Atom Seed - Get In Line

These Uk funk rockers kind of irritated me at the time, especially front man Sean Cunningham who pranced, cavorted and leapt his way round stage like a bad version of FNM's Mike Patton, but to their credit Atom Seed were the best of a bad bunch I guess, a sad bunch of imitators which included Scat Opera and Ignorance from the UK, alongside Scatterbrain, FFW, blah blah. Atom Seed actually offer a little bit more metallic soul than the hordes of other slap-happy idiots, 'Castles In The Sky' is quite a stirring track, but it somehow seems a little out of place alongside the rubbery 'Rebel' and cheesy 'Bitchin'. Sure, the band do rock, pouring out energetic funky grooves but it's shelf-life was certainly limited, the band finding it hard enough to make a name for themselves amongst the funk-metal fraternity whilst always struggling to become more than an indie band.

5/10

Dead Kennedys - Fresh Fruit For Rotting Vegetables (1980)

Whilst loitering outside the metal realm, Dead Kennedy's remain one of the most influential punk acts ever. Fronted by the warbling poet Jello Biafra, and backed by some bizarre trio who slap out satirical surf groove with a metallic garage fuzz, wrapped up in politics, sarcasm, disease, death and yet freakish classic upon classic of songs. This landmark debut is considered the bands finest work, boasting the ludicrously catchy 'California Uber Alles', the sickly divine 'Holiday In Cambodia' and the mighty fuzz of 'Lets Lynch The Landlord'. Biafra has an acidic quality to his wildly intelligent lyrics, the band breezing through a tight-knit set of tracks which have such a buzz, you can see why so many bands, from thrash acts to 'grunge' bands have cited DK as heroes. 'Fresh Fruit...' exudes fun, sweat and venom, fast-paced yet high on melody, as well as incorporating an air of strangeness which even Mr Bungle would have been proud of. A stirring record that means something today and shows exactly what US punk is all about and the cover of 'Viva Las Vegas' is a blast!

8/10

Overkill -Taking Over (1985)

More crunch than a frozen lettuce, Overkill, for me anyway, have always never quite achieved and remain in a league occupied by the likes of Exodus, as gonna be's that eventually never were. Overkill will have the ability to go on thrashing forever and certainly matured in sound into the '90s even as the metal world around them altered drastically, but 'nuff respect for sticking to their guns, but it could be said that Overkill have at times over-killed! 'Taking Over' was the bands second opus, nine songs of metallic moshing, although I've never been tickled by Bobby Ellsworth's tones, certainly clear and crucial to the Overkill assault, but it's middle of the road thrash that goes nowhere. Raise a toast to the band for taking no prisoners in their style and that's what thrash is all about but by the time they discovered progression the rest of the field were already at the top of the hill casting big shadows. Still, 'Wrecking Crew' and the likes must've made for sweaty live experiences...

6.5/10

Iron Maiden - Piece Of Mind (1983)

Certainly one of the best Maiden records and one of their best sleeves also, depicting band mascot Eddie shackled by straight-jacket in padded cell Hell. 'Piece...' is also one of the bands most musically accomplished albums, Bruce Dickinson on fine form soaring high vocally, especially on the epic 'Flight Of Icarus' with its catchy chorus, but the rest of the band provide a fiery backdrop, straight from the burning realm of the classy 'Number Of The Beast', this time the five-piece drift away from the hellish domain and focus on classic metal, daubing the anthems in gothic paint, pummelling the senses with the twin guitar attack of Murray and Smith, Harris' bass as usual galloping steadfastly along. I only own three Maiden records, this being one of them and this is certainly one of their finest, only let down by 'Quest For Fire' it boasts several Maiden classics, 'Where Eagles Dare', 'Die With Your Boots On' and the timeless jaunt of 'The Trooper'. Strange that I always thought Maiden were so dark and caustic and yet once coming out of the metal bubble in the late '80s, only then did I realise that a majority of tracks were history lessons, and far removed from Satanic murmurings. Even so, Maiden were, at times, a true metal band and their imagery always gave them a head start over so many bands, but the ride for me was only a temporary one, but the magic of 'The Trooper' lives long in the memory as those chords paint pictures of dark, dusty corridors and icy crypts. And as Dickinson's set of "oh oh oh oh oh's' rise into the night, even I have to admit that 'Piece Of Mind' is important...but give me 'Number Of The Beast' anyday, the fire there is much hotter.

8/10

Warfare - Pure Filth (1984)

You have to time travel back to the Iron Age of 1984 to truly dig this slab of rusted metal, released on the Neat label, the company responsible for Venom's grim output, Warfare are another band of merry Brits who indulge in punky, oily metal that would have been considered reasonably evil during its existence. To listen to this record so long after its birth it remains a true black metal mini-masterpiece, despite its grubby production. Drummer and vocalist Evo is pure Cronos in disguise, the Venom guys even turn up for a crusty collaboration on the final assault 'Rose Petals Fall From Her Face', and any fan of Venom will love this record. The guitars of Gunnar bring to mind the early, cavernous rumbles of Bathory, only more of a deathly plod, check out the anthemic punk vomit of 'Total Armageddon', complete with war sirens, the hellish noise of 'Rabid Metal' and clanking 'Dance Of The Dead'. This is metal played for keeps, the kind of claustrophobic, fire-breathing menace black metal bands have attempted to produce since the early '90s with only Darkthrone and a handful of others succeeding. Of course, Warfare won't be looked upon as innovators of evil, but they actually should, because this is a grim as anything Venom have put out, yet more obscure, the way we like it. Note: The cover of mine is black and white, far more suited to the ominous sound within.

