Amebix - Monolith (1987)

Ever wondered what would happen if Voivod and Motorhead were thrown into a blender? I'm guessing that Amebix would be the fetid result. Now, these crusty punk-metal veterans have been barking orders for several decades but only released a batch of records, and yet they've inspired so many bands, more recently Darkthrone. Basically, if you like anything from Bathory, to early Voivod, to Darkthrone and some of the foulest punk music, then Amebix must certainly be on your 'to do' list. 'Monolith' is the bands second opus and features what I believe is one of metal's greatest ever tracks, the pungent stench of 'The Power Remains' which is pretty much a doomier, more rusted Motorhead combined with that early Voivod style of punkoid noise. This alsum is far blacker in its heart than a majority of so-called black metal albums, it ratlles along suggesting its wheels are gonna fall off at any minute, particularly on the troublesome 'Time Bomb' and the wretched 'Last Will & Testament' with its simmering intro. You can tell these guys are English, this sort of stuff sounds as if it was wrenched from the same vile womb that once spat out Venom and Lemmy. These guys existed from 1978 until 1987 and reformed a few years back, but I suggest you buy the first two albums if you're after well soiled vocals and anrchic metal. 8/10

Ravage - Wrecking Ball (1986)

It's straight up metal from 1986, what more do you want me to say? Ravage live up to the title of their album name, playing balls out testosterone fuelled metal in the form of sweat-soaked tracks such as 'Battle Stations' and the scorching 'Slow The Hammer Down' with its killer intro. There's nothing subtle about these metal-heads, who simply opt to go for the throat with their rampant brand of fiery metal. Vocally, it's all very much from the hairy chest area, caveman metal that pounds hard on the door and I'm proud to say that I've given this muscle buster several spins over the years, so it's the least you can do to. Always finding myself abck with the dazzling riff of 'Slow The Hammer...' which is definitely the albums high point. 7.5/10

S.A.D.O. - Circle Of Friends (1987)

Now here's an album I really like. Apart from the brilliant album cover, S.A.D.O. are a strange bunch. 'Circle...' is the bands second opus, and it can best be described as a sexed-up, hair metal stomp that at times has a mid '80s Alice Cooper feel, particularly in the vocal department. There is a strong Euro metal feel here, some lush melodies, especially on the title track with its infectious pop-tinged chorus, 'Goodbye Mr G' follows the same theme with its pulsating synths. Even so, there's a good feel about the record, and the band are clearly obsessed with the whole s&m scene, there's a remotely sleazy edge within the melody, although '219 Uniform' has more in common with Maiden at their most timid. Worth noting that a few of thse guys when on to form the rather riotous V2. Again, great album covers, also check out 'Dirty Fantasy' for more pop-tinged hard rock. 7/10

Wolf - Edge of the World (1984)

Classy New Wave of British Heavy Metal styled metal, with husky vocal approach and darkly clad riffs, particularly on a slow builder such as 'A Soul For The Devil' with its melodic guitars. At tiems there's a lue Oyster Cult feel on this rarity. It's not a crushingly heavy album, far from it but there is an element of mysticism within its obscure nature. The keyboard laced 'Medicine Man' is a bit of a plodder and the title track with its simmering intro stirs the soul. A hidden gem of a record to some extent, everything about it reeks of nostalgia, and although the guitar sound is rather lukewarm, it's still a nice little listen by the glow of a full moon. 6/10

Hatriot - Heroes of Origin (2013)

Already one of the most explosive albums of the year. Hatriot's debut opus should come with a health warning. This is new school thrash very much in the old school vein and no wonder because it features ex Exodus frontman Steve Souza on vocals, the band also featuring his two sons Nick and Cody. If you like the distinctive Bay Area chug, and you grew up listening to stuff like Exodus, then you're going to love this. Souza has a very distinctive throaty rasp that fits this music perfectly, and with that crisp production this is going to rip the flesh from your bones in quick time. Memorable yet heavy riffs, excellent drums, blinding bass, 'Heroes...' is the next step on from Tenet, combining old school aggression and passion with modern day dynamics. Pure thrash armageddon. Excellent stuff all summed up in 'Blood Stained Wings'. 8.5/10

Suffocation - Human Waste (1991)

Clocking in at 23 or so minutes this is Suffocation in EP form. Brutal, aggressive, complex death metal that's harsh on the ears of those that have never experienced it. It's pretty much no thrills, just a barage of hideous riffs and harsh hyper drums mixed with a harsh vocal approach that is guttural to say the least. Suffocation never pulled any punches, and this EP is no different, it heads straight for the heart, rips it out and eats it. Six tracks on offer including the murderous 'Infecting The Crypts' with its mountains of riffs, as well as 'Jesus Wept' and the slower 'Synthetically Revided' with its wayward soloing and devastating drum attack. 'Human Waste' bridged the gap between 1990's ''Reincremated' demo and the classic 'Effigy Of The Forgotten' opus. 7/10

