenetic relative of Ugly Kid Joe. Crazy, sweaty and typically hair metal by the time you get to 'Foolish Love.' So then, far removed from thrash, and just good old crotch grabbing rock after all. 5.5/10

Warp Drive - Gimme Gimme (1989)

Nothing spectacular here, just a half-cocked slab of middle of the road hair metal. Opener has a Def Leppard style feel, especially with those chanted backing vocals whilst mainman Mark Woerpel has a rather soulful set of pipes. The band aren't afraid to get funky, 'Moments Away' has a bubbly bass, courtesy of Cary Kaylan, but there's nothing here that grabs you, it's all those layered, almost soft choruses and a sound that never rises above a casual workout. The keybboard laced 'Eyes On You' sees the guitars hot up slightly, but it's so middle of the road, and so poppy at times that I'm waiting in anticipation for the bark, let alone the bite, but again we're treated to another slushy and light rocker in the form of 'Rock The Boat' which rarely exists as a whimper. This is a fluffy 'metal' record, and I'm unsure who would have bought this, and you're probably wondering why I've included it - well, I don't really know to be honest. 4/10

Crematory - Denial (1992)

I recently saw a copy of this go on Ebay, on vinyl and sell for over £70!! All that for a death metal record. I personally wouldn't pay that, but this is a very good slab of Swedish death metal, the sort of band who most certainly didn't hit the headlines like their fellow countrymen Entombed did. This is far more basic death meta, reminding me of Unleashed, Sinister, Grave in its attacking prowess, all very dense in its guitar sound and guttural vocally but not a lot here to distinguish it from other death metal acts. This has a strong old school mid-tempo feel to it at times, particularly on the title track and also on 'Chunks Of Flesh' which admirably shifts between speed - one moment a deep, growling groove then speeded up but thankfully not hyper fast to the point of a lack of comprehension. When the band do slip into hyper mode, they still maintain a level of control - 'Into Celephais' a prime example of this - but 'Denial' is very typical of its era, and whilst quite a rarity on vinyl, it doesn't really do enough to stand out from the maddening crowd. 6.5/10

Jezebelle - Bad Attitude (1990)

These queens of the damned sure know how to rock - in fact Zaz Richards' riff on 'No Mercy' is absolute killer, a real swaggering yet crushing groove that deserves a better vocalist, because H. Stewart, although having a fair set of lungs can be out of tune with her hearty roar. This is still a noisy hard rock/metal record with bite, ''Leave Me Alone' sounds like a metallic Blondie with its vocal delivery and heavy groove, but I know so little about these gals, but was rather a tad surprise at the display of weight here, no pussy-footin' around like Vixen, this has a lot of attitude and denim bravado, although isn't a patch on the monster that was Meldrum. 6/10

Poison - Native Tongue (1993)

Probably my favourite Poson album, a little less glam (especially with the early '90s being taken over my grunge) but certainly more funk, the band given a whole new freedom now that Richie Kotzen is on the lead instead of C.C. Deville. 'The Scream' is a prime example of a band flourishing, fitting in with the times, this is an infectious cut featuring some excellent guitaring and Rockett's impressive drum work, a serious groove going on here, whilst '7 Days Over You' slows the mood, drifting as a more soulful and bluesy slow burner that leads into some fine guitar work and piano tinkles, Michaels on song with that distinctive drool. Poison are no longer that alleged no brain hair metal band, suddenly, with smooching songs such as 'Theatre Of The Soul' and the bass driven 'Blind Faith', they display a depth and solidarity that enables them to ride out of the glam rock trend to becoming a mature rock band. Kotzen's guitar sound gives the band a more dynamic edge, just check out the chunky intro to 'Bring It Home,' and wonder if you're hearing the same band who gave you 'Unskinny Bop.' In 1993 Poison sit alongside White Lion as serious hard rock songwriters. 7/10

Shameless - Backstreet Anthems (1999)

Pure bubblegum pop/sleaze fronted by Steve Summers who once led Pretty Boy Floyd, and he's also joined by Floyd's Kristy Majors on guitar. Highly infectious - like an STD - Shameless play an almost sickly style of sweet glam, made all the more sugary by Summers' almost gragile yelps which just about manage to straddle those candy coloured riffs. 'Talk To Me' has a nice saxophone to interupt the guitar groove, whilst 'U R The One' has a hair metal twang in the guitar, a more sultry episode, whilst 'Just 1 Nite' ups the anti a little, delivered as a more shrill groover with poppy female backing vocals and plenty of "Ooooohhhs" on that chorus. All pretty harmless and more suited to the late '80s, but great to see the guys still rocking. Terrible album cover though! 5.5/10

Bang Gang - Love Sells.. (1990)

"Pedal to the metal...", wahey, what a lyric. This is bubblegum sleaze that brings together the leathery sneer of Pretty Boy Floyd and the more scratchy Faster Pussycat, especially in those catty vocals. All rather nice if you ask me,some cool pop-tinged riffs and choruses, 'Young & The Restless' is fairly lightweight rock with a decent guitar sound but I am really liking those vocals which have a bit of spit about them, and how about that killer riff on 'You make The Beat Go On.' For an obscurity this is a solid sleaze record, one that no doubt didn't get any type of promotion and would have been destroyed by the weighty opposition, and surely not to be confused with a modern electronica band of the same name ? 6.5/10