Sadus - Swallowed In Black (1990)

Put Sadus in that special field of bands that don't give a fuck, who stay true, and know how to thrash, other such acts being Violence and Atheist. 'Swallowed In Black' hits you in the face grabs onto it, and doesn't let go until the end, by which time your eyes have been pulled from the sockets, your lips are stretched over your head and most of your flesh is on the opposite wall. Steve DiGiorgio's bass is enough to trample your bones into the ground, the dry rasp of Darren Travis could put many off simply because Sadus seek no gimmick or cheap thrill, instead they are intent on face-shredding mechanics, check out the miserable trudge of 'Man Infestation' which then screams into the sky with blistering solo's and the hyper drums of Jon Allen.

It's Sadus, get with it or get out.

7.5/10

Darkthrone - The Cult Is Alive (2006)

Once again I can't believe the kings of Norway were criticised for this effort. Yep, it's punky and far removed from the early corpse-painted days of 'A Blaze...' but how can you expect a band to remain so stale. I can imagine the faces of the die-hard fans when they heard 'Graveyard Slut' which is pure Celtic Frost whilst the rest of the album borrows heavily from obscure punk, Motorhead, Venom, Destruction and other obscure Euro-black thrash acts. If anything I'd say the vocals are better this time around, the band aren't interested in creating suffocating pitch black soundscapes anymore but instead rely on raw percussion courtesy of the evil Fenriz, but it's still black metal, 'Whiskey Funeral' certainly pays homage to the likes of Bulldozer, but the theme is still grim and icy, and that's why Darkthrone are able to vomit out whatever they like, even if fans of the satanic black metal aren't happy with tracks such as 'Shut Up', but for me, Darkthrone can always have that old school edge and that's proof that the band have their roots and continue to worship them, and on the 'F.O.A.D.' record they would certainly reach their goal.

7/10

Disincarnate - Dreams Of The Carrion Kind (1993)

Extremely talented guitarist James Murphy is somewhat a journeyman, never staying in one place for too long, his impressive career has seen him in a variety of heavy bands from Death to Testament, and from Cancer to this one-off record, 'Dreams...' being a monster of a death metal record made all the more deep by the vocals growls of Bryan Cegon. You can't argue with the musicianship, the pace of the record flitters between the intricacies of later Death to the warped and bombastic arrogance of Morbid Angel. 'Stench Of Paradise Burning' erupts like a black volcano, quickening pace via Tommy Viator's trigger drumming, brutal stuff indeed with interesting atmosphere. Murphy also supplies the bass on this record, and you have to wonder that despite the band's immense talent as to whether such projects are merely just that, quality works to add to the Murphy CV as he once again flitters between bands, never seemingly happy with those he rarely calls home.

Don't expect 'Dreams...' to be the most awe-inspiring of death metal albums, because although the musicianship is classy and tight, you know what you're getting as soon as 'Beyond The Flesh' blasts in, whilst my personal favourite, 'Soul Erosion' is a techno chug-fest. A fine album if you like that very Floridian style of death metal, nothing more, nothing less.

7.5/10

Kinghorse - Kinghorse (1990)

Bit of a strange, but certainly angry record this. Not quite sure how I'd pigeon-hole it which is even more odd when considered it doesn't have the most original of sounds, but as it's produced by Glen Danzig, I could only describe it as an angrier Danzig, certainly with elements of hardcore and thrash, the vocals of Sean Garrison somewhere between Mindfunk's Pat Dubar and Danzig himself, and musically it's raw and brooding, and certainly streetwise.

The album features a stonking cover design by Pushead who designed alot of Metallica's early sleeves, but in a way the cover is a misinterpretation, because this record has such a hardcore sound, the furious 'Caged' bounds along, 'Brother Doubt' has an almost awkward menace but there's no denying the power of the record and its black rhythms, straight to the face punches delivered short, sharp and swiftly, 'Descend' and 'As I Stand' are simply no thrills power rock, so if you like your music with muscularity, give Kinghorse a try.

6/10

Warlock - Triumph And Agony (1987)

These German's leered from the wall of most metal fans in the '80s. Not because the band were that great, but because they were fronted by blonde siren Doro Pesch, who at the time would have quenched any young metalhead's thirst as he sat in his room, ears to the music. At the time she was quite a looker, but what about the music ? Well, Warlock are unfortunately as predictable as the English weather, churning out powerful, gothic rock that squats in the metal genre due to its imagery, and Warlock always had decent record covers, 'Triumph...' being my personal favourite as dearest Doro gets up close and personal with a sinister hag-like figure...male or female I never could tell! Musically, the band are accomplished, but it's not groundbreaking and once that needle lifts off the black wax you won't be in a hurry to put this lp on again. However, Warlock make the grade here because of what they meant at the time. 'All We Are' sounds like a female Dio, a big, anthemic chorus for those who wish to punch the air in sweaty delight, but 'I Rule The Ruins', although catchy, has an almost tame, and cheesy chorus which comes in like some dated entry for the Eurovision Song Contest. Doro has a good voice, and the lyrics, although pretty much the same throughout would've got any metaller in his dungeon back in the '80s.

Warlock, and this album in particular, aren't relevant today, and listener back on old stuff you'll realise that if it was good enough then, it should be good enough now, but Warlock weren't ahead of their time, simply more rooted at the time. Respect for their metal, but the novelty has worn off.

5/10

Metal Church - Blessing In Disguise (1989)

If you're a fan of Megadeth's 'Rust In peace', which every metal fan should be, then this album is for you. I've never claimed to have been a massive Metal Church fan, although I've never really followed their career but I purchased this album on cassette back in the day, and was blown away by it. It's so technical, the precision as sharp as a razor, vocally Mike Howe is refreshing, alarmingly melodic and on scale, the bass of Duke Erickson vibrates the speakers and the guitar attack of Wells and Marshall is at once complex but fiery, offering varying avenues by which the thrashers travel, but this is no ordinary thrash record, the tunes are in abundance, 'Fake Healer' really does soar, Howe at times is on another planet and 'Rest In Pieces', in reference to the disaster of the Titanic, is a melting pot of swirling solo's. This album really is a lesson to any upstarts and wanna-be's, this is how could you have to be, and when I say good, this isn't just a chug-fest for the sake of it. 'Badlands' spirals into technical oblivion, even instrumental 'Its A Secret' leaves you breathless.

To call Metal Church thrash in 1989 would be unfair. Whilst I've always been a huge fan of bands such as Testament, this really does take it to another level.