7.5/10

Flotsam & Jetsam - Doomsday For The Deceiver (1986)

I was always fascinated by the cover as a young metal fan, probably because I always saw it fleetingly in magazines and never got to grasp the record from a record shop. Of course, so many millions of years later the sleeve looks rather dodgy, depicting some kind of reptilian, salivating cave monster ( Flotzilla!) crushing the Devil beneath scaled feet. Sound wise, it's the only Flotsam & Jetsam album I can play without getting a migraine, and it also features the bass playing, and lyrical talents of one Jason Newstead who would go on to feature heavily in Metallica. The record itself is pacey albeit melodic thrash metal that somehow caught the eye of the critics during the thrash waves of the '80s, although I don't hear anything that enables the album to stand-out so impressively. Even so, I'm not going to castrate the opus, it's a good thrash metal record with some good guitar work courtesy of Gilbert and Carlson but the vocals tend to grate a little, Eric A.K. though must've have surely struggled with the appalling lyrics of 'Hammerhead' despite the tight musicianship, and as each track hurtles by, the peculiar love thrash melodies of 'Iron tears' to the more robust 'Metalshock', it's clear that the band had the potential to remain in the shadow of bands such as Metallica, but for me, 'Doomsday...' is the only decent output by a band who flattered to deceive.

6.5/10

Sea Hags - Sea Hags (1989)

From the opening Zeppelin chords of 'Half The Way Valley' you realise that Sea Hags, a foursome from San Francisco, may be retro-sexual but they still know how to kick out the jams. The band bring to mind the likes of Faster Pussycat and The Black Crowes, and would certainly also put them in that league despite the band never making headwaves on the scene. What makes the album stand out is the weight of the grooves, separating the album from the usual lightweight sleazers around and instead layering the record in darker tones even through the stomp of 'Doghouse', and definite Faster Pussycat strut of 'Too Much T-Bone'. At the time, despite the hype, Sea Hags would have no doubt drowned in the sea of sleaze metal as countless bands hit the scene imitating the art of Guns 'n' Roses, but thankfully, looking back on such records this debut stands head and shoulders above most. Sassy, sexy and at times sonic with a cool cover too.

7/10

Smashed Gladys - Social Intercourse (1988)

Like the band name, like the album title, not sure about the overall sound, a somewhat predictable sleaze mixture of LA Guns, Crue and Faster Pussycat except the fact that vocal siren Sally Cato has more meat to her voice than Taime Downe, Vince Neil and Phil Lewis put together, but whether that's enough to save the album from mediocrity is the main issue. This is ballsy rodeo rock, some big choruses, plenty of tattoo love and whiskey whining, some decent bluesy-ballsy riffs from Bart Lewis and Roger Lane, and an air of sincerity about the whole thing. The band were signed to the Elektra label so there must've been something which the majors noticed, and it probably exists in the Crue blast of 'Hard To Swallow', and sweaty '17 Goin On Crazy', but 'Legs Up' is almost cringe worthy, like a country 'n' western cum metal jig that almost drifts into Status Quo's 'Rockin All Over The World', but it is the voice of Sally Cato which saves the day although despite her oomph there are the occasional strays into drive time rock, ala a more metallic Heart and the likes, often too cliched to be cool.

Certainly not a record you'll be playing every day, but enough Rolling Stones twangs and Faces drunkenness to keep you lukewarm for half an hour or so.

6.5/10

Savatage - Sirens (1983)

So long ago yet still so potent. One of metal's true acts ride the frontier that they have never really left despite metal moving through several phases. Savatage have never been rocked because they rock. 'Sirens' (classic cover), is a true metal record that crept from the sewers on the back of no promotion, no lyrics within and just pure attitude and hymns of dark reality. Fronted by the metal master Jon Oliva and brother and axeman Criss, 'Sirens' pumps in majestically and the Heavens open to reveal kingdoms of metal glory. Savatage have long been considered a cult band but the reality is, they should be up there with the likes of Priest when it comes to metal creators, because for me their catalogue remains far more impressive, shaking bones and buildings in its gothic splendour. The title cut somehow has a feel of Metallica, circa 'Ride The Lightning', a chugging ode of darkness that steps into the Wacholz drum thrust of 'Holocaust', bordering on ominous thrash it echoes in the blackness like an oncoming giant. Nine cuts of rattling heavy metal carved from the very walls of Hell's caverns and as black as anything since. Imagine the lights flickering as 'On The Run' stomps, and then pitch black descends whilst the thunder of 'Living For The Night' prowls through the window. Epic metal indeed.

8.5/10

Meanstreak - Roadkill (1988)

Put Lita Ford, Warlock, Vixen and Joan Jett together and still they won't be a match for Meanstreak. This is quality metal courtesy of five femme-fatale's who put the tunes before the tits as such and in Bettina France a fine metal voice. I was shocked as to how thunderous this record was, the guitars of Sands and Apuzzo really catchy yet hard, backed by the pummelling percussion of Diane Keyser and rumbling bass of Martens Pace. Not exactly lyrically blessed, but Meanstreak certainly live up to their name but they know how to write a tune. The melody of 'Snake Pit' at once dark and heavy, neither thrash or simple rock, this is perfectly executed power metal that doesn't let up its pace throughout. It's a shame there are only eight songs on offer but you can hear the hunger of the band as they shake the foundations on 'Nostradamus', and the rocking 'It Seems To Me'. Hearing this album reminds me of when I first heard Sanctuary's 'Refuge Denied' and simply indulged upon the classic quality of it all. Certainly a lost gem in the metal world, I recommend this to anyone searching for some very ballsy rock.

7.5/10

Manowar - Battle Hymns (1982)

Smell the leather, smell the fire, feel the muscles ripple and loin clothes swirl in the wind...and then hide your face in embarrassment as this warrior four-piece prepare for attack. I owned only a couple of Manowar records, but if ever there was a band who took the metal pride to the max it was these guys. 'Battle Hymns' may sound a little dated when looking back, and despite their claim as the loudest band in the world, there's no hiding the fact that lyrically it's often cringe worthy, check out the words to 'death Tone', but then again, also check out the big groove guitar courtesy of Ross The Boss, it's almost T-Rex with a Zeppelin strut as Eric Adams voice soars over the snow-capped mountains like an eagle searching for prey. Yep, this is real metal for real men, a debut record from a kingdom where metal is formed in burning pits and smoke-filled chambers. 'Metal Daze' is a bass driven bonanza and Adams brings to mind the vocal delivery of Ian Gillan, a fair set of lungs rising above the thunder. I so desperately want to mock the band, but 'Battle...' really rocks, far more depth than any Kiss record, and more meat than most from the time, consisting of big anthems al la football ground chants, and some great searing music that'll have your ears bleeding over the stereo. Manowar were always an acquired taste mainly because of their image which took metal to the extreme but if you can overlook the posing and the pouches, you'll actually find one of the best true metal bands ever, riding on the waves of rock, swords raised to the Heavens...parents beware, the house is crumbling.

