Deliverance - Devil's Meat (1987)

From some dark vault the UK's Deliverance emerged with their dingy basement metal sound which, if you can still track it down today, is about as cult as it gets, finding a niche somewhere between genuine coffin-rock and basement doom. Read any review of this obscure band and you'll hear of a genuine interest, to the extent that many fans and admirers truly believe that such an act were genuinely scary in their approach. 'Devil's Meat' is a strange record, one that brings back the halcyon days of satanic metal, whether it's played for real is a question that remains unanswered, but this is spooky stuff, bathed in an imagery most 16-year olds would've craved back in the '80s.

Legend has it that the guys behind this creepy, graveyard sound were in fact a bunch of geeky-student types, you only have to read the odd thanks list when they speak of their gratitude to their 'PCs', to determine as to whether this is the real deal, but whatever the case, Deliverance are simply a strange bunch who churned out a very short yet mystical career, that any true metal head should seek out. Unfortunately, the bands records are not exactly easy to find, and are best purchased on vinyl, just check out the sleeve of this record for pure heavy metal Armageddon!



8/10

Morbid Angel - Blessed Are The Sick (1991)

A classic death metal record, twisted riffs and classical metal combined with Vincent's gruff satanic vocals and a blast-beat cauldron, a devilish intensity that never lets up from beginning to end, making 'Blessed...' are far more serious and sinister experience when compared to 'Altars...'. At times this is scary stuff, even the instrumental tracks such as 'Desolate Ways' make for harsh hearing as the band cruise through a vile assembly of manic death metal opera's, to form one the genre's most defining records.

Morbid Angel have always had that swaggering arrogance to walk hand in hand with their meaty, monstrous sound, and this album stands proudly as a true great within its chosen field. The guitar work of Azagthoth is at one mesmerising as well as hellish, the production bombastic and layered, as the band shift at a rate of knots through various complex passages mixed with intense, grinding noise.

If you're a real death metal fan then this is a must have. It's unlikely to ever sound dated, just check out the warped blitz of 'Fall From Grace', because although some bands got away with the gore/horror topics, Morbid Angel were far more busy trawling the depths of Hell for this abomination. Spine-wrenching stuff, and as black as any black metal record.

8.5/10

Jane's Addiction - Nothing's Shocking (1988)

Geffen may have made their millions out of big hit bands such as Nirvana and Guns 'n' Roses, but alongside the bitter Warrior Soul, Jane's addiction were one of the labels bravest signings, a hugely successful cult band that signified all that was right with alternative metal during their reign. Whilst there may have been hordes of pathetic imitation bands, poor funk-metal combo's and irritating groups attempting weirdness, Jane's Addiction, just like Faith No More, warrior Soul, Last Crack and I Love You just had that special something, but were only one of a few bands, including Faith No More, to rise above the oppressive scene at the time.

This is the band's second record, a wonderful, strange, sweeping and eerie opus of funky grunge, seedy rock, art gloom and twisted, sexual anarchy, mainly in the form of twiggy frontman Perry Farrell, flanked by his dandy army of glam punks and drop-outs, who when fused together somehow came up with this stomping and wildly unpredictable work.

There's no real bracket to put this band in, the music, always incredibly catchy and accessible is yet still so distant, whether it's in the form of jazz-funk cavorting of 'Standing In The Shower Thinking' and 'Idiots Rule', or the breathtaking wheeze of 'Summerime Rolls', there's no pin-pointing what lurks behind the bands idea or concept except to say that it's a myriad of stark angels, perverse love triangles, brooding paranoia and drug-induced psychosis, yet it never gets angry or dirty, but remains a hazy layer in the mind, despite occasionally being a frenetic noise, this always remains a freakish pleasure, pulling in an audience from wherever.

'Nothings Shocking' DID shock when it hit the racks, the record wrapped in a rubbery black sleeve hiding the nude, Siamese twin sculpture of the real cover within, but look beyond the facade and explore the truly hidden depths of this record and you'll find a wonderfully intelligent and at times awkward record that remains one of rocks most dazzling yet still underrated pieces of work.

forget the money-makers on Geffen's roster, it was always this kind of rock 'n' roll that the kids craved most.

8.5/10

Sodom - Persecution Mania (1987)

Rattling German death-speed, kinda like a cross between basement Slayer and a tinny Motorhead, nothing dazzling, just pure '80s thrash noise, puking holocaustic visions amongst a clattering of Voivod-esque riffs and grim vocals almost playing the black metal sickness. 'Iron Fist', of Motorhead fame makes a smoke-filled entrance alongside other riotous offerings such as the stormy title cut and 'Bombenhagel', all lacking in any real thrill but I was loving it as a teenager, and couldn't wait for the next apocalyptic yarn to burst my ear drums.