Black Hole - Land of Mystery (1985)

Creepy, creaky stuff from the mid '80s that disappeared into some coffin and then got a reissue seemingly centuries later. This is oaken doom metal from the darkest corners of Italy. It's a record that exudes mystery and sends more chills than an open church door! Vocally it's rather inept, a track like 'Demoniac City' has a tinge of King Diamond/Mercyful Fate about it although a more watered down version. There's nothing ultra heavy about it, but it does have a mournful and vintage feel, and a track like 'Bells of Death' is far more authentic in its occult tradition than say Ghost. Although the drummer is rather out of the mix the whole reeks of foreboding and gives off a musty smeel better suited to a graveyard in 1970s London! The eight-minute 'Spectral World' is also malevolent, conjured like some ritualistic dirge perfect for a mass under the gowing moon. The organ adds to the spooky effect of this record, leaving the brilliantly titled 'Blind Men & Occult Forces' to shudder the spine with its dense riff. I'm surprised not many have experienced the coffin creak of Black Hole, but it's great that it was re-issued and fans of Pentagram in particular will find this perfect Halloween fodder. 7/10

Tenet - Sovereign (2009)

Although it was a long time coming any band featuring the talents of drum god Gene Hoglan and ex Exodus frontman was gonna be pretty formidable. Despite forming around 1996, 'Sovereign' from 2009 is the bands only record due tos everal set-backs. Even so this is a shredder of a record that will have any thrasher salivating at all orifices. Hoglan's drum boom is recognisable aywhere, as is Souza's paint-stripping rasp, couple that with crunching riffs and bone-breaking bass and you're onto a winner. For the most part 'Sovereign' is a high energy thrash assault, reaching its highest points with the venemous 'Take A Long Line', the short sharp shock of 'Watching You Burn' with its bay Area style moshing chug and the machine gun hyper thrash of 'Hail! Hail!' where Souza takes on demonic tones. Great stuff, thrash as it's meant to be. 8/10

Necrosanct - Equal In Death (1990)

Obscure yet strangely melodic death metal with some pretty cool grooves amidst the watery growls and buzzing chugs. There's a real loose sound to this opus making it extremely accessible. It's very much standard death metal from the four-piece and yet it never once gets boring. Track two 'Pretentious Priests' is a fine example of the band in melodic mode, somehow crossing an extremelt catchy classic metal riff with deathlier overtones. I'm bemused by it all to be honest, finding myself shrouded in a haze of accessibility. There's a hollow sound to proceedings, meaning that the drums, bass and guitar have a rattle to them. Hard to describe and hard to find, certainly on vinyl but it's interesting death metal all the same. 7/10

Tattoo - Blood Red (1988)

When I first saw this album back in '88 I jumped to the conclusion it was gonna be some average sleaze metal act. If anything this is a Fastway style of fiery rock, vocalist Gary Stewart reminding me of Dave King, particularly on 'Top Of The Rock' which features some pretty bombastic guitars courtesy of Glenn Miller and Joe Minor. It's a shame these Chicago metallers disappeared without a trace, one only has to hear a track like 'She's A Rocker' with its chugging guitars to wonder how and why bands like this were never recognised. Was it the band name? The album cover? Or just maybe the scene at the time was swamped with so many bands, but Tattoo are consistently good in every department driving headlong into the ears with their brand of metal. Maybe tracks like 'Red Light' didn't do enough in the originality department to garner any attention, but 'Blood Red' is still a robust record I'd recommend. 7/10

Voivod - Target Earth (2013)

Voivod are one of the hardest bands to review. Over the years since the metallic fury of 'War And Pain' the more surreal, later albums, Voivod have taken their fans on a very unpredictable yet always intriguing journey. Of course, since the passing of Piggy the band have been a shell of their former selves to a certain extent, but their recorded output has still been impressive. Even so, with Blacky back on that nuclear blower bass and Daniel Mongrain (formerly of Gorguts) on guitar this could well be the return to actual form that real Voivod fans have craved since the spiky days of 'Killing Technology.' 'Target Earth' has more connections to the ground between 'Klling...' and 'Dimesnsion Hatross' than any of the last batch of albums. Maybe the band have felt its time to resort back to those jarring dynamics which made Voivod so alien in the first place. Of course there is still the schizophrenic melody in Snake's voice, but on the title track he barks and spits over those discordant drums of Away as Blacky's bass shudders the bones. 'Kluskap' is equally innovative, clattering in on a drum stampede and harsh Gothic bass and guitar assault, the structure hints at the era of'Nothingface' whilst the stark raving weird jerks of 'mechanical Mind' are just as stirring, hinting at the primitive ramblings of 'Dimension...' Clearly Voivod are back in the right frame of mind, possibly perked up by the sinister metal revivals taking place within several sub genres. Voivod have always been awkwardly progressive, doing whatever they chose and gettinga way with it because of their staggering originality, but it's great to hear the rusty thrash revived in the form of 'Corps Etranger' and the bewildering 'Artefact.' There's so much going on here, and Daniel has fitted in with ease, paying respect to the legend of Piggy. Some fans may still argue that 'Target Earth' is not classic Voivod, but if you want classic Voivod then go and play their first handful of albums and shut up. Voivod have progressed unlike any other band within the metal genre, often tripping the light fantastic with Pink Floyd and the likes to create a devastatingly surreal landscape. However, 'Taregt Earth' is a band back on form, but then again, it depends what you can call form within the Voivod cauldron of oddness. it wouldn't surprise me if they released a jazz metal album because with their innovation they have the right to. I see 'Target Earth' has a nod of appreciation to the fans, a record that attempts to bridge the gap between the more recent yet more tepid albums and the jarring sonics of the mid to late '80s. I don't see how anyone can complain about Voivod, they are still the extraterresrtail posse that never made it back home, and even when they are average they are better than most, but 'Target Earth,' based on my rating system is ' a really good record with some superb moments.' In other words.... 8/10

