Archive for June, 2020

Great Metal Albums of 1986: Exodus- Bonded by Blood

Posted in Uncategorized on June 28, 2020 by 80smetalman


My first experience of Exodus was seeing them live in support of Anthrax in 1986. I quoted my reaction to them through the characters in “Rock and Roll Children” because like them, I was “amazed that mortal men could play so fast.” The speed and ferocity which they played took thrash to a whole new plane in my view. Therefore, for me, it was a no brainer that I get their debut album, “Bonded by Blood.”

If I were to break down each song individually, I would simply be repeating myself each time. Though in this case, that’s not a bad thing. Each song is one big mosh party in it’s own right. One could pick out any song on the album and it would have me bouncing around the room at 250 mph trying to put holes in the wall.

However, to quell one myth many non-metal people believe about metal in general, no two songs sound exactly the same. There are some points that I notice in individual songs which are noteworthy. First one is the way guitarists Gary Holt and Rick Hunolt trade off guitar solos on the song which bears the band’s name. They do this quite a bit throughout the album, but it’s the most noticeable on this track. The ‘slowest’ song, (it’s played at Metallica speed), is “And Then There Were None.” Slowest it may be, bit it’s still capable of making your eardrums bleed if played at the right volume.

What really surprised me with the song, “A Lesson In Violence” was that it doesn’t seem to have come onto the radar of the PMRC back in the day. You might have thought that there would be a major outcry over lyrics which went:

I’ll teach a lesson in violence you won’t soon forget

The pleasure of watching you die is what I will get.

There are also lyrics about stabbing someone in the throat further along in “A Lesson in Violence,” so I am very surprised that it didn’t make it onto the PMRC’s hit list. It is probably a good reason why it’s my pick for best track on “Bonded by Blood.”

Like I said, I would just be repeating myself if I went through each song but there are some great highlights. For one, “Metal Command” has a cool guitar solo and “Piranha” has a good drum and rhythm guitar intro on it. It also ends with a cool mosh part after another cool guitar solo trade off. One trick which many a thrash band did on their albums was to have a song which lures you into thinking it’s going to be a gentler song on account of an acoustic intro before blasting your ears. “No Love” gets that treatment on this album. Again, in this case, it’s a good little change up on the album that sets the album up for the remaining ear blasting tracks to close this album.

Track Listing:

  1. Bonded By Blood
  2. Exodus
  3. And Then There Were None
  4. A Lesson in Violence
  5. Metal Command
  6. Piranha
  7. No Love
  8. Deliver Us to Evil
  9. Strike of the Beast


Paul Baloff- vocals

Gary Holt- guitar

Rick Hunolt- guitar

Rob McKillop- bass

Tom Hunting- drums


Exodus, Bloodstock 2013

I got the chance to see Exodus again at Bloodstock in 2013 and I can say, if anything, they were even more fearsome than when I had seen them 27 years earlier. “Bonded By Blood” is the album that started it for them and it made Exodus a force to be reckoned with in the thrash metal world.

Next post: Dio- Intermission

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Great Metal Albums of 1986: Vow Wow- III

Posted in Uncategorized on June 24, 2020 by 80smetalman


One thing I will never do is to get into any debates or comparisons between Loudness and Vow Wow. True, both bands are Japanese and both play heavy metal but both bands do so in totally different styles and they do it in those styles very well. Another difference is that it appears that while Loudness made it bigger in the US, Vow Wow had better success in the UK. I had never heard of them before I got to these shores and when I did, I was very grateful for doing so.

For some bizarre reason, I never paid notice to their first two albums but I made up for it with their third, simply titled, “III.” It is here where the different styles between the two Japanese giants come into play. Vow Wow use keyboards in their sound and use the keyboards very well. After the belter of an opener in “Go Insane,” the keyboards make themselves known on the second track, “Shot in the Dark.” (It’s nothing like the Ozzy song of the same name.) They keyboards provide a nice little melody before the guitar, bass and drums coming blasting in. Though the chorus of the song is quite melodic and Kyoji Yamamoto lays down a wicked guitar solo.