8/10

Kat - Worship Me Or Die (1987)

This lovely lady is, or was, known also as The Great Kat...being a young metaller I actually feared the blonde bombshell who was touted, possibly more by herself than anyone else as 'Metals Fastest Guitarist', and around the time a majority of the record reviews were none too kind. I took it to be a novelty record so never purchased it back in the day, it certainly reeked of metal, as with gob open like a cavern, studded wristbands adorning wrists and blonde locks flailing over her guitar, she screamed from the cover like a banshee whilst on the back of the sleeve the allegedly evil wench clasped the hair of her two rather silly looking bandmates, the amusingly named Adam (The Animal) Killa, on drums, and Tom Von Doom on bass. Many, many years later I dug this record out from the dusty vault and have to say, I really like it...it may have been cheesy at the time but I personally thought that hearing it now would make me cringe but it's not novelty metal at all but a frenzied heavy metal opus with plenty of dazzling guitar work-outs, (if she actually plays it!), and it's a potent mix of technical hardcore and thrash built upon overly Satanic lyrics which at the time must've turned a few heads even if the track titles such as 'Satan Goes To Church' leave a lot to be desired, but it's clear throughout the record amongst the forest of twiddling solo's, Kat's unhealthy yelps and general scalping speed that there is a certain degree of decent musicianship and quality archetypal metal. It's clear that Kat loves herself, the record is littered with self worship but it's all done for the image I'm sure. I'd like to have a pound/dollar for every mention of the words death, satan, Kat and demon, but this has more metal in its crotch than most bands I could mention. All hail the Great Kat, even if she was probably a hairdresser in her other job rather than Satan's bitch. This would've kept your average 13-yr old metaller busy for weeks...and even more alarming is the fact she was born in Swindon, UK, proof that the British are always the best. Check out 'Worship Me Or Die' cos' this lady can play...and hear her other material at: http://www.greatkat.com/

7/10

Evil Dead - Annhiliation Of Civilization (1989)

Spewed out in '89 on the Steamhammer label, this is a cracking US thrash record, diverse lyrics and a stonking thrash album cover to match. This five-piece burn the ears with a fast-paced Slayer meets Anthrax thrash, although minus the satanic influence of the former, topics range from world awareness, political abuse and social issues, but it's all fired out at machine gun pace, the guitars of Garcia and Gonzales scorching the wax and lead voice Phil Flores has a hardcore edge to his vocal menace. Big, moshing choruses, particularly on the title cut, and a slow plodder intro to 'Living Good' certainly brings to mind Anthrax and possibly a heavier D.R.I.

Good, solid thrash that goes for the throat, hell, there's even an element of early Dark Angel in its blistering assault of the soul.

7.5/10

Heads Up - Soul Brother Crisis Intervention (1990)

Mmmm, hot on the trails of the funk fame and bands such as Chili Peppers, Faith No More, Heads Up provided the listener with a hardcore, slap-happy funk strut something akin to chewing bubblegum for too long. Upon first hearing 'Soul Brother...', the album is bearable, a surprise mix of bouncing rap-rock and quirky bass, a few big soul choruses, but without any depth. As predicted at the time, Heads Up kinda went belly-up after a short career but 'Soul Brother...' was slightly better than some of the other crap around like Scatterbrain and Ignorance, but in the end the colours and slap-bass of 'funk metal' became just too vomit-inducing.

6/10

Naked Truth - Green With Rage (1991)

Very obscure when I purchased back in 1991, even more obscure today. Naked Truth, four cool black guys from the US who combine the soul of James Brown with the hard rock colour of Living Colour and the funk of say 24-7-Spyz and Fishbone although ,much of their sound is kept reasonably heavy. Such a record would have been lost during a time of great saturation within the scene with so many silly bands coming out and attempting the 'funk metal' style, such crazy and sickly antics could certainly be blamed on the stupid face-pulling antics of Chili Peppers front man Anthony Kiedis and the general comic lunacy of the band, but deep within the chasm of fake funk there were a handful of bands who made it big and also a handful that although lost today, are well worth checking out. Naked Truth keep the rock pretty abrasive, but aren't afraid to incorporate horns and the likes to keep the sound interesting.

7/10

Mekong Delta - The Principle Of Doubt (1989)

Peculiar rumblings from these progressive metallers. There has always been an air of mystery surrounding these guys. I've often seen their records classed as 'thrash' but to bracket them as such is ignorant, because there are not many thrash acts out there who sound like Mekong Delta. This is far from your standard chug, instead the band incorporate strange melodies, unpredictable song structures, a dazzling complexity and various instruments ranging from gongs to all manner of astral mechanics, a true kaleidoscope of wonderful musicianship which will leave you gasping for more. Vocally, Keil strains through the maze of discordant riffs and awkward structures, but the band still manage to stir a cauldron of enchanting and quizzical prog rock that fuses thrashier moments with power metal I guess. Lyrically, it's all rather strange and alienating without ever trying to be weird, Mekong Delta are simply original, creating spheres of oddness that only the likes of Atheist and Cynic have touched upon since, but again, this is nowhere as extreme to call it fast or really that heavy, but if you like your metal different then 'The Principle Of Doubt' boasts several reasons why these are such a cult band. Even beneath the layers of complicated riffage the band still manage to churn out almost memorable if somewhat extraterrestrial works, 'Curse Of reality' a fine example of the band's ability to fuse something so complex yet somehow refreshing.

7.5/10

Motorhead - Sacrifice (1995)

After so many patchy releases through the decades, Motorhead finally visit the depths of Hell and produce their nastiest record to date, a truly terrifying demon that rattles, crashes and lashes like no other. Motorhead border on a new wave of black heavy metal insanity, Lemmy's throat takes on more razor blades and the music is far less polished, promising rust and oil spillage, an outpouring of utmost evil as the title kicks in, Lemmy gurgling through the white hot speed, and although 'Sex And Death' might be formula, the punishing stomp of 'Over Your Shoulder' is quite simply breath taking, and coupled with the black evil of 'War For War' you wonder where Motorhead have found this second breath from, the chorus of this beast is just massive, and it doesn't let up, track after track of blazing metal, Mikky Dee on the drums breaking down walls, but its Lemmy and his vocal delivery which truly terrifies. 'All Gone To Hell' is awesome, the warted one reaching deep into his larynx, 'Make Em Blind' a creeping, ominous threat of a record. Eleven tracks, probably the band's finest and thickest work.