8/10

Death - Human (1991)

Despite numerous line-up changers and altercations on tour, Chuck Schuldiner, the man behind metal legends Death, remain as focused and invigorated when it comes to releasing new material. It's a tragedy that the scene was robbed of Chuck's talents, but thankfully we have several records by which the death metal scene must always be judged against. On 'Human', the band leave all the horror stories behind, something which was certainly being suggested on 'Spiritual...', but the polished sound, tight musicianship and different paces make this more of a classy thrash album instead of a pure death metal record. chuck has always been decipherable which is pretty unusual for a death metal vocalist, but the complexities on offer here symbolised what Death were all about and 'Human' shows exactly why the band were the kings of the genre, always stretching the boundaries of the genre.

'Human' enlists the marvellous talents of Cynic's Sean Reinert and Paul Masvidal as well as adding Sadus' Steve Digiorgio, and you can hear the bass bubble along, but overall the technical essence is astounding, and there's no let up with the maze of ability and startling musicianship.

death always remained brutal and true to the scene, but like only a handful of great artists, they made the sound their own and yet still progressed within the grotesque forests that they originally created.

8/10

Mayhem - Deathcrush (1987)

This cult release was just a warning sign as to what was to come from Norway and it's Inner Black Circle consisting of several bands who would take heavy metal to new extremes, not by sounding heavier, but simply far more remote, and Mayhem have certainly remained pivotal within the scene. Although the likes of Slayer, Bathory, Possessed and Destruction were churning out hellish noise, what Mayhem produced on 'Deathcrush' was beyond pain, anguish and black, anarchic punk. Maniac, original sore-throat, may have fled the nest before the coming of the classic 'De Mysteriis Dom Sathanas...', but on 'Deathcrush' his hoarse, agonising rasps litter the sky as the percussion fizzes along like a blizzard, it's grim stuff. The opening instrumental 'Silvester Anfang' doesn't really give you any indication of what is to come, but the title track soon batters you to death, and lyrically its primitive, horror, torture, rape and death to all, and 'Chainsaw Gutsfuck' has certainly gone down in history as a barbaric expression. The groggy sound of 'Deathcrush' loiters in hardcore, and punky grindcore and even manages to strip bare the oily layers of Venom's classic 'Witching Hour'.

Mayhem were certainly black metal on 'Deathcrush', but it was a different kind of sound, but then again, the band would prove to be beyond the restraints of the genre and produce varying levels of intense and arrogant black noise. This was just the beginning...

7/10

Holosade - Hellhouse (1988)

It took me twenty years to track down this British band and their debut album. I recall hearing one track on 'The Friday Rock Show' hosted by legendary gruff-voiced DJ Tommy Vance, and I was intrigued immediately. Strangely, after that, I never managed to purchase the record but all this time later I can safely say it was worth the wait. Back in the '80s there was something about the album cover which by today's standards would be mocked, in fact it looked like a cover of a horror book for kids, a yawning dark house symbolising some gateway to the fiery pits. However, the album itself is a decent thrash record, somewhere between iron Maiden, Judas Priest (who would naturally be influences at the time) and also, rather surprisingly, Anthrax. The opening riffs of 'Look Into The Mirror' are reasonably heavy, at times there's a Bay Area crunch to the record, I guess I was expecting something a little darker and mystical, 'Welcome To Hellhouse' is simply an adequate stab at power metal, vocally Phillip de Sade is nothing out of the ordinary but he does a fine job of bringing the music to the fore, 'Love It To Death' is pure San Francisco thrash on its chanting chorus.

All in all, it won't blow your mind but it's one of those records that you can kind of predict anyway. It is still very British despite some of the US influenced chugging, and it's worth tracking down.

7/10

The Ravenous - Assembled In Blasphemy (2000)

I love gore metal bands, particularly those, like Autopsy, Abscess and Impetigo who know how to slow it down so that you can see the offal dripping from their lips and every other rotten orifice. The Blasphemy are no exception because they feature Chris Reifert from Autopsy plus Killjoy from Necrophagia and bass legend Dan Lilker, ex-Brutal Truth and Nuclear Assault.

The Ravenous are the new gods of gore, flailing limbs, weeping sores, infested wombs, decomposed corpses, fizzened tissue, and murderous zombies, played for horror sakes behind a rusty cell of psychotic wails, clanking chains, dripping bass and fetid excrement. As expected the lyrics are pure filth, and the music, although not as watery as Autopsy, provides the listener with an honest mass of gory, blubbering sickness.

7/10

Celtic Frost - Cold Lake (1988)

I recall the critics laughing at the band as if they had wimped out. I remember the so-called fans throwing their Frost t-shirts to the ground in dismay, but no-one understood. Celtic Frost do what they like, and whatever they transform into or conjure up, you can guarantee it will still maintain that sinister edge and I for one see 'Cold Lake' as frightening experimentation. Sure, the titles are somehow 'glam rock', and the photo on the back of the band is truly shocking, but behind it all there's that Tom. G. Warrior sneer as if, despite the lipstick, hairspray and glitter, Celtic Frost still remain as that avant-garde combo capable of blowing out the most twisted of riffs, the most eerie of grunts and the most original of songs, and 'Cold Lake' doesn't fail, its just that its juicy facade scared many thrashers away, but it was their loss. 'Cold Lake' sounded like New York Dolls and Marc Bolan put through a doom-black metal grinder. Sure, the band's image was now bereft of grim make-up, and spikes, but the lipstick, powder and paint was somehow still as mesmerising, check out the warp factor of 'Cherry Orchards', and Warrior's almost lustful cavorting throughout, it's scary stuff to see a band so comfortably slip into a different style yet maintain their freakish smile. Here, the band become the evil clowns behind the seemingly joyous fun-fair, and those of you who thought Celtic Frost had sold out, really should've had more faith, because even if CF did a hip-hop album, it would still be credible, and still be weird, however, with titles such as 'Dance Sleazy' and 'Downtown Hanoi', I can see why some were disturbed!

8/10

Deadly Blessing - Ascend From The Cauldron (1988)

Now this takes me way back..it was 1988, I was flicking through one of the metal magazines, probably Metal Hammer and came across this gem but never managed to track it down. Loved the cover, and heard that it was reissued with an equally mystical sleeve, and thankfully the music has stood the test of time. The vocals are at times a little high-pitched but the musicianship smokes as tales of sword and sorcery prevail, to create a blistering soundscape of metal. Deadly Blessing have often been described as power-metal, but they were certainly short-lived and would have been better suited to a few years previous, the titles are wonderfully predictable, 'Escape The Wrath', 'Deliver Us From Evil' blah blah, but this is pretty heavy and sharp stuff and I've heard that they still play gigs nowadays. Fair play to them, don't let this once fade into obscurity because it has dwelt there for too long...