One song where all the instruments and vocals all come together in unison very well is “Running Wild.” Everyone seems to shine through on this song and I really take notice of the vocals of Genki Hitomi. He proves here just how good of a singer he really is. “Shock Waves” has a really cool piano intro and is the first power ballad on the album. But one song which really stands out is “Nightless City.” It could be said that it’s ten years too late because when I listen to it, I am sure that it could have been a 70s Yes or Emerson, Lake and Palmer progressive rock tune, only much harder rock. It’s scary but in a good way.

“Nightless City” isn’t the only song that has me thinking retro.  The penultimate track, “You Got It Made” could have been a Deep Purple song in their more progressive rock mode. It reminds me a little of “Burn.” However, if you want more hard rocking Deep Purple, then I would suggest, “Doncha Wanna Cum (Hangar 15).” This song reminds me of the DP classic, “Black Knight.” Even Yamamoto’s guitar solo on it smacks of Ritchie Blackmore.

Now before anyone says that Vow Wow were simply Deep Purple wannabees, the rest of the album proves otherwise. “Stay Close Tonight” is a great, in your face, metal tune. Still, the best track on the album is saved for the end. Second power ballad,”Pains of Love” for me is a belter of one. If my Swiss cheese memory hadn’t failed me, it would have made my top 30 power ballads list a few years back. It is the best way to end this album.

Track Listing:

  1. Go Insane
  2. Shot in the Dark
  3. Running Wild
  4. Shock Waves
  5. Doncha Wanna Cum (Hangar 15)
  6. Nightless City
  7. Signs of the Times
  8. Stay Close Tonight
  9. You Go It Made


Vow Wow

Genki Hitomi- vocals

Kyoji- Yamamoto- guitars

Kenji Sano- bass

Rei Atsumi- keyboards

Toshihiro Niimi- drums

Vow Wow proved that Japanese metal wasn’t a token one band nation and that island could contribute some great metal to the world. The album “III” cements it.

Next post: Exodus- Bonded by Blood

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Great Metal Albums of 1986: Corrosion of Conformity- Animosity

Posted in Uncategorized on June 20, 2020 by 80smetalman


It’s amazing how bands can change over the years. I didn’t get the chance to see North Carolina based Corrosion of Conformity until Bloodstock, 2016. If I was never to have listened to their second album, “Animosity,” until after I had seen them live, I would not have thought that this was the same band. Reason being, was that this album was pure thrash metal.


Corrosion of Conformity establishing their dominance- Bloodstock, 2016

“Animosity” assaults your ear drums in a pleasant way from the very start. Opening song, “Loss for Words,” would get a mosh pit started anywhere in the world. The second track, “Mad World,” which is one of my favourite tracks on the album, would keep that mosh pit going and there would be casualties galore from it. On a sad note, if the powers the be get their way, mosh pits could become a thing of the past.

What I like about track three, “Consumed,” is that the band show that they could play. I love how the song starts with the guitar/bass trade off, but that doesn’t take away any of the ferocity which features in the music. There’s a cool guitar solo on it as well.  “Holier” is a mosh pit worthy song which at the same time, pokes fun at fundamentalist religion. Anything that does that gets three thumbs up from me.

When I listen to “Positive Outlook,” I get a hint of Suicidal Tendencies influence in the song with the way it changes tempo back and forth and the vocals of Mike Dean do sound a little like Mr Muir, whom he shares his first name with. I don’t know if “Prayer” is meant to be another piss take of religion because the song goes at 750 mph. This song might be good to put on a personal stereo of any sprinter because I think it would make them win gold at the Olympics if they were to hear listen to it while running.

Woody Weatherman gets to show his guitar talents off on “Intervention.” His lead intro on the song is rather interesting and just when you expect him to rip other speeding guitar solo, he slows it down. If you blink too much, you will miss the tracks, “Kiss of Death” and “Hungry Child” as both songs are a minute and a half or less. However, that’s long enough for both songs to kick your ass. “Animosity” ends with the title track, which is also the longest song on the album, coming in at four minutes and sixteen seconds. Except for the scream at the beginning, the song is pretty much and instrumental with some good individual musicianship and some changes which keep you on your toes while listening. Overall, the album is only twenty-six minutes long but you it is twenty-six minutes of hard ass kicking thrash metal.

Track Listing:

  1. Loss for Words
  2. Mad World
  3. Consumed
  4. Holier
  5. Positive Outlook
  6. Prayer
  7. Intervention
  8. Kiss of Death
  9. Hungry Child
  10. Animosity


Mike Dean- bass, vocals

Woody Weatherman- guitars

Reed Mullin- drums, backing vocals

With bands like Corrosion of Conformity around in 1986, one didn’t have to look hard to find thrash metal. It was the growing phenomenon of the year and albums like “Animosity,” made it so.