8.5/10

Living Colour - Time's Up (1990)

The debut album 'Vivid' was a shock to the metal system, and yet somehow, just somehow, Living Colour never reached the dizzy heights they promised. For me, this so-called failure was simply down to the fact the band were too clever and certainly too inaccessible for the masses. Sure, they destroy the Chilli Peppers with no effort at all, and they write great funky rock of such an unpredictable yet soulful manner, but they were part of no scene despite other black artists such as Fishbone and 24-7-Spyz demanding attention with their own brands of hip rock. 'Cult Of Personality' from the debut album really broke the band, but 'Time's Up' is such an overly cool, emotionally layered, brooding, and inconsistent record that it often bewilders yet always entrances. Corey Glover is a vocalist of such emotion, but the band of multi-talented groovers seem intent of alienating the masses here. Sure, they know how to funk it up, there's elements of Bad Brains here also, sometimes Mordred and the attitude is always out the front.

'Times Up' doesn't suck up to the commercial market, instead its colours continue to confuse despite the catchiness of 'Pride' and the mini-success of the strutting 'Love Rears Its Ugly Head' and sweeping scapes of 'Solace Of You'. Often wonderful, Living Colour embrace so many styles of music, fluttering quickly between jazz, soul and acidic rock, but they supply more of a headache than the likes of Fishbone, rarely striding into goofy work-outs, instead keeping it straight, and with Vernon Reid keeping the guitars at boiling point, you'll no doubt find yourself a little dizzy after this.

8/10

Exodus - Pleasures Of The Flesh (1987)

Metal album reviewer Martin Popoff, in his book 'The Collectors Guide To Heavy Metal' commented on this album, "...big things were predicted for these polished purveyors of speed", yet ending his review with, "...I can't shake the Exodus curse that caused me to visit the band only sparsely despite such evidently advanced product", and Martin, I couldn't agree more. The debut record 'Bonded By Blood' was a pretty furious thrasher, but this follow up, seeing Steve Souza take up the vocal duties, remains one of those records I just can't get my teeth into, knowing full well that by this time Metallica, Anthrax, Megadeth and Slayer had released classic thrash records, and Exodus were simply below par for me. Musically you can't really fault their style of Bay Area thrash, well accomplished, the guitars of Hunolt and Holt certainly take the fury up a notch, but it just lacks either that real class in the song structures or nihilistic aggression. Anthrax had the chug, Metallica were already writing epics, Megadeth had the tight musicianship and Slayer just destroyed, but upon hearing tracks such 'Parasite', and 'Seeds Of Hate' I can't help but feel that here was a band destined for the second division of the thrash league, albeit near the top, but if ever getting promoted to the major league were still vulnerable for the drop. 'Pleasures...' is probably my favourite Exodus album, I mean, it's not easy within the genre to come up with memorable choruses, Exodus have that ability in abundance, but I guess the competition was just too hot at the time for the band to flourish. Pretty dodgy cover too guys.

6.5/10

Motorhead - March Or Die (1992)

Now, Motorhead, not exactly a complex conundrum of a band. Lemmy and company have knocked out hordes of wild, punk 'n' roll and downright oily anthems over the years, but the reality is, although their back catalogue could roast a pig in minutes, it's often been considered patchy and on that I'll agree. For me Motorhead have reeled off more of the same type melodies for years and fans have been okay with that, and of course the fans will always recall the angry days of 'Ace Of Spades' and I can certainly put on the black slick of 'Orgasmatron' and feel threatened, but for me, it wasn't until the '90s that the band, or should I say, Lemmy and whoever supported him, that they really came out of the scrapyard and delivered music to truly demolish. 'March Or Die, despite several weak moments, has a few pivotal tracks which were the shape of things to come. Several critics argued that 'March...' was in fact more of the same, and many had been disappointed with 'Rock n Roll' and '1916' and I think the metal world had kind of appreciated Motorhead but gently put them to the wayside. 'March Or Die' crashes in with the abrupt 'Stand', nothing out of the ordinary and the 'Cat Scratch Fever Cover' is pretty pointless, but 'Bad Religion' has a slight grim swagger, but is immediately watered down by the rather mundane 'Jack The Ripper', whereas the appearance of Ozzy on 'I Aint No Nice Guy' provides soothing respite, but the sheer weight of 'Hellraiser' sees the band shift into a modern way of thinking. The clanking drums, the big, ballsy chorus and general wrecking ball approach is more than what the band have offered previously, but unfortunately, 'March Or Die' withers without effect until the last track, the marching darkness of the title cut which sees Lemmy at his most apocalyptic and grimiest...it's an album that's hard to like, but from here onwards Lemmy would suddenly discover the Devil just like so many teenage metallers all those years ago, and the next few records would literally obliterate the past and reduce buildings to rubble..

6/10

Saxon - Strong Arm Of The Law (1980)

Another solid record from Biff and the boys. It should probably sound dated by now but I'd rather listen to the chants of 'Heavy Metal Thunder' than crap by say, Green Day, Nickelback or Slipknot. This was music very much of its time, early '80s metal played for real, driving, rockin', masculine grooves set ablaze by fiery guitars, galloping drum beats, a super-charged bass and Biff's warrior wails. Sure, it's far from genius, the chorus of literally each track a plain and simple chant of metal faith for the masses, but again, the sincerity is there even if the glowing excitement has staggered off elsewhere. Saxon were never intent on being evil or fake and so instead they rattled out a handful of early records that would've had alot of metallers, and particularly their dads and uncles, rockin' along the freeway...