7/10

Exciter - Violence And Force (1984)

More of the same from Ottawa's finest thrash rockers, the flame still burns in their hearts, the riffs still carve mighty gashes into the flesh, Beehler's furious wail may have been typical of yesteryear, but you can't deny the high voltage that fizzes from the speakers. Again, it's a record dressed in a wonderfully over the top image, that being a scaly green hand wielding a blade, attempting to break through the door of a helpless maiden. You catch my drift...power metal for the masses, odes to the darkside, 'Scream In The Night', 'Pounding Metal', and 'Delivering To The Master', it's trustworthy metal that made the band standout from the heaving pack. At times blistering, rarely innovative, but sweat inducing all the same.

7.5/10

Exciter - Heavy Metal Maniac (1983)

I love the album sleeve, pure metal madness, and the sound is predictability right on too, foaming thrashy-metal, buzzsaw riffs, the Canadians don't mess about, I guess it's as you expect from the time, 'Mistress Of Evil', 'Rising Of The Dead', ghoulish Halloween delights, 'Black Witch' slows the pace, it's all very metal...the band sticking to their guns for more than a decade, the usual growls of torture, tormented galloping drumming, the dungeons are calling...time to spin the record backwards and invoke a horde of demons..

8/10

Doctor Butcher - Doctor Butcher (1994)

Woah there...a meaty package indeed here from Jon Oliva, formerly of Savatage, this boils like a blood-filled cauldron, bubbling the bowels of Hell, pure metal screaming from the heights. A wonderfully clear sound, stirring solo's from Chris Caffery, this is excellent musicianship which in the mid '90s would have probably drifted by as the Seattle grunge scene took over, but when you hear the spitting 'Dont Talk To Me' or sky burning 'Season Of The Witch' you'll forget all about those mop-haired wannabe's and wallow in the fuming, smoking icy cavern that Doctor Butcher constructs. It's at one magical in the wall of sound it constructs, as well as modern, and almost timeless, as I'm sure, 'Innocent Victim' and 'Lost In The Dark' will testify.

Solid, heavy metal.

7.5/10

War Babies - War Babies (1992)

A solid rock record that slipped by the way side as alternative metal drenched the rock scene. I've seen some amazingly over the top reviews of this record in the past, I certainly won't knock it as far as a straight, rock 'n' record goes but this Seattle act even with their depth, sound like nothing more than an ode to the '70s and '80s bands of Americana. Sure, Brad Sinsel can sing, and the music is at times anthemic but when you consider the other bands who were around, or dissipating at the time, this pales in comparison. I'm slightly confused by the croaky 'Blue Tomorrow' which is not only a tribute to deceased Mother Love Bone icon Andrew Wood, but it's a rip-off also, but whilst the sound battles through to the listener it won't leave you feeling overjoyed, and I guess that's exactly why this record slipped by without too much of a reaction. I wouldn't consider this a forgotten gem, just a good rock record.

7/10

Cathedral - The Ethereal Mirror (1993)

Doomsters Cathedral took the doom-world by storm with their rejuvenated sound in '93. Although I was a big fan of the monstrous sludge-pit that was to be 'Forest Of Equilibrium', 'The Ethereal...' promised far greater mystery, Dorrian's lyrics a bizarre menagerie of psychedelia and '60s horror weirdness, the band take on Sabbath at their own game but add even more surreal grooves and unexpected twists, 'Midnight Mountain' is a hand-clapper far removed from the quagmire of the gloomy debut episode, 'Ride' clunks along as Dorrian bellows out a more clearer, throaty roar. The weight is still there though, there's just so much more going on. 'Fountain Of Innocence' bleeds you dry then takes us back to 1969 with it's watery, textured flounderings, the band somehow creating a new sound within a genre that for so long had relied on Sabbath influence. There is an almost sexiness to the sound, there's plenty of bluesy hip-shakings and Dorrian dares to throw in the occasional, "OOOoohhh", and you can just see the demonic minions from some Hammer Horror film shuffling along in the background as damsels in distress undress themselves and clap along amongst the swirling nightmarish images and leadweight riffs.

This is certainly Cathedral's world that only the mighty Trouble had previously occupied. However, although many have salivated over the band, I've almost become accustomed to the imagery and find myself still reaching for the Sabbath and Trouble albums.

7.5/10

Uriah Heep - Demons & Wizards (1972)

The eerie psych-rock world of Uriah Heep began with the weighty self-titled debut in '69 although it was dwarfed at the time by the Sabbath and Purple invasion, so I've never really lent much of an ear to the band, but 'Demons...', their fourth opus, after the more floaty 'Salisbury' platter, and then more celebrated 'Look At Yourself', is a more rock based, organ-driven project with a whiff of mysticism, particularly in the sombre strains of 'Rainbow Demon' with its gradual stomp into dark fantasy, the soaring opener 'The Wizard', David Byron's vocals soaring above the magical melodies, taking you to places you really want to go with this type of music. 'Traveller In Time' is a rock-psyche groover, some superb riffs, not in the almighty weight league of sabbath, the band often drifting into Floydian dreamscapes , but the record still stomps, hazing the day with the closer, 'Paradise/The Spell'.

For metallers young and old, check it out, it's not old fashioned cos' it's rock 'n' roll...and a cool cover too.

7/10

Grim Reaper - Fear No Evil (1985)

I recall this getting slagged off when put alongside the debut album, but I think I prefer this record. The debut certainly enveloped many due to its great imagery but 'Fear...' is still a potent record, even if it lacks the power-punch of the debut, but there's much to savour here, anthem's a plenty, 'Rock And Roll Tonight' and personal favourite 'Never Coming Back', there's certainly a Dio feel to the wall of sound, the vocals soaring and heroically echoing over the chugging, and flame-scorched melodies. You can't knock it, it's not corny, it's powerful and real metal and these are pretty much essentials if you consider yourself a metal purist.