Next post: Vow Wow- III

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Great Metal Albums of 1986: Armoured Saint- Delirious Nomad

Posted in Uncategorized on June 17, 2020 by 80smetalman


Technically, I should have not so fond memories of the second album from Armoured Saint, “Delirious Nomad.” I went to see them live, when touring for the album, in New York at a metal club called L’Amour, which is no longer there. First, while having a pre-concert party with my famous jungle juice, (Bacardi Light, Peach Schnapps and cranberry juice), New York’s finest stopped us and wanted to know what was inside the jug. I was honest and they left us alone after that. Maybe they should have confiscated it because I got very drunk as a result. So drunk that I only vaguely remember the opening band, Hades, and have no recollection of the second band, Sneak Attack. Then, in between Sneak Attack and Armoured Saint, one of the bouncers busted us for smoking a joint and threatened to kick us out if he caught us again. I did sober up enough to remember quite a bit of Armoured Saint’s show and it was good. However, after the gig, some skinhead tried to pick a fight with me and when I didn’t oblige, attacked me. He should have kicked my ass but he must have been drunk too. I do remember him hitting me and me laughing at him. Therefore, with all of these not so good memories, one might never listen to an Armoured Saint album ever again, but “Delirious Nomad” is too good an album to let some unfortunate events keep me from enjoying it.

The best way to sum the album up is to say that it’s a classic, straight forward heavy metal album. Everything one wants from a metal album is present here. The first two tracks set the pace of great things to come. Both songs are straight ahead metal songs but while good, not stand out. It is the third song where things take a turn. “Over the Edge” has a very bluesy vibe to it, while at the same time no less of a metal song. I think it’s here that the band finally relax and just crank, especially the guitar solo. It’s what Eric Clapton would sound like if he went heavy metal and it’s also my pick for hidden gem.

Things speed up with the almost speed metal sounding “The Laugh.” This would be a good song in a mosh pit as would its successor, “Conqueror.” They are the two fastest songs and they make their stamp on the album. Plus, I really dig that guitar solo on “Conqueror.” While not as fast, “For the Sake of Heaviness” is indeed heavy. There are crunching guitars galore and a screeching solo on this one. “Aftermath” has an Metallica/Anthrax sounding intro before going nearly ballad like. While the vocals of John Bush are good on every track, they stand out the most on this song. But the ballad like part soon disappears and gives way to some great forceful metal with yet another great guitar solo. It makes me lament the fact that Phil Sandoval left the band. The metal party carries on with “In the Hole,” another good metal tune where power and melody make a lethal combination and on this one, Dave Pritchard shows that he can bend the six string to his will.

Now normally, a song titled “You’re Never Alone” gives visions of a ballad. This is far from that. Starting with a cool drum tirade from Gonzo Sandoval, the band waste no time getting down to business and it’s on this song where I think Joey Vera has his standout moment on the bass. And if you think that the band were going out easy, then you’d be far wrong. The closer, “Reckless,” is just one massive mosh party, probably as fast as “The Laugh” and “Conqueror.” One thing I can say is that it takes the album out while giving you one last earache and if you headbang to it, you will be sore.

Track Listing:

  1. Long Before I Die
  2. Nervous Man
  3. Over the Edge
  4. The Laugh
  5. Conqueror
  6. For the Sake of Heaviness
  7. Aftermath
  8. In the Hole
  9. You’re Never Alone
  10. Released

Armoured Saint

John Bush- vocals

Dave Pritchard- guitars

Joey Vera- bass, backing vocals

Gonzo Sandoval- drums

Phil Sandoval- guitar on “Over the Edge” and “Aftermath”

Note: Phil Sandoval left the band during the recording of the album.

If you were to call it good, one positive I took away from that night I saw Armoured Saint in New York was not to get so drunk at concerts. I never did after that, well there was a slip at Van Halen but that’s the only one. Still, it didn’t put me off getting this album because, “Delirious Nomad” does deliver. Besides, I would eventually see Armoured Saint again at Bloodstock 2015, putting to rest any bad memories. Sadly, I can’t remember if they played anything from this album.