Shout - In Your Face (1989)

I'm not gonna lie..when I first saw the album cover all those years ago I thought, "These guys must be pompous, lightweight fluff metal..." and then the opening shred-fest tore the flesh from my face and I was never the same again. This is pretty furious heavy metal with a melodic edge, but the guitars and vocals are killer and really do contradict those puffy haircuts and big shoulder pads. Unfair to call this hair metal, sure it has a few riotous chants, but the guitars are all over the place, flailing solos knotting the hair and bursting the ear drums. Even when the band throw in an organ ('Getting On With It') they still supply a sultry yet hard edge. 'When The Love Is Gone' has a chunky riff that swaggers like Whitesnake, and the vocals of Ken Tamplin have that rugged appeal. Take no notice of the 'Christian glam metal' tag they were bestowed, this is a band that has featured some of metal's most talented musicians such as Alex Masi and Marty Friedman who went on to play in Megadeth. 'In Your Face' is Shout's second opus, and a rip-roaring experience it is too, combining driving hard metal with lush melody. Slot this alongside German metallers Bonfire for similar fiery love. 7.5/10

V2 - Out To Launch (1990)

Now this is real hammer to the heart metal. Ten solid heavy metal tracks of thunder that evoke echoes of Priest, especially in the vocal Ralf Dohanetz. I know nothing about these guys except to say that this has a real traditional fist pumping sound, living up to its title, because this is on helluva heavy metal rocket up the arse. From the sweltering opener 'Hungry For You' with its twin guitar steamroller to the scorching stomp of 'Take Me Home', the thrashing 'I'm Insane' and the struttin' 'Ride On,' German metal has never sounded so molten. There's even a little bit of latter AC/DC in those vox and killer leads. No real thrills, but as weighty and direct as an armour-lated tank. 7.5/10

Razor Baby - Too Hot To Handle (1988)

This is a smoking little record that has a sleazy edge, reminding me, especially in the vocals, of Fastway. Overall imagine a lighter, more hair metal orientated Dio, 'Danger' probably being the albums highest point although there is some great melody throughout. I guess it's rather standard late '80s heavy rock/metal. The more wistful 'Long Distance Lover' once again nods toward a more tepid Dio. Nine tracks, not bad at all just not a lot of variation to make it stand out like the supergroup everybody thought it would be. Strange cover too! 7/10

Leatherwolf - Street Ready (1989)

Not sure if Leatherwolf are ready for the streets dressed like that! This is lightweight power metal - if such a thing exists, Leatherwolf keen to tell us about 'The Way I Feel' and to 'Take A Chance' on that 'Lonely Road' of their 'Wicked Ways'. Must admit that I was pleasantly surprised by these guys, this has a late '80s look to it but for the most part burns the ears with elements of thrash even thrown in for good measure. At times there is a strong early Metal Church feel, the band not afraid to get aggressive or to mix styles. It certainly lives up to its name, having a rather bruising approach, so this is definitely worth giving a spin and more. This is kick ass metal. 7.5/10

Death Breath - Stinking Up The Night (2006)

Swedish band featuring ex members of Hellacopters, Entombed,' 'Stinking...' is a classic old school style of death thrash that combines the already mentioned chunky style of guitar riff made famous by Entombed, and the gurlged vocal attack of Autopsy, Ravenous and the like. This is refreshing in itsw morbidity,boosted by its zombie-infested promo for the three-minute title cut, complete with sexy bolnde being pursued by the undead. 'Cthulu Fhtagn' begins with a morose riff and leads to an oaken mid-section. This track is more of a garbled instrumental that relies on plodding atmosphere. 'Coffins Of The Embalmed Dead' is (un)pure Autopsy in its drull opening whilst 'Reduced To Ashes' quickens the pace with a solo that carves through bone like a hot laser. This is good stuff that revels in gory glory. If you like your metal old, creaky and stinking then Bad Breath could well be for the gore hound within you. 7/10