8/10

Grim Reaper - See You In Hell (1984)

It seems a long time ago but what an album cover, one of those fantastic beasts of an image that would have enticed hundreds, maybe thousands under its black wing, classic British metal which no-one could ever equal. Forget the glassy-eyed shine of the American metal scene, this was gritty, stark and carrying the weight of a boulder. Powerful vocals from Steve Grimmett, the music a galloping tour-de-force, yeah, the cliche's are there, but 'Wrath Of The Ripper' will enshroud you and not alienate you, 'Run For Your Life' et al...power metal at its finest, track it down if you want to bring back those days of dungeons, dragons, denim, leather and fiery pits of Hell which lick some chained maiden's breast...or was that just in my mind ? Metal forever.

8/10

Saxon - Power & The Glory (1983)

Three Saxon reviews in a row, just too much, I feel sick so I'll make this short and sweet. Often considered the band's finest record, there is certainly more attitude here and less cheesiness even if the lyrics of 'Redline' are cringe worthy, but it's still metal for metal's sake, I get a feel of Ian Gillan's vocals here as Biff Byford croons under a rainy sky, defiant as his metal storm rages on. I'm quite digging 'Nightmare', mid-paced and classic metal, you can see the hordes of headbangers pounding the stage with their fists, and the wall of sound being the terribly titled 'This Town Rocks', and so does the production, giving 'Power...' a clear, meaty sound that may have been missing from their previous efforts, and this shines through on 'Midas Touch' a creeping rocker which Dio would be proud of, the guitar's are sharp, and the album closes with the seven-minute epic 'The Eagle Has Landed', making 'Power...' a stirring and shockingly okay album!

7/10

Saxon - Denim And Leather (1981)

Saxon were a force to be reckoned with in the early '80s...they gradually went down the pan around the middle of the decade, but I heard 'Denim And Leather' on cassette, a tinny racket with predictable lyrics, 'Out Of Control' certainly won't go down as one of the most inspirational rock records of all time, and 'Play It Loud', 'And The Bands Played On' and 'Midnight Rider' won't be breaking any boundaries, whilst the title cut would've been the type of unifying anthem to have had metalheads raging the world over...and whilst I can admit to a very soft spot for the band, simply as playing a part in UK metal, I put my Sabbath records on again and Saxon crumble into the sea so as long as I don't compare them, or mention that a few years later Slayer would hit the metal scene, or Crue would release the amazing 'Too Fast..', then Saxon are okay.

7/10

Saxon - Wheels Of Steel (1980)

Mock all you like, and laugh at these dinosaurs of rock 'n' roll, but for any leather clad, streetwalking, candle-burning metal head from the age of 13 to 60, Saxon was an important band, alongside early Maiden, AC/DC, Motorhead and Sabbath. They set the level for that oily, riff 'n' roll, denim-clad chant-metal, 'Motorcycle Man' may come across like too much cheese, but if you're in that zone from the early '80s then you'll be spellbound by '747 (Strangers In The Night') and hard-rock extravaganza 'Wheels Of Steel'. It's metal as it was meant to be, no silly ballads, just early rock 'n' roll babylon...better than Kiss anyway..but I guess that's no hard, but this is British steel so appreciate it for what it once was, even if 'Suzie Hold On' was slightly strained. It's only natural that some of this stuff may sound a little dated nowadays, but respect is due. Get on yer bike...

7/10

Bulldozer - The Final Separation (1986)

Deemed 'speed metal' at the time, this is more Venom-inspired menace and leathery spit from Italy's finest sweaty and oiled cavemen. Not quite as dark as 'Day Of wrath', this album has numerous peculiar moments, 'Sex Symbol Bullshit', and the punky 'Don Andras', whilst 'Ride Hard Die Fast' is pure Motorhead dirt, and 'The Cave' horrifying Euro-thrash at its grubbiest. You know what to expect with Bulldozer in a way...it's fun, but somehow still as greasy as a motorbike chain and will always breathe fire when required, in other words, a reliable dragon if you ever need one for a trip to Hell.

7/10

Bulldozer - Day Of Wrath (1985)

Regarded at the time as an Italian Venom-meets-Motorhead, Bulldozer will go down in old school circles as an inspirational, oily, none too serious black thrash outfit, back when metal was real metal. Looking back on this particular record, the basement sound remains stuffy and I'm still digging the raw, prime evil feel to it, 'The Exorcism' being a typical '80s metal intro full of demonic muttering and ghastly winds, bleeding into the attack of 'Cutthroat' with it's Venom-cloned clatterings and bestial vocals courtesy of Alberto Contini, the solo's, of Andy Panigada, bring to mind early Voivod and the rumblings of several European acts, from Celtic Frost and you can hear the sound of Bulldozer in many of today's black metal bands. Favourite cut is the warped 'Insurrection Of The Living Damned', part Slayer, part Venom, and whilst 'Whiskey Time' is more a Motorhead ramble, 'Welcome Death' is a wonderful thirty-second funeral dirge that breaks into the strangling mayhem of 'Endless Funeral'.

Bulldozer are actually a fine, important cult band, their records certainly a prime example of how wasted, wild and weird the early extreme metal days were.

7.5/10

Church Of Misery - Master Of Brutality (2001)

Any band who get their kicks by writing songs about serial killers and their dealy deeds must be slightly unhinged, but I'll also commend any band who hate the word 'stoner', because what Church Of Misery ofer is quite simply fuzz-orientated DOOOOOOM! Jesus, this is heavy shit, pummelling, leadweight riffs that steal from Sabbath but which are tinged with a higher degree of sleazy evil, especially as various samples of serial killers talking punctuate the air as if the beings were in the room. This isn't drawn out doom, but the tracks certainly weigh in at quite a time, but there's no denying the ferocity and murky sludge of 'Ripping Into Pieces', or the amazing cover of Blue Oyster Cult's 'Cities On Flame'.

Despite the doom genre being pretty saturated with so many bands attempting to mimic the great Sabbath riff, Church Of Misery rise above the masses to create a hellish vision where The Yorkshire Ripper, Green River Killer, John Wayne Gacy and the likes stroll casually through the fields and leer from the wreckage of human flesh and distorted, orgasmic layers of doom. Very heavy.

