Laaz Rockit - Nothing's Sacred (1991)

This is a pretty immense thrash record that rages far harder than anything by early Testament, Overkill etc. The chugging guitars of Jellum and Sargeant are the album highlight although the crushing thunder bass of Dominguez also rattles the skull. Coons' is far angrier vocally, the album lyrics touching heavily upon political issues, but what the band did better than most at the time was thrash really, really hard. Album opener 'In The Name Of The Father...' is a monster, fearsomely constructed and containing some great solo's, in fact the chunky groove reminds me of Mordred circa '91 with its grey and harsh atmosphere, think 'Falling Away' for ghetto thrash. Strangely this band passed me by at the time, mainly due to the fierce competition but listening back I find this to be really meaty and far more aggressive than one would imagine. Consistency is the key word and Laaz Rockit take no prisoners as 'Greed machine' and 'Suicide City' prove. Produced by Michael Rosen, you can imagine how crisp and crystal clear this sounds. 'Nothing's Sacred' is a very underrated thrash record that sits alongside Testament's 'Practice What You Preach' as a real dynamic experience that epitomises such a great time.

8/10

Damien Thorne - The Sign Of The Jackal (1986)

Damien Thorne is metal from the most claustrophobic basement. Thrashy, gothic, rattling, clanking and dark that exists as some type of dazzling hybrid of Mercyful Fate, Sanctuary and any evil blob that dares to scurry from the crypt. Maybe it's the cool lyrics, searing guitars and distinctive high vocals that give this record such a satanic edge, I dunno, but in its sincerity it paints such a pitch black picture amid the clattering drums. 'Escape Or Die', 'Fear Of The Dark', and the title cut are so obscure in nature but brilliant too, writhing from under the cemetery gates like some noxious fog that the world left behind. Justin Fate's vocals simply add to the eerie atmosphere. Reminds me of those other geeky weirdo's Deliverance in the way it simply exists as some type of clandestine force never to be discovered my man. Gloomy but in a good way.

7.5/10

Heavy Pettin - Rock Ain't Dead (1985)

Terrible band name. Awful album title. Bad cover. Is it the soft focus ? Or the fact the guys on the front look like the type of metaller you'd rather slap than want to be. Musically it's pretty much the same although I won't be too harsh. Heavy Pettin' play a mediocre, lightweight metal which if anything would kill rock and not fight for it. It's half decent at the best of times, Def Leppard with a bit more energy I guess, 'Walking With Angels' quite uplifting and 'Soul Survivor' adds some pomp, but vocally there is a slight strain on the ear. Considered new wave metal at the time, but the last band you'd want fighting your corner in the name of rock.

5/10

Mass - Metal Fighter (1983)

C'mon and rock German style. More obscure metal from the golden age. Cuts such as 'Fire From Hell' deserve to be introduced into the metal hall of fame, but so many bands of this ilk would have faded into obscurity. Now, I know that Maiden, Priest, Kiss, made metal huge, but it's stuff like this and Cobra, Vyper, etc, which provide the obscure foundations which us curious metalheads seek down in the gloomiest pit time and time again. At time this is volcanic metal with balls of steel that deserves so much more than being confined to some collector's shelf. Even the low budget 'High Hell Thrills' packs a punch that few bigger bands have possessed. This is hungry, atmospheric, genuine and powerful metal that never reached the masses. This one of those bands whose albums were worth the money even if just for the cover!

7/10

Saxon - Destiny (1988)

When this opus emerged I felt the urge to avoid it - maybe it was the non-metal cover and the polished sound. It was as if Saxon were aiming for the US market with this almost pompous style of rock, littered with keyboards (or do they call it synth guitar!!) and Biff's almost strutting yet corny vocal style. Some big anthem's here blessed with those pouting choruses, the steamy 'Ride Like The Wind' not exactly the new 'Denim & Leather', 'Destiny' sounds like it was with late night American radio in mind. Strangely, I find the band more compelling than ever now but back then they soon became a laughing stock - not sure why - maybe it was tracks like 'Song For Emma' which put the metalheads off, and as thrash, death metal and alterno metal waited round the corner, this type of rock seemed to stiff big time. I guess Saxon couldn't have won whatever race they'd run, their almost old fashioned denim rock was dated, and their new brand seemed to hint at the commercial - but more than twenty years later 'Destiny', like all their other albums, somehow refuses to date in my opinion. It's straight down the line rock, just check out the driving 'Where The Lightning Strikes', although some may argue that all of this is somewhat laced with a softer edge, and they'd be right, but Saxon have stood the test of time, and many of these times were harsh, and they've emerged as a bit of a British metal institution, and god bless them for it.

7/10

Britny Fox - Britny Fox (1988)

Britny Fox didn't exactly make waves when they came out of the sleaze metal traps. I always liked the cover for some strange reason, even if it's just a whole lotta hairspray and pout. Put aside the image and Britny Fox do play a vibrant brand of hard rock which revolves around 'Dizzy' Dean Davidsons almost harsh vocal delivery which brings fellow glamsters Cinderella to mind. Musically it's more than adequate, amid those anthems ('Girlschool', 'Kick n Fight') there are some sterling guitars courtesy of Michael Kelly Smith and whilst the lyrics have an almost naive qaulity to them, the songs are still well structured even if it's all rather formulaic. The cover of Slade's 'Gudbuy T'Jane' seems a little pointless considering there is only ten tracks on the record anyway, but the rest make for pretty decent listening. The band know how to write a catchy tune, 'Long Way To Love' has hints of G 'n' R (especially the vocal) and the strutting leather of say Whitesnake. Of its time indeed and yet a couple of decades later it still sounds good on the ears. Mock 'hair metal' all you like but some bands and their songs were actually built to last and Britny Fox were one of them.

7/10

Helix - Wild In The Streets (1987)

'87 was a great time to be involved in metal, whether as a fan or as a band. Party metal was at an all time high, and Helix delivered in that department. Imagine a crotch-grabbing mix of Twisted Sister, with elements of Crue and slot a bit of Van Halen, Kiss etc, alongside it and Helix might just get you by the pool with a Martini. Not as corny as you may think, there are some really catchy numbers on here, the title cut, the drivin' 'Shot Full Of Love', the rattling 'Kiss It Goodbye' and anthemic 'Never Gonna Stop The Rock'. Yeah it's all a bit cliched but I'm not gonna loose sleep over that because bands like Helix are clear in their direction and statement. The cover of 'Dream On' is halfway cool but the whole album is beefed up by the rather fiery vocal rasp of Brian Vollmer and kick ass axe attack of Doctor Doerner and Paul Hackman. 'Wild...' will naturally sound a little dated many decades later but the fact it's very much of its time gives us metalheads a great nostalgic trip to when music was all hairspray, fireworks and chicks, and that's how the kids always imagined it. Helix won't change her your life but it makes me happier having them in it. Quality, albeit typical '80s metal cover.
7/10