Victory - Culture Killed The Native (1989)

What an incredible heavy metal album this is. I was never a big fan of Victory all those years ago simply because I was swamped with vinyl of many colours and never gave the band the time. Even so, decades after release 'Culture Killed The Native' is a hard rockin' debut featuring killer cuts such as 'Standing On The Edge Of Time' and the formidable 'The Warning.' Fernando Garcia has a superb power metal style vocal, and backed with the killer guitars of Herman Frank and Tommy Newton this is an album that does no wrong. 'Let It Rock On' is pure heavy metal thunder, an underrated anthem featuring Fritz Randow's consistent heartbeat thud. Victory are a criminally underrated metal act and I apologise guys for leaving the appreciation so late. 8/10

John Corabi - Unpluged (2012)

Not many metal vocalists, or any vocalists in general, can put their voice to an acoustic guitar and still sound so great. John Corabi, probably best known for his brief stint as Motley Crue frontman in the mid '90s, returns to the fore with a twelve track acoustic album which showcases five new songs and a batch of cuts from his past. Corabi sheds new light on Crue tracks 'Hooligans Holiday' and 'Loveshine' and they work wonderfully, not glued down by the grunge-tinged production of the mid '90s, his distinctive voice soars high above the minimal percussion and sweeping acoustics. There are also a few Union and Scream tracks, faves being album opener 'Love (I Don't Need It Anymore)' the magical 'Man In The Moon' and the swirling 'Everything's Alright'. Of the newer tracks 'If I Had A Dime' and 'Open our Eyes' shine, but there's no duff track on the album. Corabi is such a soulful singer, effortlessly breathing new life in some of rocks most underrated tracks. I'd love to see this guy get the recognition and success he deserves and hopefully 'Unplugged' will be the perfect starting point to exhibit that earthy vocal. 8/10

Motley Crue - Quaternary (1994)

This five-track EP featuring John Corabi, was originally going to be called 'Leftwovers' as these were cuts left over from the 'Motley Crue' album sessions. I'm not sure how much of this is true because this EP is more an experimental trip and I couldn't have imagined Tommy Lee's industrial rap-rock 'Planet Boom' featuring on any Crue album. 'Planet...' opens the EP and it's a messy, choppy groove with Tommy rapping over the top, and that's about it really, it's a messy piece of experimentalism from a time when I was already sick to death of rap/rock crossover. The Mick Mars written 'Bittersuite' is better, leaking into the system with a deep, rootsy blues-based riff, it's a three-minute instrumental that also featured on the 'Supersonic & Demonic Relics' compilation. Next up we're treated to 'Father' solely written by Sixx. This is a chunky industro groover with Sixx on vocals who is backed by a danced up chug, his vocal sneer isn't remarkable but it's not a bad track, but for me it's Corabi's 'Friends' that enlightens the most. This quirky jaunt is Beatles-esque in its approach, leading in with a wistful piano and those silky tones. It's a reflective track that wallows for the most part and takes 90 seconds to reach its Beatle bounce, combining elements of McCartney's 'Frog Song' if anything, with a surreal trippy ballad. The EP closes with 'Babykills,' a struttin' swaggering funked up hot-cake of a track (Corabi on vocals) featuring some killer guitars and swanky vocal.This is probably the sexiest non-Vince track the band recorded, but from here Crue with Corabi would be no more. 7/10

Twenty 4 Seven - Destination Everywhere (2002)

John Corabi is somewhat of a rock journeyman, a voice that deserves rock stardom and yet he's never been able to settle in the huge rock band he deserves. In 2002 he enlisted the services of ex-Ratt veteran Bobby Blotzer and hot guitarist Robert Marcello (Danger Danger), and they stoked up this fiery rocker that, with a sprig of the alternative makes for quite a refreshing listen. Any band fronted by that soulful rasp is bound to have balls, but Twenty 4 Seven, despite being a one-album wonder, were worth their weight in gold. I doubt this sold many copies, but isn't it always the way? Even so, 'Destination...' boasts some cracking hard rock tunes, including the infectious 'Limelight,' the breezy 'Someone I Don't Wanna Be,' and a glorious cover of 'No Matter What.' This is a solid record that uplifts the soul. 7/10

Dee Snider - Never Let The Bastards Wear You Down (2000)