Phil Sandoval shredding away, Armoured Saint at Bloodstock 2015

Next post: Corrosion of Conformity- Animosity

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Great Metal Albums of 1986: King Diamond- Fatal Portrait

Posted in Uncategorized on June 14, 2020 by 80smetalman


Religion’s offensive against heavy metal and rock music in general in 1986 had the polar opposite reaction with me. As a result of people like Jimmy Swaggart and Jesus freaks showing up at concerts to condemn us to hell, I actively went out and sought ‘Satanic’ music or what is known as ‘black metal.’ It wasn’t a difficult task as it finally motivated me to get off my rear end and buy Mercyful Fate’s “Melissa” album. Afterwards, having known that Mercyful Fate had gone their separate ways, I discovered former lead singer King Diamond’s 1985 EP, “No Presents for Christmas” and his 1986 album, “Fatal Portrait.”

My first reaction to “Fatal Portrait” was that it could have been a Mercyful Fate album. Everything about this album from the guitar solos to the melody of the songs and of course, King Diamond’s unmistakable vocals, screams “Mercyful Fate.” Not that it’s a bad thing, but it does show who was the principal song writer in King’s previous band. But what you do get is nine really good songs.

What I didn’t know until recently was that half of “Fatal Portrait” tells a story. The first four songs and the closer tell the story. In a basic retelling, the Narrator sees a face every time he burns a candle. He speaks one word, the title of the second track, into the candle and frees the spirit of a girl named Molly who tells him of how her mother, Mrs Jane, kept her locked in the attic until she died. Mrs Jane paints a portrait of Molly and hangs it above the fire place, once freed, Molly tells her mother of her pain. The mother burns the portrait, thus freeing Molly’s spirit who haunts her until she goes insane. Once I knew this story, it gave those songs new meaning and made me appreciate the album more. It goes without saying, the great metal music behind the story helps as well.

The three songs which aren’t connected to the story are all good as well. One to note in particular is the instrumental, “Voices from the Past,” where King Diamond plays all the guitars on it.  He doesn’t crank any solos but does a good job and it does set up the closer well. But to satisfy my need for a favourite track or hidden gem, it has to be “Halloween.” While I can’t explain exactly why I think it’s the standout track, it is. Maybe because the guitars and King’s vocals seem to really come together on it more than the other tracks and that’s saying something with this great album. However, if they put the track, “The Lake,” which is featured on the reissue, that would be the best track.

Track Listing:

  1. The Candle
  2. Jonah
  3. The Portrait
  4. Dressed in White
  5. Charon
  6. Lurking in the Dark
  7. Halloween
  8. Voice From the Past
  9. Haunted


King Diamond

King Diamond- lead and backing vocals, guitars on “Voices From the Past”

Andy LaRocque- lead guitars

Michael Denner- lead guitars

Timi Hansen- bass

Mikkey Dee- drums

I’m sure that the God Squad had this album on its hit list and probably the PMRC too. Even if you’re not into black metal, this album is still a great listen.

Next post: Armoured Saint- Delirious Nomad

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Great Rock Albums of 1986: Judas Priest- Turbo

Posted in Uncategorized on June 10, 2020 by 80smetalman


Let’s jump right in a talk about what has to be considered the most controversial album from Judas Priest, “Turbo.” Many people consider it their worst album but are there any answers out there to the contrary? In order for me to give a fair comment as to whether “Turbo” is indeed the worst Judas Priest album, I would have to listen to all their albums. Actually, that’s not a bad idea. What I do know is that after a string of four brilliant albums, including their two best ever, in my opinion, “British Steel” and “Screaming for Vengeance,” as well as the very underrated “Point of Entry” and “Defenders of the Faith” albums, this one falls far below those.

No one back in 1986 can say they weren’t surprised by the use of guitar synthesizers on the album. Priest made it no secret that they were experimenting with them before “Turbo” even hit the record store shelves. Like so many other die hard Judas Priest fans, I approached the album with an open mind. While the guitar synthesizers weren’t terrible, I found myself wanting to hear the power chords which made this band so great. However, even with the guitar synths, you can still tell that this album is certainly Judas Priest.