7/10

Deliverance - Evil Friendship (1989)

There is such mysticism behind the guttural echoes of Deliverance. A band from the UK of reasonable obscurity, yet a band who somehow, despite their facade of eerie gloom, managed to fire out a few mini-classics that really hold the metal flame aloft. 'Evil Friendship', very much like the spooky 'Devils Meta' is black rock, a thunderous noise from what appears to sound like the most vile place on the planet, and yet deep down I'm quite positive that Deliverance are nothing more than a bunch of geeky youngsters with an uncanny ability to ravage the senses with their truly satanic sound. This is true heavy metal, the guitars of the mysterious Sin flail wildly all over the place, the bombastic drums vibrate the speakers and the foundations and Venom are completely obliterated in the wake of these lunatics. The lyrics, so many decades later may appear dated, sure, it's all Satan this, Devil that, but the noise which provides the framework for such evil ramblings is a true wall of spectral sound. Difficult to really categorise this hellish spectrum of sound, somewhere between the rockin' doom of say Pentagram, Witchfinder General, the drunken gurgle of Venom, but standing alone, 'Tongues Of Lies', 'Lord Of Vice' and 'Bell Book And Scandal' will leave you chilled many years later. Riffs to die for, a heavy, monolithic doom to conduct a seance on a rainy evening, and enough claustrophobia for any black vault or stuffy coffin. The flames grow higher and higher with this criminally ignored band who've had a cult following for many years, and that's just how it should remain, deep within the pits of unfathomable metal. And blessed with an almost childish sleeve sketch that one would've craved during the '80s...666.

8/10

Diamond Head - Borrowed Time (1982)

From its truly mesmerising sleeve to the classic black riffage of 'Am I Evil', Diamond Head, after the superb 'Lightning To The Nations' debut, crank up another New Wave metal classic, ominously opening with 'In The Heat Of The Night', the band effortlessly churning out a classic sounding style of rock yet at times evoking dark imagery whilst only loosely touching on anything diabolical. The band propelled by the soaring tones of Sean Harris and thunder guitars of Brian Tatler who may well have recorded his pieces in some remote dungeon! Diamond Head influenced some many metal bands, Metallica being the first to really acknowledge these Brit's, and whilst 'Borrowed Time' is more of a plundering, and at times moody sequel, anthem 'Am I Evil' will get you every time, an epic rock 'n' rolla that comes unexpectedly after the almost miserable, bluesy Zep stroll of 'Dont You Ever Leave Me', the band somehow carving out hypnotic song structures whilst all the time masked by a black curtain of mystery. Not sure what it is that makes the New Wave of British Heavy Metal scene so classic but there were certainly a handful of bands, if not more, capable of releasing striking metal grooves heavily tinted with darkness. The title cut on offer here is another true hard rock epic, some wonderful melodies, the drums of Duncan Scott rattle and thud, no castle in Britain could harbour such stirring echoes.

8/10

Mortal Sin - Face Of Despair (1989)

These Australian thrashers released the reasonable 'Mayhemic Destruction' but it was the follow up that caused a stir, however, even despite the classy thrash hooks of 'I Am Immortal', the band would never be able to compete with their US idols, despite strong influence on this record of Metallica and Testament. This is solid, reliable thrash that chugs along at mid-pace, the band concentrate to write accessible and decent songs and achieve that, but the final result is a watered down record which has too many troughs among its peaks. Crisp, clear production aids its values but there's an air of familiarity about it, even on the pounding opening of 'Innocent Torture'. Exodus, and so many Bay Area acts had by this time released similar yet better records, so Mortal Sin would fall by the way side, but looking back it could be fair to say that the critics were eventually unkind, because despite the almost mundane chug, Mortal Sin simply attempted to create reliable thrash, and that is something they sure did.

7/10

Massacra - Final Holocaust (1990)

I've not heard much French death metal but Massacra recorded this violent opus which certainly matches the likes of Morbid Angel for intensity and hyper evil, fans of Death and Sepultura will also find much to savour here. Massacra were very much a cult band within the genre but never scaled the heights of the US acts, but this record serves up a wholesome range of battering death thrash with fine vocal extremity, blistering guitars and rapid drum beats, fifty-minutes of hellish terrain, 'Sentenced For Life', 'War Of attraction', and the blitzkrieg 'The Day Of Massacra' don't leave much to the imagination, the fury of the band clear to see.

6.5/10

Infernal Majesty - None Shall Defy (1987)

As soon as the Slayer-esque 'Overlord' comes chugging in and fires out various riffs, crashings and vicious solos, you know that Infernal Majesty, from the US, are a cut above your average thrash act, bringing to mind mid-career Sepultura, especially in the raspy vocal style. the album isn't bestowed with the greatest album cover, but it's a heavy record, the epic 'Night Of The Living Dead' takes no prisoners and the buzzsaw guitars on 'S.O.S.' help the bass and drums plod ominously before the band launch into fury reminiscent of Possessed at their most evil. Some quality on here from a band who never went any distance but had a small following of true believers and it's this kind of band that makes the cult of thrash what it is today, a remarkable moment in time within the metal genre.

7/10

At War - Ordered To Kill (1985)

Quality basement thrash from the US that brings to mind the bewitching talents of the UK's Venom, really symbolising that dark chamber that once harboured so many vile thrash sounds back in the day. The title cut is a cracker, half-Slayer, half-Venom with a vibrating bass and the guttural vocal attack, a proper clanking machine on the warpath. The album includes a decent cover of the Motorhead track 'The Hammer', and although the record only runs for thirty minutes there's plenty for the old school thrasher as the band dig deep into the soil to open their can of worms.

6.5/10

Impaler - Rise Of The Mutants (1985)

Here's proof that not all metal albums appear as they should. I first saw the great cover to this record in the 'Trick Or Treat' movie, and when I finally tracked it down to its musty lair I was severely disappointed by it. Impaler are nothing more than a jokey American act who've dressed the album up in hideous, satanic cover to hide the fact that they can't play, the singer can't sing and the overall sound is an amateurish, punk frenzy with no depth. The album is included here because the cover had such an effect on me but where this fits into metal I don't know. I'm pretty sure that during their existence they were classed as speed metal, but their next opus, 'If We Had Brains...' really committed thy bodies to the ground. As soon as 'Shock Rock' waddles in, you get the feeling here's a band who had no right being given a budget for a record, and what money they did have they obviously spent on the cover...thank goodness this 'album' is only ten minutes in length, appearing as a completely pointless mini-record that may well have fooled a few metal fans back in the day...