Dee Snider (Twisted Sister) is back! This solo record is infinitely more rewarding than the Widowmaker project of nearly a decade previous. Dee has enlisted the talents of Dan MCafferty and Tony Palmucci on guitars, AJ Perom (formerly Twisted Sister) on drums, and Derek Tailer on drums. What we get are ten hard rock anthems made all the morer bloody by Dee's distinctive roar. There are some excellent tracks on offer here, particularly album closer 'Ride Through The Storm' and the driving 'Isn't It Time.' there's no real filler to speak of, somehow this records sits right as metal slowly makes a comeback. If this has been released a handful of years previous it may well have sunk without a trace. It's hard not to be endeared by the sleazy swoon of 'Cry You A Rainbow' with its mournful solo. Only duff track being a cover of 'The Wanderer' but it's still nice to have you back Dee. 7/10

Sentinel Beast - Depths Of Death (1986)

Here's an album that sprints from the traps and tears at the throat. The aggressively named Sentinal Beast offer one of metal's greatest album titles and thankfully too, a batch of ferocious songs to match. This is fiery thrash, slightly let down by the drowned out and tepid sounding vocals, but this is such a basement record it deserves the rating I've given it. The maniacal title track is guitar overload whilst 'Dogs Of War' begins with sinister fashion as the twiddling guitar punctures the slow riff but like everything else on this opus it soon speeds up for a dose of thrash metal mayhem. The bass plod of 'Corpse' hints at a melody, made all the more authentic by the doom-laden riff but you know where its going, made all the eatery by that rather irritating vocal warble. Some may argue that there's a sleazy edge to proceedings, but again the vocal sneer is responsible for that, but overall it's a half-decent thrasher that fails to shift from the mediocre. 6/10

Artch - For The Sake Of Mankind (1991)

This is a more groove-based outing from the Norwegian power metallers. Goth voiced frontman is now as Bruce Dickinson as it gets on this one, particularly on storming opener 'When Angels Cry.' Artch were one of my fave pure metal bands, never getting their just rewards with their brace of records for Metal Blade records. Fantastic how they can shift between melodic metal and something far harder, the bass likes to jab at the ears, the guitars whince and whine and the drums crumble those cold stone walls. Such an epic feel to it all, 'Titanic' may sound a little dated but its still a top notch heavy metal song although I have to admit that this album lacks the distinctive mysticism of 'Another Return...' but it's hard to fault the chugging 'Paradox'. As I always say, if you like metal that cuts to the bone then you can't go wrong. Artch have always had a heart of steel and for that I can't fault them. 7.5/10

Black & White - Don't Know Yet (1989)

Does anyone know a fuckin' thing about these rap rockers? This obscurity combines the old school rap styles with a funky style metal guitar sound. Think Hard Corps, think Pause from Mordred on the raps, even hint of Beastie Boys, Pubic Enemy, and it somehow works considering the amount of fake shite around at the time. 'Feel The Vibe' was given a video, and whilst the white guy has a pretty appalling rap style, musically it's lightweight metal given a streetwise vibe and a few scratches and samples. Certainly less irritating than so many funk metal bands although the band name is a bit too much of an Ebony & Ivory concept for me. The band lack conviction but I think it's done with sincerity. 6/10

Axewitch - Visions Of The Past (1985)

Sword and sorcery metal from the mid '80s, Axewitch have a medlody that borders on obscure NWOBHM especialy on the title track with those almost tuneful vocals. From the crusty cover to the solid, albeit basement guitar sound, I'm reminded of some of Sweden's darkest dungeons, the stench confirmed with the tumbling drums of 'Give Them Hell' and the six-minute fantasy of 'Heading For A Storm' complete with sound effects and ominous tinkling. I don't think this was their only album either, so fair play for keeping the metal real boys, now, about that bloody album cover... 7/10

Death Mask - Split The Atom (1986)

This is a crusty affair that will appeal to the thrasher seeking no thrills pleasure. Thousands of bands sounded like this all those years ago, it feature some ear-splitting screeches. The likes of 'Commando' and 'The Reign' all delivered at high speed. Badly produced, fuzzy guitars, and amateurish style vocals are what make some thrash albums endearing but the familiarity of it all just gnaws away at my brain. 5/10

Exciter - s/t (1988)

One of my favourite thrash acts, this one's dressed up like it was released in the early to mid '90s alongside those Annihilator albums. In fact this has a more clinical feel than those earlier albums. No denying Beehler can still strip flesh with those maniacal screams and wails, but on tracks such as 'I Wanna Be King' we are hearing a more progressive Exciter, one steeped in pwoer metal efficiency. 'Scream Bloody Murder' is metal at its purest, very much in the Metal Church vein of cold steel and stone walls. Even in full throttle this is more thrashy Maiden rather than dingy thrash of old. A very underrated band, Exciter have always blown me away with their high voltage metal. This self titled barnstormer is a six track affair that doesn't rely on gimmick and from the outset has one aim, to get heads banging. Hell hath no fury like a metal band out to rock. 7/10

Wild Horses - Bareback (1991)