I've always liked Sodom and their straight down the line cacophonous thrash assaults, but this is strictly for the metal head seeking something more than hair rock.

7.5/10

Extreme - II Pornograffitti (1990)

A rather sickly sweet record that at times will have you reaching for the sick bucket, but during more blessed times you'll be admiring yet possibly with reluctance. Extreme irritate with the pumping 'Get The Funk Out', vocalist Gary Cherone attempting to become the next funk lord but coming across as a bad imitation of Mr Kiedis from the Peppers.

This is a strange record, the bands second, an overly long yet bombastic affair that propelled the band to great heights with their solid brand of rock that wasn't cheesy enough to fit into the hair metal bracket, but instead sweep up a huge audience by way of sweeping ballads, some real rock out numbers and the occasional chart hit, but there's a great deal of diversity on here even if I'm not so sure as to who the band think they are or if this is some kind of perfectly natural sound, or something manufactured, but whatever the case, there is almost a feel of stadium super-stardom here,some real pop gems on offer sitting in-between one or two unexpected crunchers, somehow coming up trumps but leaving me bemused, because 'Porno...' lacks the mysticism of say a Jane's Addiction, the streetwise grit of Warrior Soul and certainly are no match for the scary schizophrenia of Faith No More, but somehow Extreme bridge that gap between the alternative and the mainstream but not once are they able to become a cool cult act, because when you hear the slow movers on offer here, especially 'Hole Hearted', 'Song For Love' and mega hit 'More Than Words', you'll want to cringe but probably find yourself singing along instead, knowing full well that it's a lot more credible than Mr. Big, and the dynamics of the band make for a real potent fusion of soulful rock and colour-spattered metal.

Extreme really had something, and it made for bizarre listening because through all its mainstream qualities and faceless pomp, 'Porno..' really was, and still is a good rock record.

8/10

Corrosion Of Conformity - Deliverance (1994)

Three years on from the superb 'Blind' and guitarist Pepper Keenan has taken on the vocal duties, and boy, what a record this turned out to be. C.O.C. were always a cult band, but around this time they could have been something so much more, and were even nominated for a Grammy, which, in the U.S. is the BIG time. However, whilst C.O.C. never succumbed to the mighty dollar, the potential was always there for them to be the most amazing Sabbath/Metallica offspring, and on 'Deliverance' the band delivered like no other at the time, putting the weight and groove back into metal yet still with two feet firmly on the dusty ground. This record was a true elephantine experience, combining monster riffs with some superb boogie-electro rock, not heard since the days of Mordred's streetwise shuffle. Keenan is far more an elastic frontman than Agell ever was, and 'Vote With A Bullet' from 'Blind' was just a hint at what was to come.

C.O.C. remain one of the only truly soulful bands, maintaining a rare genuine groove that seeps from their sound whether they are burning the rubber on something as rowdy as 'My Grain', or something so blissful as retro heavenly 'Albatross', and check out that Thin Lizzy vibe on 'Clean My Wounds' with its funky jive.

'Deliverance' is an immense record that put C.O.C. in a class of their own, although the debut efforts of Machine Head and Fear Factory were setting a pace also, but if you, at that time, or even now, are looking for something to fill that gap between early Metallica and Trouble then look no further than this monster.

8.5/10

Saigon Kick - Water (1993)

By some sick twist of ill fate, the swirling, swooning Matt Kramer is dumped, and Scott Bieler takes over the reigns of the band (his band!?), driving a huge nail in the coffin of this great band, despite there being some real moments of note on this lush record.

'Water' is the sound of a band leaning away from the chunkier moments of the first two records, gliding effortlessly into some new wave rock bravado yet lacking any real meat or attitude to go the distance. This isn't a band washed up but more a band literally watered down as the title so adequately suggests. 'Water' is at times sweeping, pensive and breezy, yet rarely does it surprise like the first two records which so simply swaggered one minute, and the next tugged the heartstrings with a caressing balled, but this record has some sweet pockets, but it's a little too lightweight, Bieler's vocals a rather weak bleat in the face of Kramer's diverse ranting's. However, it must be said that as 'Water' drifts aimlessly into 1993, music of a heavier nature had already been crushed by the stampede of grunge and light-alterno college guys, and so the colourful phases of the late '80s and very early '90s were simply pollen on the wind, distant memories and fragrances.

but let us not forget the finer moments of this record, but when you hear the simple yet effective plonk of 'I Love You' or the strut of 'The Way', you'll certainly have your head in the clouds, but deep down wondering just what these would have sounded like had Kramer been behind the mic stand.

'Water' is still a nice little opus, awash with splendour, particularly the glorious 'When You Were Mine' and moody 'On And On', and some of these special episodes even made it as far as another album, 'the Devil In The Details', but four albums were just a little too much for a band who clearly expelled all their electricity during the time when it was simply meant to be.

7/10