7/10

Various Artists - Fenriz Presents : The Best Of Old School Black Metal (2004)

Unholy black smoke...once upon a time there was black metal...and then there was black metal. yes, the second wave of the early '90s was a pitch black invasion featuring the likes of Darkthrone, Mayhem, Emperor etc, but before such a wave there was a godawful mess that ripped layers from Venom, laced it with punk, hissed it with the atmosphere of a graveyard and puked it all out into a bewitching lump of hellish cancer. Thankfully, if you're too scared to reach back into the depths of time and grab yourselves a warped vinyl copy of the original nefarious kings of black thrash, then you can at least grab this amazing compilation stuck together by Darkthrone's godly drummer Fenriz, who along with Peaceville, has come up with a true black cauldron of hate, anger and witchery. A majority of bands on here the original grim murmurs of a style of music that has never been equalled, its intensity and primal rawness is simply as far as metal can ever go...

Blasphemy's eerie 'Winds Of The Black Godz' melts into Sarcofago's evil chugfest known as 'Satanic Lust', and immediately it's the early to mid-'80s, the sky is a canopy of menacing clouds, and rain is in the air, Celtic Frost's gigantic serpent 'Dawn Of Megiddo' rises from a nearby lake, the villagers are scurrying like drowned rats from their homes...picture the scene...it's black metal invasion...Nattefrost and Aura Noir provide a modern assault, but remain vile enough to be included in this set of sickly and gloomy rusted punk-thrash, but there's no denying the potent froth of Mayhem's 'The Freezing moon', run for your lives...Samael, Hellhammer, Venom and Bulldozer spilling the pungent alcohol and Destruction tearing up the speakers....the most unholy guide to what came before and what still rules today. There's no escaping this nightmare...

8/10

Probot - Probot (2003)

All hail Dave Grohl, of the awful Foo Fighters, for putting together some kind of reality check. This here record is a great trip back into time, possibly proof also that he's too busy chasing the mighty dollar with his pop band, and yet somehow comes up with this fine work, a journey back to meet his heroes and to play alongside them. Probot is tragically a one-off which is such a shame, but boy has Mr Grohl achieved something wonderful here, by pulling together some of his favourite vocalists and musicians to come up with a true heavy metal album, possibly not for the kids of today because I can't honestly see what Foo Fighters fans are gonna get from this, but genuine metalheads who were there in the '80s will lap this up when they see true legends present, Cronos from Venom, Wagner from Trouble, Snake from Voivod, Tom from Celtic Frost, Sepultura's ex-Max, Kurt from D.R.I., Lee from Cathedral, Lemmy from Motorhead, Mike from C.O.C.'s hardcore days, King Diamond and Wino from St. Vitus. Probot is eleven tracks of heavy metal Heaven, doom, thrash, black metal, and hardcore, all Dave's chosen heroes, with Dave backing them up on various instruments, going back to what he does best, thudding the crap out of the skins. Somehow, each track is amazingly suited to the vocalists in question, bringing back those years when the bands reigned. You expect the track featuring Max Cavalera ('Red War') to be a tribal burnout, and it is. You expect D.R.I.'s Kurt Brecht to sound like he did in the '80s, and thank goodness he still does, there's not a weak track on here, but there are some real treats, Cronos is truly evil on the rumbling 'Centuries Of Sin', Wagner wails like a banshee on 'My Tortured Soul' but without a shadow of a doubt the finest tracks have to be the rock 'n' roll meltdown featuring Lemmy which is the swaggering 'Shake Your Blood' and Lee Dorrian's sludge-fest 'Ice Cold Man', but like I say, not a bad track among them because as you listen, and the candle flames flicker, you know this is true metal featuring the genre's most inspiring ghouls. Personally, I think a second album featuring Slayer's Tom Araya, Ozzy Osbourne, and Kreator's Mille among others can't come quick enough, but that's just wishful thinking...by the way, a fine album cover too.

8.5/10

Union - The Blue Room (1999)

Not quite sure where I stand with this. It's cool rock indeed, heavy at times, very fluent and featuring the talents of one-time Motley Crue man John Corabi, well known for his powerful pipes. Union are kinda like Kik Tracee, Enuff Z Nuff, Saigon Kick, and Beautiful Creatures but lacking the sharpness, the edge, the genius and the aittutde. that may sound unkind...I guess it is, but after a while this record goes nowhere and leaves me with an empty feeling despite the sincerity of the tracks. Corabi is on form as usual, his heavy duty yet subtle tones soaring over some familiar riffage, even 'Everythings Alright', which throws in a few Beatles titles into the lyrics still works. Overall the album attempts to provide a high, not by just being metal but attempting to have an air of coolness and whilst it achieves that at times, it simply remains bereft of the volume and style to slot nicely alongside the mentioned bands.

Sadly, there is an ordinary-ness about it, leaving you unfulfilled.

6/10

Satchel - The Family (1996)

Yes, they are from Seattle, but don't go expecting grunge-drenched guitars...if anything, this is Mother Love Bone's younger brother, a soulful, piano-laced work of soulful grooves that are at once sad and uplifting. In fact, it's not really a rock album at all, instead it brings moments of joy and summer sun, as well as a well of tears. Satchel really are a fine band and 'The Family' is a true album for the heartstrings. Imagine Andrew Wood without the glam and you have Shawn Smith, a vocalist with so much heartfelt soul which emanates from his piano keys. 'Isnt That Right', 'Not Too Late' and 'Time O The Year' may have you weeping into your pillow, bringing to mind every loved one you've lost, because this album really can be that heart-wrenching. A few of the melodies certainly have that Mother Love Bone feel, especially when MLB were caressing their softer side, whilst tracks such as 'Without Love' are simply here to make you smile. It's a breathtaking record but an acquired taste, like I say, if you like Mother Love Bone at their most subtle, then this is for you.

8/10

Young Heart Attack - Mouthful Of Love (2003)

From Austin, Texas, Young Heart Attack rock like it's 1986, this is, for thirty-five minutes, a pure metal, fist-pumping, headbanging, adrenalin fuelled rollercoaster. If you like early Crue, AC/DC, Fastway, Zep, and that ballsy, flame-grilled rock 'n' roll then grab this record. Frenchie Smith's guitars are searing, the album rarely lets up, vocalist Chris Hodge has that '80s mentality and fist-throwing energy, and yet he's backed by the lustful cries of Jennifer Stephens who, on the title cut comes in like a 1983 Vince Neil, at one adding sexual presence and a wide range of curvy and wailing vocal attributes, giving the listener a brand of rock 'n' roll that's not been heard for a long time. Bands such as The darkness attempted this kind of straight-down the line, Hellfire rock but there was too much cheese, 'Starlite' brings to mind The Who, circa, 'Wont Get Fooled Again', 'Misty Rowe' could almost be a timeless brainstormer. The riffs churn on and on, the drums crash and clatter, and this has the cheeky strut of AC/DC all over again, a melting pot of Texan rock that sets the place alight with the raging 'Tommy Shots'.

