Trash - Watch Out (1984)

Well, the guys look pretty serious on the cover, and it's very European, but it harbours quite a groove. That opening cut is pretty full-on, and whilst slightly out of tune, vocalist Tony Roy Taylor is quite an imposing figure. Kinda classic hard rock mixed with a hint of sleaze and leathery pout. Reminds of Scorpions' Klaus Meine in the vocal department although by track four, albeit a decent rendition of Lou Reed's 'Vicious', I'm finding it a bit grating, simple as it doesn't go anywhere. Sure, there are bands, i.e. Riot, who can provide quality rock throughout without ever doing anything seemingly drastic, but Trash just lack that special something. Sure, 'Born To Be On The Top' is a pure rock 'n' roll anthem, and the title cut embeds itself in you like a chain to the face. I dunno, maybe I need to listen to this more in the dark, because for all of its effort and rolling grooves, there's something plain about it. Maybe I'm just not in the mood, but it's still worth a listen or two.

6.5/10

Mortal Sin - Mayhemic Destruction (1987)

I love the album cover, even if it's as predictable as the journey within. Admittedly, these were the kind of thrash records I existed on as a teenager. Solid riffs, often mid-paced, from the drum laden thud of opening instrumental 'The Curse', pretty formulaic, but I prefer 'Mayhemic...' to the more polished 'Face of Despair'. Looking back, I don't think there was such a thing as a corny lyric, because so many bands were aiming for the same atmospheres and imaginings. 'Women In Leather' is not the greatest thrash title, especially when you consider what bands such as Metallica and Slayer were thrashing out at the time. But again, I'll defend this kind of thrash, because its robust, its a healthy diet and intoxicating in its production because although it lacks originality, I simply find it endearing.

Australian thrash never got the credit it deserved but this sonic assault wouldn't be uncomfortable alongside the likes of Testament, Exodus and the likes. A relatively short record at eight tracks, again, this was the formula back in the day, and often hiding behind an artistic cover. 'Blood, Death, Hatred', 'Mortal Laughter' and the title cut follow a familiar vein, but it works for me. i don't think a majority of thrash dates, maybe it's because I was there to appreciate at the time as a big scene, but I like to think that bands like Mortal Sin were better than given credit for. Whilst they never had it in them to write a 'Reign In Blood' or 'Master Of Puppets', Mortal Sin still caused a reasonable level of ear destruction!

7/10

Electric Angels - Electric Angels (1990)

This kinda boozy, floozy retro rock 'n' roll is a touchy subject with me. I adore the Faces, Rolling Stones, etc, but it only works occasionally when replicated, i.e. Black Crowes, and quite a few British acts. Electric Angels rely too much on the thorny imitation, with top-hats perched on scruffy heads, paisley scarves and drunken anthems, it's all been done before, and so much better. 'I Believe' is okay, but by the time 'Rattlesnake Kisses' attempts to strut, but instead stumbles, it's a mess of a record. Maybe, just maybe these guys are authentic alley cats, but Hanoi Rocks, New York Dolls, did it far better, and I just can''t hear another sleazy bar stool number in ode to whiskey, cigarettes and lost love.

'True Love And Other Fairy Tales' almost crawls across the line as a reputable dealer in tattooed ecstasy, but nope, it might as well be Poison's 'Every Rose Has Its Thorn'. The Quireboys did a similar bar room brawl, but I just don't think these guys have a rock 'n' roll bone in their bodies. Sure, ya can dress up like Keith Richards and try to sound rusty in the vocal pipes, and getting Bolan and Bowie producer Tony Visconti in shoulda worked some magic. However, Electric Angels, who probably took ten seconds to think of their band name, lean on each other like beer buddies, but I just think there's too much water in the whiskey for yet another band of this ilk to work.

5/10

Roxx Gang - Things You've Never Done Before (1989)

I probably shouldn't like this record as much as I do. Back in the late '80s I may well have scoffed at such leather-clad and lispticked girly boys. However, whilst I expected this to be a lightweight and plastic sounding foray into glitter glam, I was totally wrong. Okay, it's not 'Too Fast For Love', but there's alot of grit here, especially in the riffs of Taylor and Hayes. In fact, Roxx Gang are a pretty decent looking bunch in a once saturated sleaze rock market which mainly comprised of huge hair, lots of make-up but little talent. 'Things You've...' has a darker side to its glam-slam thank you mam scenario's.