Meaty, beaty, big and bouncy - Wild Horses clamber into the early '90s with a rootsy, bluesy, spirited opus that made no impact despite featuring former Kingdom Come members Rick Stier and James Kottak. This has that later Whitesnake style of groove, big riffs and soulful vocals, but it lacks originality despite its big heart. 'Had Enough Of Your Love,' 'Your Love Is Junk' (cool funky strut) and 'NYC Heartbreaker' are pretty decent movers, but it's ballad 'Matter Of The Heart' that'll get the chicks through the door. Again, it's all pretty muscular in those Coverdale-esque vocals, and there's nothing wrong with this, but it's a couple of years too late I'm afraid. Wild Horses sound so pure and breezy, even now, but there's just not enough here to enable it to stand out. 6.5/10

Widowmaker - Blood & Bullets (1992)

Wrong time to release this record - shame, because Widowmaker is a Twisted Sister for the '90s. The curly haired one was always a fave of mine, and despite being a talented guy, those distinctive always remind of TS whatever he does. Mind you, there's nothing wrong with that. Widowmaker are a far moodier affair, less glam juice, more stripped down metal, although tracks like 'Calling For You' still have that wholesome glam edge. 'Evil' cranks up the guitars, but it's still a record out of place, probably released withy no awareness to the imminent grunge invasion, but still worth checking out if you like Dee's massive, meaty voice. I'm surprised it didn't make an impact consider how Alice Cooper managed to continue on through the decade. 6.5/10

Black n' Blue - Without Love (1985)

Rather formulaic American hard rock/metal, featuring the talents of guitarist Tommy Thayer who now stars in Kiss, and vocalist Jamie St James. These guys were around a few years and reformed not long ago and released the stomping 'Hell Yeah' opus which I reviewed on here. Strangely, Black n' Blue exist on the same platueau as Kix, both being solid acts with a bit of hair metal pomp thrown in for good measure. Cool cut on this record is the semi-ballad 'Miss Mystery' and the Twisted Sister-esque stomp of the title cut, although James has a more standard vocal chant. The rather cheesily titled 'Rockin On Heaven's Door' opens up the record, the title not really doing them any favours, and it's a bubblegum stomp with Poison overtones. A few songs in and you can pretty much work out where the album is goin, certainly in one straight direction with a little fluff around the edges. Not a bad little band who lasted four records in the '80s. 7/10

Danger Zone - Victim Of Time (1984)

Obscure and rather tepid Italian metal from the '80s that features a rather rambling and tuneless vocalist who at times seems rather tongue tied amidst the riffs that so desperately try to drive hard. 'I'm Waiting For You' is probably the best song on this EP, and whilst the musicianship is of an admirable standard I'm put off by that warbling vocal display, even more so when he attempts some type of hellish wail. Man, learn the ropes before jumping in at the deep end! Bog standard Eurpean metal that never once raised its head beyond the gutter. 5/10

Raw Silk - Silk Under The Skin (1990)

Okay so before you start puking on the cheese, trya nd appreciate this Greek AOR for what it is, and hey, check out that cover! These guys hail from Greece and actually sound like they are from about 1985 so it's hard to believe this is 1990 as it sounds very dated,e specially with those pumping keyboards and late night grooves. It's all very soft, hardly a raging guitar in sight, in fact it's quite pop orientated but I've included this obscurity because yep, it's cheesy and once again, it has a great cover. Favourite tracks are the lush 'Irene' which tries its luck with a guitar solo, and a few infectious parts and the sultry stomp of 'Fever' which has stereotypical late '80s metal written all over it. All pretty and weak but it's my blog and I'll review what I want!! Essential for anyone seeking hair metal without balls! 5/10

Steevi Jaimz - My Private Hell (2009)

The former Tigertailz rocker has released a couple of cool n' dirty glam rock albums that any self-respecting hairspray harlot should own. For lovers of Kiss, and sassy rock n' roll, 'my Private Hell' will hit all the right buttons, from the anthemic stomper 'Still Crazy' with its classy guitar licks, down to the Ozzy style chug of the title cut which features some fantastic guitars, and then the sweet serene ballad 'I Don't Wanna Walk Away'which drifts in on a beautiful piano. Steevi doesn't have the most distinctive voice but he oozes attitude, and this beats the hell out of all these 'new' glam bands who've been trying to re-create the glitz of the past. A much respected vocalist who sweats rock n' roll from every pore. 7/10

Torino - Rock It (1989)

Dressed in a cover typical of late '80s rock - see Kingdom Come, Whitesnake for other similar album covers featuring cracks!!! Torino were actually a British band I believe, supplying a small number of fans with their nice brand of melodic metal. It's not bad to be honest, all very soft in those lush vocals and Def Leppard style effects on the voice, coupled with occasionally weighty riffs, 'Rock It' is standard fare. The title track is probably the heaviest on the album, a nice little anthem although the melody of the album is summed up by the sultry moods of 'Seven Mountains' which I could imagine being on Tommy Vance's Friday Rock Show. It's all very harmless, glossy and given an American sheen. 6.5/10