It's a cracking record, and this band should be big because what they do is for real.

9/10

Various Artists - Speed Kills (1985)

For me this compilation vinyl was a wonderfully dark introduction to some of the greatest and certainly more grim bands from the metal scene. After early doses of Dio, Sabbath, Maiden, I was keen, after an injection of unholy Slayer, to hear a record that was even more extreme and the early 'Speed Kill' series provided just that.

Yes, the usual big thrash acts are on here, we get Slayer's 'Evil Has No Boundaries' live, Metallica's 'Fight Fire With Fire' and 'Rattlehead' from Megadeth but to a young metaller, hearing the iron-clad strains of Voivod's 'War And Pain', and the bestial grimacing of Bulldozer's 'Insurrection...' was quite a ride. This is when thrash was thrash, a diverse genre from crunchy Bay Area chanting to more power-metal influenced magic, alongside a far darker cavern, and it was here that the immortal sounds of Celtic Frost, Venom, Possessed and the likes were bestowed upon my tainted mind. 'Speed Kills' was a great journey which enabled me to explore the racks and pick up other fine bands such as Destruction and Hallows Eve, so if you're a fresh-faced metalhead looking to step back in time, the least you could do is pick a few compilations up, by starting with the first three 'Speed...' records.

7/10

The Distillers - The Distillers (2000)

If you've come here for Green Day...FUCK OFF! The Distillers are real, raw, powerhouse punk, fronted by one of the world's sexiest women in Brody Dalle, they hit the scene with enough gob, venom and attitude to take over the punk scene, Brody at once snarling, wailing, rasping and obscenely spewing and destroying all in her wake. This won't be making the charts, because it's primal, it rumbles and it rips your flesh off as all punk should. This does original punk proud, and although I'm not a big fan of the genre, The Distillers will make you want to trash any room more than most 'heavy metal' bands. With the millennium seeing the dawn of a new age of crap hard rock, it's great to have bands like The Distillers to give us the real attitude whilst all the posers succumb to MTV and the likes.

'Oh Serena' has a touch of the Sex Pistols in those chords, but Brody has a voice of a demented angel, pure sex, filth and fury, only 'World Comes Tumblin' Down' proves any sort of melody, a cracking track, whilst 'L.A. Girl' has Brody one minute brattishly smirking through the track and then hoarsely shredding the mic. 'Ask The Angels' is probably my favourite track, it's a shame I never saw them live.

7.5/10

Darkthrone - Total Death (1995)

I'm not a big fan of this record, is it because poet of death Fenriz has decided to let others write for the band on this record ? Members of Emperor, Satyricon and the likes getting their mucky fingers on his magic pen, the cover almost looks to be linked to the band's more deathly 'Soulside...' debut, but musically it's still pretty grim early black metal, but here I get no real feelings of smothering like with the early classics. This isn't as isolating, if anything it's reasonably predictable and mundane. There are elements of Mayhem in here, specifically on 'Gather For Attack On The Pearly Gates', favourite cut has to be the brooding 'Majestic Desolate Eye' which, as it speeds becomes a raw dirge, but overall only the twisted and macabre riffery of 'The Serpents Harvest' saves the record from being a bland disappointment. This is certainly not an attack on the band, they do whatever they please and they are certainly one of the finest bands ever in any musical genre, but 'total death' just doesn't inspire, scare or darken.

6/10

Darkthrone - Ravishing Grimness (1999)

Only a short record, six tracks on offer, but this is one of Darkthrone's murky best, check out the cold grating of 'The Claws Of Time' with it's almost New Wave Of British Heavy Metal riffing. Thankfully each track offers so much and they aren't just short fleeting glimpses of darkness, 'Across The Vacuum' a seven-minute gurgler has elements of Celtic Frost whilst the title cut is like an evil Motorhead. As you expect, Nocturno's vocals are extremely grim and harsh, but there's much to desire here that separates it from the usually black metal crowd, and that's the power of Darkthrone, that ability to bring back the ages 0f Venom and early Bathory yet still inject their own punkoid and extremely black style.

7.5/10

Brides Of Destruction - Here Come The Brides (2004)

This is a true monster of a rock record. Pure rock 'n' roll, and any band that features Tracii Guns from L.A. Guns and the genius of Nikki Sixx, has to be worth a listen. What you get is nothing like Crue or L.A. Guns but a cauldron of powerhouse punk-metal, straight down the line genuine balls to the wall bravado, 'Shut The Fuck Up' couldn't be a better introduction for a band, vocalist London LeGrande showing a fair set of pipes, literally yelling his way through a serious of metal chants over the searing guitars. It's almost basic, but that's what makes it so great, 'I Don't Care' hits you in the face like the MC5 garage rock, there's no real glam on here, the tracks build to mighty peaks, 'I Got A Gun' check out the rising chorus and the chugging riffs, but fave tracks are the smooth, swaggering 'Natural Born Killers', again, Legrande spouts anger, he's nothing out of the ordinary but does a fine job of screaming blue rebellion as if the band were just starting out back in the '80s. Other fave's are the subtle 'Only Get So Far' which drummer Coogan wails, a rock ballad if ever there once one, made all the more plausible by the almost struggling notes, whilst 'Life' is just classic rock and 'Revolution' just pounds.

Tragically, Nikki left the band, the second album was a travesty with about two good tracks, and it seems as though they'll fade away...but hang on to this record in the meantime cos' it rocks, but don't expect a Crue rip-off.

8.5/10

Enuff Z Nuff - 10 (2000)

They are back, and once again they do NOT fail to deliver, opening with the Beatle roll of 'There Goes My Heart', made all the more sugary by the pompous, breezy chorus, 'Fly Away' also somehow conjures images of the Fab Four of the '60s, mesmerising with their summery carelessness, providing the listener with a kaleidoscopic view of decades before, yet also their own brand of rock 'n' roll wonder. Then , 'The Beast' becomes an almost '80s hair- anthem and then become caressed by 'Your Heart's No Good...',a sweeping, soft brush of musical genius, how do they keep coming up with faultless pop-rock songs ? 'What Can I Do ?' has a Bowie feel to its swagger, 'Suicide' is a ballad that wallows in self-pity, Donnie Vie reaching into the depths of his soul to whine out this desperate appeal. There's so much variety to savour here, just let yourself go with it, it'll be the best vacation you've ever had.