2/10

Motorhead - Iron Fist (1982)

Maybe Venom weren't so influential to black metal after all. Check out the rattling title cut on here and you'll see why bands such as Darkthrone exist, a punked up mentality makes this one of the better Motorhead records as so many others become stuck in a rut of predictable war tales and clanking, oily noise. Motorhead have always been defiant but sometimes change is a good thing and no-one ever asked the band to become alternative metal or glam-punk, but after a while too many Motorhead albums make me wheezy, so it's always best just to buy the finer moments. 'Iron Fist' rumbles under a black sky, lacking the consistent guffaw of 'Orgasmatron' it still shakes the ground, 'Heart Of Stone', 'Im The Doctor' and punk thrasher 'Speedfreak' always keep the headbangers banging, but for me, the fact that follow up 'Another Perfect Day' was such a disappointment proves frustrating. Motorhead are indeed a British institution but they are capable of far better, and thankfully 'Iron Fist' is one of those peaks.

7/10

Lady Killer - Lady Killer (1983)

Brilliant, in a true metal way. The opening clatterings sound like something from the blackest Venom drones, and thankfully, as the superb 'Lightning Strikes Twice' gets going, the band deliver the goods. Strong rhythms, crashing drums, a galloping melody and superb vocals from the pit, this is pure driving, fiery rock dressed in a great album cover. If I'd heard this at such a tender age I would surely have sacrificed my parents to the undergod and gone and lived in the woods, wow, just check those lyrics, check the anthems, played for real behind the smokescreen, and I never expected such a load to pile from the speakers. Nine tracks, all uptempo rockers with weight, and rather oddly the opening riffs to 'Last Chance Tonight' are almost a sleazy glam-rock strut, if Kiss had dreamt of such hammerings then they'd be deserving of their stadium status, whilst bands such as Lady Killer loiter forever in the domain of the lost...this is their resurrection. Rise!

7.5/10

Killer - Ladykiller (1981)

Think these guys are from Switzerland, and am shocked to see the cover depicting a dead woman lying on her bed, rather than the usual horror-fuelled dramatics of sketchwork. I believe she died after hearing the high-pitched vocal delivery, but somehow, despite the Rob Halford (Judas Priest) foghorn, this album manages to rock, serving up anthems a plenty in its obscurity. Sure, the band look stupid but let's face it, only thrash bands ever really looked cool in metal, every other genre succumbed to the dated look. Despite only clocking it at thirty-minutes, 'Ladykiller' offers a few surprises, mainly the epic, soaring 'Crystal Butterfly' which sounds almost too classy for the album, but you're soon brought down to Earth with the shrill, yet buzzing high octane energy of the title cut, and that's what makes Killer so accessible, the energy of the band, you can just see them now, grabbing their crotch, flailing their hair and probably blowing up afterwards, all in the name of metal.

6/10

Black Knight - Master Of Disaster (1985)

Another one of those essential records from mid-'80s obscurity, head for the nearest citadel and grab yourself a dusty copy because this rocks in more ways than one. The sleeve is a major selling point, and the vocals are just pure metallic wails in the night and when you hear the anthemic chug of 'Metal Screams' you'll be waving your fists as you sleep. Classic '80s metal with a certain amount of attitude particularly in the vocal department, somewhere between early Joe Elliot of Def Leppard but meatier, and although the guitars could have been made far more heavier and a dense sound would have provided a darker atmosphere, but damn it, it was '85, the kids wanted to rock, and Black Knight certainly did...albeit briefly, and then the flames died.

7/10

Avenger - Prayers Of Steel (1984)

Aah, smell the dungeon! If I'd heard the opening mutterings of the title track as a wee lad, I'd have definitely snapped this rarity up. Love the cover, love the sound, classic metal full of imagery, 'Halloween', 'Faster Than Hell', 'Rise Of The Creature', et al, oooh, you can just taste the flames and hear the writhe of the uncoiling serpent. Probably bog standard rock to most, but again, the '80s were all about these kind of obscure records, so it's a true wonder to come across them so many years later. Many such bands would have been missed first time around but these kind of records stand the test of time, the title cut is a real epic, a rising chorus, warrior vocals, "Give me evil, give me power, give me prayers of steel...", amazingly gothic, some great melodies, let's burn another candle...until our mum comes in.

7/10

Assault - Survival In The Street (1987)

I know little about these Canadians except that they play straight forward metal, no real thrills on offer but musically well accomplished, nothing too mushy or corny, just middle of the road rock anthems, typical metal vocals if anything, and not a lot to report but it deserves its place here on the basis that it is real metal but has the look of something far less harmful. 'Thunder Road' is mundane yet appealing, at times dated, but again, those guitars are impressive, so certainly worth checking out if you like your slab of late '80s metal.

6.5/10

Cloven Hoof - Cloven Hoof (1984)

After the excellently titled 'The Opening Ritual' mini-lp, Cloven Hoof emerge with this album, seven tracks of dark yet melodic heavy rock that brings to mind Angel Witch and that New Wave Of British Heavy Metal feel, with the satanic imagery and warrior yelps. Cracking stuff. Most accessible is the almost thrashy 'Nightstalker' featuring some superb guitar work and a stuffy atmosphere that releases bats from the belfry and ghouls from the grave. For me, this record is packaged perfectly, at times touching on Maiden's finer moments with the epic tales of woe and wisdom, making for a wondrous ride into caverns dark and rooms of black. 'Crack The Whip' is an underground metal classic, catchy as Hell and featuring a superb riff. At times there is a clanking leathery sleaze behind it all, reminiscent of Crue's 'Too Fast...'...bring your lantern.

8/10

Protector - Misanthropy (1987)

Protector play a melting pot of black thrash and death, vocally gruff at times lending itself to the black metal wilderness as well as bands such as Pestilence but it's a sound I enjoy, particularly on this debut record which is a mere twenty-two minutes, but worth it all the same. The title cut attacks like a chainsaw, some excellent time changes, and 'Holy Inquisition' picks up the pace even further. Protector certainly seem very serious on this debut record, providing the listener with cutting edge thrash that would last a handful of records, the band keeping that same vicious facade, although by 1993's 'The Heritage', their battering ram of thrash had an even more deathly edge. Good stuff.