Count Raven - High On Infinity (1992)

Criminally underrated Count Raven were a doom metal three piece much criticised for their Sabbath-esque style grooves, particularly the vocal drool of Fondelius. I disagree with the crtics, finding Count Raven's style of doom a pleasant one, often bereft of misery and instead giving as social commentary laced with oaken riffs and Gothic rambling. Too many so-called doom metal acts exist only as a mournful and often depressing dirge, but Count Raven, like Sabbath, Candlemass, Witchfinder General, pentagram, play ana lmost simplistic style based around great doom n' roll riffs and epic structures, particulary on the nine-minute 'Masters Of Evil'. Although 'High...' clocks in at over an hour, I find it a rewarding experience,although some may find Fondelius' vox a little too close to that distinctive Ozzy drool especially on six minute opener 'Jen'. The band rarely move beyond the crawl of a concrete caterpillar, 'Children's Holocaust' is a sombre trudge, but does feature a scorching sinister ending with a killer solo. Those of you who've only just discovered doom metal should really delve into the book of metal revelations where you'll find masters such as Count Raven, St Vitus, and Candlemass at the forefront. Skip these pages at your peril because this is real dooooom. 7.5/10

Nuclear Assault - Alive Again (2003)

Nice to see an old school thrash act releasing a live album in the moden era. There were quite a few good thrash live albums in the '80s and early '90s, mostly released in the form of EPs, i.e. Testament, Forbidden, Sacred Reich. Nuclear Assault were, and still are a legendary thrash act, made all the more distinctive by Connelly's rasp. This twelve tracker picks the bones from some of the bands best records, and features classic face rippers such as 'Brainwashed,' 'Critical Mass,' 'Game Over' and the humorous 'Hang The Pope' as a closer. Can't really go wrong with this although being there would have been much sweatier! 7/10

Entrails - The Tomb Awaits (2012)

This appears to br dressed up as an Entombed 'Left Hand Path' rip off if you ask me, although that's not tos ay it's a bad album. As recent releases go this is no Supreme Blood Court, but it certainly gives a big nod to the days of old, particularly the Swedish death metal invasion. From the logo, the title, and cover and the loose, buzzing guitars this is very much a poor man's Entombed. I'm unsure as to how anyone can say this is not paying homage to Entombed, and at times it's a little too close to the mark even with those vocals. Thankfully it doesn't bore me in the sense so many of these new thrash bands have, but it does simply leave me reaching for the first two Entombed records. A good try but surely there was a different path to take? 6/10

Death Strike - Fuckin' Death (1985)

Death Strike featured Paul Speckman who went on to form cult death metal heroes Master. Mind you, Death Strike are far better in my humble opinion. This was reissued in 2011, a welcome reissue of a cult classic that comes fromt he stuffy heyday of extreme metal when death metal was just getting off the ground. This stuff was pretty inspirational and sums up old school values. I can see where Darkthrone and the likes got their influence, Death Strike play a pretty manic, musty and punkoid style of black metal/death metal. From the gnarly vocals and those stuffy riffs this is a surefire winner on the underground. It revels in its own grave, proud to be obscure and for its thirty or so minutes of existence this pukes harder than most. The riffs buzz, the drums clatter and the dirt just clogs the arteries. Perfect for a night dosed up with early Vovoid, early Death, early Celtic Frost, old Venom, old Destruction, and with a handful of bous tracks this really is a glimpse into a past that no metaller should ever forget. Cool lyrics which are more social commentary rather than satanic worship, the band would go on to inspire several bands within the hardcore, grindcore and crossover genre. As crusty as it gets, fuckin' death... 8/10

Autopsy - All Tomorrow's Funerals (2012)

You can't argue with an Autopsy record that pulls together all of the bands' grotesque EPs, rarities and a new track or two. The vinyl versions of the EPs are pretty elusive so it's great to hear mouldy oldies such as 'Fiend For Blood,' 'Retribution For The Dead'. Twenty-two miserbale tracks, over seventy minutes of gory doom - any so-called death metal, gridcore, doom metal, or heavy metal fan should own at least the first two Autopsy records, but for some this ghastly style of metal is just a little bit too depraved. 'All Tomorrow's...' is wonderfully packaged but if like me you're a vinyl bitch then these guys are better on wax. For those of you not in the know about Autopsy then expect an almost dreary, gore-soaked experience that'll drag you into the grave and spit out your bones. Hard to pick favourite tracks because Autopsy have never really had a bad moment, and Reifert's gurgled screams are enough to make any death trooper grin. 'All Tomorrow's...' is a fetid record, best experience by eerie candle glow by the side of a freshly filled grave! Utmost horror in musical form! 8.5/10

Envy - Ain't It A Sin (1987)