8.5/10

Beautiful Creatures -Beautiful Creatures (2001)

Just when I thought metal was succumbing to the mighty dollar and fakery, Beautiful Creatures come out of nowhere like a tsunami and wipe the floor with the competition, yet so tragically get no recognition for it. This album belongs back in 1991 when a majority of alternative-metal acts were way ahead of their time and produced songs to die for. BC are no different, even more shocking is the fact that they have Joe LeSte of sleazers Bang Tango on vocals, but file this album alongside Love/Hate and Brides Of Destruction's 'Here Comes The Brides' as full pelt rock 'n' roll Armageddon. This is heavy, melodic and sincere, from the heart and soul of rock 'n' roll, forget Guns 'n' Roses and all that commercial crap that takes a decade to come out, this band deserve to be huge, they have the anthems and the spirit to fill arena's and yet no-one seems to get it, how does such a momentous band slip under the radar, especially when you consider the amount of shit out there that sells by the bucketload. BC are cool as fuck, '1:00 am' pumps in like a sweaty, pounding hangover, the riffs similar to BOD's 'Shut The Fuck Up', but 'Wasted' is the lost anthem we've been waiting for since the early '90s, this could easily slip onto early Crue, it's grinding and raspy and you just don't expect the chorus to hit you like it does.

It's difficult picking out favourite tracks, but every track will fulfill the dream of every serious metaller because this is at once glam, sleaze and pure heavy rock, 'Step Back' will please the purists, 'Wish' should have every lighter waving and 'Kicking For Days' has a funky strut Love/Hate would've churned out.

You must not miss this record, don't let this band become swallowed by the nu-metal garbage, save them because they are saviours of rock 'n' roll. Note: check out DJ Ashba on Nikki Sixx's Sixx AM record.

9/10

Suicidal Tendencies - Join The Army (1987)

One of my favourite records of the band. I first heard this way back in the day on cassette yet was still impressed by it. This is pretty much in the same vein as Anthrax with the mid-paced chugging, prime example of that being 'You Got, I Want', and there's far more melody on here than the debut album, the band hardly venturing into frenetic realms at all and that does them no harm at all. Suicidal Tendencies ease from skate-thrash melody ('Suicidal Maniac'), to the chanting 'Join The Army', with only 'The Prisoner' and 'possessed To Skate' providing any real speed, although 'Cyco' goes pretty much of the rails, and there are some cracking mid-'80s bass-line trickles on offer also, check out the Anthrax-esque intro of 'A Little Each Day'.

Overall, a good quality crossover record.

6.5/10

Suicidal Tendencies - Suicidal Tendencies (1983)

I much preferred the more melodic skatecore of 'Join The Army' (see review), this debut album, pretty much frenetic throughout, and only letting up occasionally, and these slower tracks, 'Subliminal', 'Institutionalised' and 'I Saw Your Mommy..' being my personal favourites amidst a blur of punk thrashy where Mike Muir angrily rasps, confronts and pops his head over searing solo's and hyper drums. Suicidal Tendencies would certainly become a more polished outfit, but this debut, although raw and manic is just a little bit too much of a same sounding song affair, but I've always appreciated the band for their dose of manic music. The album is granted entry into this blog because I have fond memories of purchasing it on vinyl and it certainly being something different to the usual stuff around at the time, but I much preferred D.R.I.'s brand of thrash.

6/10

Savatage - Hall Of The Mountain King (1987)

A great time for metal, a great time for Savatage, this is real metal up your arse, from the fantasy cover which looks like one of the book covers from Steve Jackson and Ian Livingstone's 'Fighting Fantasy' series, the music engulfs you like a jewel throne and stokes the fires like all classy metal records should. Metallers back then thrived on titles such as 'Beyond The Doors Of The Dark', this track made all the more atmospheric by the sweeping keys and vocal delivery, and the gothic creep of 'Prelude To Madness' is genius dungeon calling metal. The musicianship is fantastic, reaching even farther into the metallic aeons than say Dio, 'White Witch' has a Maiden-esque simplicity, but there's an underlying magic here that brings back those glory days when skulls sat in every teenagers bedroom and candles lit up the gloomy confines of one's bedroom as the majestic sounds of records like this swept the listener away to another void, and that readers, is what a true metal album should do.

8.5/10

D.R.I. - Thrash Zone (1989)

More fun-filled thrashcore frolics from the boys. 'Thrashard' chugs in like a lighter Anthrax, with angrier vocals, 'Beneath The Wheel' is a slower stomp, you can just see the metalheads pumping in the pit before the track speeds up, 'Strategy' begins the same before melting into a very mid-'80s thrash section, and with D.R.I. you know what you're getting, a selection of conistent slam-diving, floor-fillers which kind of drift by without any real meaning but somehow leave you wanting more. I'm still more of a fan of '4 Of A Kind' but 'Thrash Zone' still provides that much needed burst, and final cut 'Abduction' with its trickling bass intro certainly maintains that hardcore rush.

7.5/10

Morbid Angel - Domination (1995)

More crushing evil from the Floridian troops of death metal. The band never give up with their uncompromising assault, at once demonic, arrogant and somehow original in a scene literally drowning in fast, furious and heavy bands, but the riffs here are as expected, warped and black, and Vincent's thunder bass and gargoyle vocals rise above the sea of venom like growls from the Devil himself. 'Where The Slime Live' is a Lovecraftian soundtrack of slithering horror and menace, and new addition Erik Rutan supplies some amazing guitar work as the band vomit forth all manner of swampy textures and hellish fire, 'Eyes To See...' is frantic and molesting, but overall the band have a perfect mix of slower, sludgier darkness alongside the soul-raping speed. These guys have always been up there with the best, and the first handful of albums remain death metal classics that every disciple of death metal should own.

8/10

Enuff Z Nuff - Paraphernalia (1999)

Another hour of mind-boggling sugary rock genius from Chip and the boys. These are the albums every rock fan should own, and indeed this is the music that bridges the gap between The Beatles pomp to now, and boy, once you're inside the bubble of hits, there's no getting away, because 'Paraphernalia' will stick to you like super glue, get under your skin and have you whistling forever more. It's still metal, check out the driving 'Top Of The Hill', the slightly metallic Oasis-styled 'Freak', but forget the bands early days, this is where it's at, and the sweetness is so overpowering you just wonder how so many songs can not be recognised as rock greats and somehow and tragically slip by the wayside. 'Believe In Love' is such a rush with its swaying tones, Donnie Vie's vocals somewhere between frail, broken-hearted recluse and John Lennon, via The Beatles 'The White Album', and the tear-jerking 'Habit' is simply awe-inspiring, how do they do it ? In the end you spend an hour waiting for a bad track to emerge and it never comes, instead you're swept away by the uplifting and also heartbreaking melodies of 'Someday' and 'Loser Of The World', and the rockin' 'Baby You're The Greatest'. Just buy it and feel the high and give this band what they deserve.