The darker side is boosted moreso by the drool of Kevin Steele who flits somewhere between AC/DC's Bon Scott and Faster Pussycat's Taime Downe. Big anthems and dirty licks don't elude here, the band seem to rather effortlessly compile a collection of pretty nifty sleaze rock stompers, all dealt with in an almost lazy grime. 'Scratch My Back' and the slower 'No Easy Way Out' will hook their claws in to your head, but this isn't a case of cliche and hairspray delight. 'Race With The Devil' burns up the road, 'Red Rose' is a slo-burning sexual gothic grind, but there's no corniness here, in fact, the album is bereft of fakery and cheese despite what you might immediately think when you read titles such as 'Too Cool For School' or 'Need Your Sex'.

7/10

Accept - restless & Wild (1982)

These German metallers didn't start off too good but by album four they were putting out a noise which all metallers back in the day would've craved. Imagine AC/DC meeting a volcano, and you'd have some idea of Accept's style of rock 'n' roll metal. 'Balls To The wall' was a very classy follow-up, but the dirt, grime and punishment dished out by 'Restless...' enables it a points victory. More than solid, straight from the soul and simply raging like a wild beast. Udo's vocal attack is fiery to say the least, the grooves are huge, the musicianship tight and inspiring metallers across Europe. 'Fast As A Shark', 'Shake Your Heads', 'Flash Rockin Man'...flames are burning bright in the darkness of the metal vacuum. Accept remain a strong act in the field, constantly producing fine metal, but during the early '80s when Satan beckoned, these German rockers pulled no punches. they may not have had the image of some bands, but their craft was admired, and their ability to write headbanging anthem one after another in such a stylish and hammering way, has kept them in good stead ever since.

Of course, even if bands of this ilk are able to continue to produce the goods, then great, but us traditionalists will always look back at the good old days and point out such monumental recordings which acted as guiding lights of the genre.

8/10

Fates Warning - The Spectre Within (1985)

Very good album for its time, and even today, Fates Warning were lumped in with the thrash lads, but what this band do actually do is write progressive metal. Think of a mix of Queensryche, Maiden, Priest, Rush, with a thrashy edge - huge cult act, although sales certainly didn't clock up for this type of techno-metal. Often alienating for your average metalhead, soaring vocals, cleverly constructed tracks, riffs and solo's all over the place, kinda like sitting in a dark room of cold steel walls. To some this is bewildering, perplexing yet brilliant..others may find it uneventful, self-indulgent and tricky. I'm not sure where I stand, it's not got the appeal of say Watchtower or Cynic, and I've never been a fan of Rush, Queensryche etc, but like Progressive Rock in the late '60s and early '70s, Prog' Metal is an acquired taste, but if you can sit through the twelve-minute 'Epitaph' then maybe this is for you. For me, I'm always searching for sex or Satan on a record.

6.5/10

Voivod - Nothingface (1989)

After the strange plateau of 'Dimension Hatross' comes another slice of Voivodian freakiness. 'Nothingface' continues in the vein of the previous record, the inclusion of Pink Floy's 'Astronomy...', an inkling as to what world's these band are aiming to conquer. How Voivod have evolved is truly incredible, their punky brash thrash now morphing into a weird psych machine. The clattering, jerking groove of 'Unknown Knows' has a funky flavour, and the robotic spasms of of the title cut will leave the headbangers retiring to their bedrooms defeated. Immense, cutting, shifting awkwardness, making Voivod one of metal's most original acts of violence, easily able to create bizarre soundscapes and concepts which in our reality have no right to exist.

'X-Ray' is film noir meets techno suspense, these guys were alterno-metal even before Faith No More decided to rip up the rule book. Soaring choruses portraying purple clouds of Lovecraftian monstrosity. Voivod, one moment punky, the next funky with a blend of '60s surrealism, and that shuddering bass of Blacky still evident as Away patters the skins. If you were there back in the thrash days, you'd appreciate Voivod's alarming progression...no such form could stand still or remain within a genre, but in doing so they've constructed a weird planet for themself, and although many have attempted to take the ride, it remains the most awkward of journeys for those not in the Voivid bubble. It must be said also that Voivod boast possibly the best album covers in metal...created of course but drummer Away.

8/10