7.5/10

Hallows Eve - Tales Of Terror (1985)

Oh yes, more '80s thrash, Hallows Eve built themselves quite a reputation but never quite made the grade despite appearing on an early 'Speed Kill' compilation alongside some big names. It's a shame also that on this debut the cover is even worse than expected, the band opting for a sketch of an executioner that looks as if it's been sketched by a child, thankfully though, the brand of thrash is pretty intense, never really drawing for breath, creating many a dark atmosphere for teenagers to headbang along to, but twenty-eight minutes is awfully short for a record. 'outer Limits' has a more galloping classic metal feel, the vocals far clearer on this offering but for me the anthem 'Metal Merchants' and hyper 'There Are No Rules' are decent thrash melodies, shame the album covers caused so much suffering!

6/10

Devastation - Violent Termination (1987)

Okay so it sounds like the vocalist recorded the vocals in a completely different room from the rest of the band who provide an almost claustrophobic thrash in the background, actually, the vocalist sounds like a mix of can't be bothered or breathless but I'm liking the chugging riffs and simple thrash work outs. All a little basic, but that's how real thrash could be, wrap it up in a decent album sleeve and there you have it, quality US thrash that brings to mind early Slayer and probably a majority of other thrash acts from the time. Once the forty-minutes are up, you won't feel cheated however, 'Massive Devastation', and the guttural rumble of 'Innocent Submission' are slices of decent speed metal, bringing to mind early Dark Angel, and it's actually more accomplished than one realises. Again though, bands like this were coming thick and fast at the time so many would have drowned by the wayside, but I like it.

6.5/10

Deathrow - Satan's Gift (1987)

Terrible album title, these German thrashers won't be winning any marks for class or for originality for that matter, but I still believe the record deserves to be included, bringing to mind the early thrashings of say, Slayer on 'Show No Mercy', flailing solo's, gruff vocals to some extent, and reasonable pace, with equally dodgy track titles to match, particularly 'Spider Attack' which actually features some impressive drumming.

In a word then, 'thrash'...

6/10

Bloodfeast - Kill For Pleasure (1987)

More stuffy American death thrash, made more credible by the intense vomit vocals and predictable titles, i.e. 'Cannibal', 'Vampire', 'The Evil' blah blah. Fuzzy guitar work, probably down to poor production, although I wouldn't want it any other way! Overall, Bloodfeast would never have taken the metal world by storm but they play their style of deathly speed with a passion and if you like Possessed, then this one is for you as there is certainly a big influence here.

6.5/10

Exorcist - Nightmare Theatre (1985)

As stuffy as a coffin, Exorcist, from the USA, have production values of a graveyard, but somehow bellow out a gem of a record that would certainly appeal to anyone seeking something deeply dark from the chasm of mid-'80s thrash. Despite it's rather bad zombiefied cover, the record certainly has a gloomy edge, similar in vein to Onslaught's creaky 'Power From Hell' in that it offers plenty of satanic imagery, i.e. 'Possessed', 'Burnt Offerings', 'Execution Of The Witches' etc and vocally the growler at the helm gurgles like some evil preacher ranting from the foggy woods. I'm sure this is a pretty obscure record, however an lp that would no doubt have thrilled fifteen-year old kids craving something esoteric and clandestine to frighten their parents.

6/10

Darkthrone - Plaguewielder (2001)

I probably play this Darkthrone record the least out of all of them, not because I dislike it but simply put, the band have a startling discography, so much evil to hear. 'Plaguewielder' brings Motorhead and a more traditional black metal sound to mind, 'Weakling Avenger' with its gargled opening and black rock 'n' roll guitars although 'Raining Murder' truly exudes evil, a grim echo of the days or yore when Darkthrone and their pitch black album covers spooked an unsuspecting metal audience. Although there are only six tracks on offer, they all weigh in at over five minutes, and Darkthrone fans will once again find much to savour in this mid-tempo gloom they've fashioned as their own.

True gods of the unholy, and whether you like it or not, true metal also.

8/10

Lita Ford - Lita (1988)

I can just see your faces now...cringing as I throw another lightweight metal album on here, keeping uncomfortable company with the talents of Mother Love Bone, Non-Fiction, Slayer, Trouble etc. However, but there's always room for a few nostalgic albums and 'Lita' remains one of them. Yes, as a kid I fancied her...mind you, alot of the ladies in metal at the time were hardly show-stoppers, but it was Lita's 'Kiss Me Deadly' with its sexy video, rather than great lyrics which turned me on...albeit for just this record which I picked up for the price of a raindrop in some second hand shop years ago. It doesn't rock, it doesn't roll, but it's heavier than the Vixen record, Lita's vocals far more dangerous (hardly!!) and the collaboration with Ozzy on 'Close My Eyes Forever' is at once worthy of scarf-waving...and then a visit to the toilet. I like Lita...and this record...a little, because it's symbolic of female metal in the mid to late '80s...of course, that doesn't say too much for the ladies in the business, but let's just leave it at that...

5/10

Vixen - Vixen (1988)

I admit it, this is possibly the cheesiest entry on the blog...even cheesier than Def Leppard's 'Hysteria', for many metal guys in '88 Vixen were four, hot rock chicks...unfortunately the album lacked any kind of beef, the band firing out blanks except for the keyboard laced rock anthem 'Cryin', the watery 'Edge Of A Broken Heart' and more uptempo groove of 'Hellraisers'. It's all predictable hairy metal with a lush edge, but I've known thrash maniacs who purchased this as some kind of sexual connection to the band. I couldn't see it myself, Vixen were far from head turning material whether in the form of music or looks but they are here now...deal with it.