Is it true that Twisted Sister's Dee Snider wrote most of this album? Who knows but it's pretty mediocre, poppy hard rock with fermale vocals that barely moves into second gear, and yet I'm still charmed by it. This really is bubblegum rock, nice to see it got a re-release in 2005 (okay, who bought it?!!), and it pretty much has a Gypsy Queen, Chrissy Steele, Precious Metal, Vixen style lof pout to it. It's all pretty harmless stuff, the title track is a nice little tune, Rhonni' has a decent vocal and her sister Gina is accomplished on the medlodic guitars which keep the record fresh. 'Wait On You,' 'Heartache,' et al have a familar feel to them. I'll stick to the harder edge of Vixen and Witness, but Envy are okay if you like that commercial sort of rock. 6/10

Leatherwolf - s/t (1987)

This is more late '80s metal, delivered with more steel than the previously mentioned Silent Rage. There's nothing overly epic about Leatherwolf but it's macho metal all the same, relying on relatively simple dynamics but throw in a few hot solos, a juddering bass and a track like 'Rise And Fall' and you're onto a winner. Thuis five-piece were accomplished musicians, Californian metal full of anthemic, driving grooves made all the more bolshy by Michael Olivieri's vocal sneer. Of course the band can't help but throw in a few keyboards and subtle hints, 'Share A Dream' has that wistful late '80s arrangement that made so many popular, while others failed. I prefer this debut to the bands 'Street Metal' opus, although there is little variation. With songs such as 'Cry Out' and 'The Calling' you kow what you're going to get, and what it lacks in aggression it makes up for in determination and hard-edged anthemic prowess. When all is said and done it's good stuff even if it fails to shine. Buy their 'Street Ready' opus instead. 7/10

Silent Rage - Shattered Hearts (1987)

This is about as Whitesnake inspired as it gets. Silent Rage live up to their muscular image, right from Timmy Reilly's Coverdale-esque tones to those sultry guitars and synths. That's not to say this ins't a qaulity record, 'Shattered Hearts' is beefy in its complexion, and whilst not heavyweight metal, the lush production gives it a dense feel. It's archetype late '80s metal that one would find on late night rock radio, but I'm find with that, finding this sort of subtle metal cosy. Reilly has a wolfen approach as he drifts through a number of rather stereotypical anthems, but all of the cuts on offer have the ability to get their teeth into the ears of the listener. The title track swaggers with arogance as if the band have released countless big hits, whilst the more up-tempo 'Wanting You' contains an absolutely killer riff that rolls behind the vocals like a Jimmy Page lick. The chorus is catchy as hell, Reilly is clearly a talented musician as well as vocalist. The pop-infused 'She Can Shake It' flows like a dream stream, it's upbeat, kooky and about as fullsome hair metal gets. I can't dimiss something when clearly its intention is to rock you like a hurricane. 'Shattered...' may sound like countless other bands but there IS a distinctive quality in those songs, and due to the fact i play this a lot means Silent Rage, for all of their pomp, are pretty decent.Don't cower from the synths, let them embrace you... 7.5/10

Viva - Dealers Of The Night (1982)

More magical metal courtesy of the mysterious Viva. I knew nothing about these guys until I purchased their fantastic 'What The Hell Is Going On?' opus. 'Dealers...' is the bands third opus, a record that shifts in mood, at times slowing the pace although Paganini's vocal approach still keeps this record streetwise, his gravelly rasp compliments Schenker's keyboards which work particularly on the title track. Top track is the odd, sleazy glammed up stomp of 'Some Kind Of Wonderful' which is a cool, mid-tempo cover version, and then there's the Gothic-laced rage of 'Ten Years After,' which has a strong Euro feel - no surprise considering these guys are German. 'Spend The Night' is an epic ballad unlike a majority of metal ballads this really seems sincere although the smoky vocal swoon is sligthly cheesy. In fact this sounds like something from a hammy musical, but thankfully the band get back on track with 'Looking For An Answer' although 'I Didn't See It Coming' is delivered with a bluesy swagger. 'Dealers...' may not have the mysticism of 'What The Hell...' but Viva stil have a charm about them. The album cover is sweet too. 7/10

Obsession - Methods Of Madness (1987)

This album screams molten metal fury. This five piece are fronted by Mike Vescera who really does harbour the force in those vocal screams. This is the sort of stuff that made the '80s metal scene so darn great. Anything by this guys can be considered a worthy buy, 'Methods...' is a white hot thrashing masterpiece and it's dead serious at its heart, going for the intestines with its jagged guitars and pummelling drums. Opener 'Four Play/Hard To The Core' has a doom laden whine before it dives headlong into a raging fit, the same can be said for the heroic wailing title cut and my favouriye blockbuster 'Panic In The Streets' which is epic power metal. This is up there with Savatage, Metal Church for its crystal clear wall of sound, neer once letting slip it becomes a powerhouse of a record that's hard to beat. 8.5/10