9/10

Excel - The Joke's On You (1989)

I really like this record. It's somewhere between the playful mosh of D.R.I., and a less violent Suicidal Tendencies, good, clean streetwise skatecore from the Caroline label who also promoted some of Bad Brains classic work. It's hip stuff, with some cool melodies, 'Drive' for example, and the band have a decent social awareness and groove, mastered on 'Tapping Into The Emotional Void' and 'Seaing Insane', although the cover of The Police hit 'Message In A Bottle' is neither here nor there, but overall, it's a good record that'll brighten your day.

7/10

Megadeth - Killing Is My Business...And Business Is Good! (1985)

A rather important metal record. Mustaine booted from Metallica, setting up his own camp, and offering this album, albeit with some dodgy lyrics and a strange cover of Nancy Sinatra's 'These Boots...', joke or not, it seems an odd one, but overall it's a record from a compelling time of music, and although it pales alongside Metallica's 'Kill Em All' or the evil fury of Slayer's 'Show No...', it's still a quality record of not necessarily blistering speed but certainly solid noise, made all the more confrontational by Mustaine's ugly sneering vocals which literally spit all over this record. There are some metal cracker's on here, check out the velocity of 'Rattlehead', the full throttle title cut and horrendous lyrics, which Kiss would be proud of, on 'Mechanix' that will have you cringing all the way.

Still, Mustaine would get away with such cheesiness on the next set of records, made all the more admirable and arrogant bythe precise musicianship, but for a starter, 'Killing...', with its symbolic metal cover, remains a good beginning.

8/10

Testament - Live At Eindhoven (1987)

It's amazing that in the general world of music, live albums are usually an acquired taste and often released by huge stadium filling artists, and yet during the '80s in the world of metal it seems that it was quite easy for thrash acts to release live EP's as such. Testament were one of quite a few, including Sacred Reich, who released their Dynamo Open Air exploits, and I'm glad of it too. I purchased this record in the legendary Shades record shop that once inhabited St Anne's Court in London. Of course, any thrasher will be familiar with the cuts, 'Over The Wall', 'Burnt Offerings', Do Or Die', 'Apocalyptic City' and 'Reign Of Terror', in fact these are the only tracks on offer here, but the performance, enhanced by the cover of the band finishing their set, is so sweaty that upon listening to the record you can feel the intensity as if you're there.

Certainly a very decent live record, and in the metal world there are a handful of such that I would recommend.

7/10

Sabbat - Dreamweaver (1989)

As concept albums go (this being based on Brian Bates 'Way of the Wyrd' fantasy), this is way up there. 'Lord Of The Rings' may never have a musical equivalent but this is pretty close from the UK thrashers who also offered the fantastic and sinister 'A History Of A Time To Come'. 'Dreamweaver' is very much a dark fairytale of black thrash, grim vocals yet also some truly brilliant interludes, acoustic atmospheres, sound effects and dazzling lyrics which are spewed out like some harsh fantasy novel. Sabbat are superb musicians, a vastly underrated band who slipped by the wayside, and I guess for fans it may have been a little difficult to have sung along to such treasures as 'The Best Of Enemies' or 'How Have The Mighty Fallen', but this is hypnotic metal, full of imagery, the vinyl version worth the money alone if you get the lyric sheet, and the cover art is to die for, a crackling fire, tales of wizards and magic and dark forces, nightmarish creatures and weird beliefs, it's all here, enshrouded in the mystical thrash serenades of a band who at best could be described as a supreme Venom, but very much in a field of their own. Some truly epic thrash attacks here, don't be put off by the idea it's a concept record, because after a few seconds you'll be washed up in the dreamy, phantasmagoric cauldron. It's hard to believe that as I write this, the album is almost twenty years old, and despite metal re-inventing itself time after time, there's just nothing quite like the smell of late '80s thrash metal.

8/10

Pestilence - Testimony Of The Ancients (1991)

Death metal sure moved on from the days of gore and guts, and Pestilence were no exception, applying technical wizardry to this concept album. Sure, there's alot of influence from Death, especially in the Chuck Schuldiner-type vocals, but back then for death metal bands to survive they certainly had to come up with the goods and over-ride the cheese and Pestilence did that with ease on 'Testimony...'. there is some superb playing on offer here and an atmosphere created as it is segmented by various interlude's of horror-film injections, the weirdest of these being 'Blood' which melts into the face-ripping 'Land Of Tears. with warped riffs and trigger drumming.

Sixteen tracks on offer and well worth every penny, again, probably better on vinyl if you can track it down, this is intelligent death metal.

8/10

Malfunkshun - Return To Olympus (1995)

Andrew Wood (see Mother Love Bone) was a genius. Malfunkshun was the band he fronted before Mother Love Bone. I've seen numerous reviews putting this record down, with 'fans' stating that such a record should only be snapped up by collector's or those into grunge, and that hurts me to read that. 'Return To Olympus' is a fantastic glam-rock album that shows the potential before the amazing MLB 'Apple' hit the stores. The album is dominated by L'Andrew as he called himself, adorned in feather boa and splattered in make-up, this record oozes sex, stardust and sleaze long before bands such as Guns 'n' Roses were faking it in Hollywood. 'Return...' is not a grunge album, it's a rock 'n' roll record that has more in common with Led Zeppelin, Marc Bolan, Queen, New York Dolls and the Rolling Stones than fuckin' Pearl Jam or any of that scene.

Check out the truly tear-inducing 'Until The Ocean' and soaring 'Jezebel Woman', or the more sleazy groove 'Shotgun Daddy' and 'I Wanna Be Yo Daddy', as Wood slithers and contorts like a wiry serpent. These recordings are legendary, sad, and glittery, combining that almost lazy musicianship illuminated by Wood's harmonious tones, try the magical 'Luxury Bed...' and the swaggering 'My Only Fan', mesmerising, way ahead of its time, track it down, and revel in it, because it's magical. RIP Andrew.

9/10