4/10

Quiet Riot - Mental Health (1983)

Once boasting the guitar talents of Randy Rhoads who went to join Ozzy O, Quiet Riot remain a cult act in the metal world, despite, when looking back on this record, all I hear is very basic rock music, very cliched and a cover of Slade's 'Cum On Feel The Noize' which gained them heavy rotation on MTV. 'Lets Get Crazy', 'Run For Cover', 'Breathless' and 'Dont Wanna Let You Go' certainly bring to mind the 'Trick Or Treat' heavy metal movie, as their message is clear as standard anthems. Nothing spectacular here, Kevin Dubrow's vocals do add depth to the recording, and I recall the cover alone spell-binding many kids who were flicking through the lp racks.

Not quite ground-breaking metal but for its time it remains as solid as stone.

6/10

Dirty Looks - Cool From The Wire (1987)

Almost missed this one in the racks many years ago. This act, from Pennsylvania fit somewhere between AC/DC (with Brian Johnson and Bon Scott), Faster Pussycat and D.A.D., conjuring a sleazy, strutting hard rock with catchy choruses to match. There's nothing alternative or clever about the record but what you see is what you get in the titles, 'Its Not The Way You Rock', 'Cant Take My Eyes Off Of You', and 'Oh Ruby' offer the usual mid-tempo groove and also mini-anthemic drive.

This is decent metal, certainly nowadays it would be wiped on the arses of bands such as Beautiful Creatures, but the only real difference between the two is the general weight of BC and their ability to play a street-wise rock 'n' roll, but Dirty Looks most certainly have an attitude to their rock 'n' roll, and when you consider it was released before Guns 'n' Roses 'Appetite...', it doesn't suddenly sound so out of place in a saturated genre.

Good time rock, simple as.

7/10

Vain - No Respect (1989)

Quality American glam rock that has more than just layers of lipstick, PVC and hairspray. The impish Davy Vain is at the helm, almost a true rock star cavorting and twisting through a set of refreshing tracks that shoulda put the band into the big time. The album caught out attention with the ballsy 'Who's Watching You' a melodic rush of fresh air and true sleaze anthem but the glorious 'Beat The Bullet' sways like mid-career Crue, surprising when you consider Davy Vain worked with Death Angel on their thrash classic 'Frolic Through The Park'! 'Smoke & Shadows' is far removed from thrash metal, a slow-burning ballad, typical of the late '80s, but Vain give it that credible stance, whilst the title cut is a glam strut, 'Icy' sounds more like traditional metal and 'Without You' is a lighter-waving ballad with some predictability.

Overall though, Vain isn't as hard edged as some would have you believe, but there's more to the record than just fragile persona.

7/10

God - Possession (1992)

Just when you thought God, the ultimate being inhabited some kind of Heavenly headquarters, you'll be at once disturbed my this menacing soundtrack, once described to me as an industrial Mr Bungle. God, the project consisting of Godlesh main man Justin Broadrick, saxophone nutcase John Zorn (on three tracks) and various other unhinged musicians, play a dark, foreboding brand of avant-garde music neither here nor there to be perfectly honest, the eleven-minute 'Fucked' is pretty brain numbing as a wave of industrial hate washes you in sin, 'Black Jesus' rattles eerily and another eleven-minute colossus, 'Lord, I'm On My Way' is similar to a Godflesh work-out, often depressive but laced with Zorn's screaming sax.

Of the eight tracks, most weigh in at a hefty time, usually between six and ten minutes, so this is pretty much an alienating and brooding experience that won't cure any hangover. Personally, it' nothing like Mr Bungle's crazed carnival but more of a cankered murmur from beneath some manhole waiting to ooze out like some fatal disease.

6.5/10

Non-Fiction - Preface/In The Know (2005)

This double offering puts together Non-Fiction's best two records. I'm pretty confident however that not many people reading this review will even know who Non-Fiction are, but the fact that I've reviewed it after Mind Over Four may go a long way to explain them. Non-Fiction are another of those super-cool, unknown, tragically hip acts long forgotten and yet lights years above or beyond most bands in the 'alternative' metal genre. The Soundgarden, yet traditional riffage of 'The My Way' kicks in, a lazy groove of C.O.C. proportions followed by the angry 'Listen' and sheer slab of dark energy 'Mortify Me'. Those seeking a direct comparison may look to Alice In Chains, although Non-Fiction for me occupy that low down and dirty wasteland which Warrior Soul once owned, particularly on the title cut of the second album, 'Preface', its commentary an angst-ridden lullaby to the estranged, whilst 'Peaked' menacingly stomps with its clunking bass-line and 'Sound Decisions' has a doomy roll to its greyness.

Non-Fiction are a clever band, ending with the rock 'n' roll swing of 'One Last Time'. I'm sure many will be bewildered by the technical know-how because this band really are an unknown quantity, but like so many on this blog, ridiculously overlooked and way too intelligent for the corporate masses. Purchase the 28-track cd or forever hold your peace...

8/10

Mind Over Four - The Goddess (1990)

Imagine a sound so classic, yet reflective. Imagine a sound familiar, yet refreshing, innovative, yet somehow normal, but with a style and pose way beyond many other sounds you've heard. Think of a Metallica melted with Watchtower's complexities, or Death Angel strapped alongside alternative metal at its beast from the early '90s. This is the only way I can truly describe the flavour of Mind Over Four. They are a true metal band without a doubt, and yet without veering insanely to the left field, they still harbour imaginings up there with Faith No More, whilst maintaining an almost crisp, sharp and complex edge that wouldn't sound out of place on Megadeth's 'Rust In Peace', and yet the band have never reached any kind of height within their chosen field of unknown metal. There's nothing totally awkward or alienating about 'The Goddess', but it has a supremacy and casual arrogance that enables it to look down on supposedly successful bands, and yet sneer at them for their lack of real talent, but, Mind Over Four have surely become one of those too cool to be famous bands. They are immensely creative, unpredictable without ever attempting the strange, but there is certainly an element of the obscure about them despite their sound coming across like a slower Death Angel yet with a classic groove. Strangely strange but oddly normal!

Spike Xavier is a classy vocalist, reaching any mountainous note with ease, yet there is certainly a stark aura to proceedings to the extent that you'll feel as though Mind over Four can take you to some very alien world's and whilst you will be tempted to vacate to most, the journey will always remain slightly uneasy, as if you're not part of the plan.

Again, don't expect some carnival of the surreal, simply enjoy the heaviness and wonder why you can't put your finger on their beauty.

8/10