It is obvious that the guitar synths on the first two tracks, both released as singles, was an attempt to give the band more commercial success on the singles charts. Unfortunately, neither “Turbo Lover” nor “Locked In” had any real commercial success. I do remember the latter getting some play on MTV and I liked the video, especially the bit where Glenn Tipton lures the sumo guard with a Twinkie.

While the remainder of the album relies less on guitar synthesizers, it’s not quite enough to send it into the higher levels of great metal Priest was famous for. One standout track is “Parental Guidance,” which until very recently, I didn’t know was released as a single as well. With the benefit of hindsight, it might have been a better idea to release this one as a single first. The fact that it’s an attack on the PMRC, which was loathed by metalheads and non-metalheads alike, is reason enough for anyone to like this song. I also like it because it goes back to more traditional Judas Priest metal sounds.

Even more rocking is “Rock You All Around the World.” This could be considered a typical Judas Priest anthem, bringing back memories of everything we love about this iconic band. Total speculation here but I wonder if that this song was placed as the opener, it might have changed the dynamics of the album and been better received. Furthermore, the same could be said if the guitar synths were used on the first two songs in the fashion they are used on “Out in the Cold.” Here, they’re used in a horror film/suspense luring way, something more trademark to Priest’s style. It is a cool song.

In the case of hidden gems, on “Turbo,” the best is saved for last. For me, the best song on the album is the closer, “Reckless.” The two before it aren’t bad but they don’t float my boat the way the closer does. It is this song that made me want to come back and give the album another go on many occasions. Probably why it was used as the closer.

Track Listing:

  1. Turbo Lover
  2. Locked In
  3. Private Property
  4. Parental Guidance
  5. Rock You All Around the World
  6. Out in the Cold
  7. Wild Nights, Hot and Crazy Days
  8. Hot for Love
  9. Reckless


Judas Priest

Rob Halford- lead vocals

Glenn Tipton- guitar

KK Downing- guitar

Ian Hill- bass

Dave Holland- drums

Every band is entitled to at least one controversial or even duff album. The thing is, I don’t really consider “Turbo” duff. The band tried a new approach but it just didn’t work for them. It’s not a terrible album but it’s not nearly as good as many of their other ones.

Next post: King Diamond- Fatal Portrait

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Great Metal Albums of 1986: Ted Nugent- Little Miss Dangerous

Posted in Uncategorized on June 7, 2020 by 80smetalman


It was said that by 1986, the Motor City Madman, Ted Nugent, was fading into obscurity. Having seen Ted live twice on this tour, I can say that if that was the case, he wouldn’t be going down without a fight. The first time I saw him, he opened for Aerosmith and was absolutely superb. In fact, I will go out on a limb and say that he blew Aerosmith away that evening and they were pretty good. Then again, the show was in Philadelphia and Aerosmith had issues with the city at the time. It was Ted’s magnificent performance which led me to buy his 1986 album, “Little Miss Dangerous.”

The title cut from the album was released as a single and it highlighted what I knew was wrong with commercial radio back then and now. The radio friendly version sounded to me like it was dumbed down in attempt to win over the top 40 crowd. The guitars seemed to be turned down too much. That’s what I remember anyway. On the album version, there is no mistake of turned down guitars. They come through loud and clear and like with every song, he wails on his guitar. You should have heard him play this song live. In the Philly show, it appeared that he was somehow lying six inches off the stage while cranking out the guitar solo. Then again, it could have been the effects of the weed on me.

Let’s talk about hidden gems. “Little Miss Dangerous” opens with the song I not only consider the hidden gem on the album, it’s the hidden gem of all Ted Nugent’s songs. I can’t psycho analyze why I love “High Heels in Motion” but I really do. Maybe it’s because it was played so brilliantly when I saw him live the second time. To this day, whenever I see a woman walk past in high heels, this song rushes to the forefront of my brain.

While the rest of the album is very good, Ted shows off his guitar skills on every song, I can’t say that any of the songs stand out the way the first two do. I’m not saying the rest of “Little Miss Dangerous” is filler, it’s not. For instance, the sound effects on “Crazy Ladies” are rather amusing and he shows that on “When Your Body Talks,” he can successfully incorporate keyboards into his sound without going synth pop. Like on every song, the guitars take the lead and the results are a damn fine metal album. You can name any song here and I’ll say it’s a cool song. After all, “Angry Young Man” was used when he appeared in “Miami Vice.” Maybe not it’s as good as classics like “Cat Scratch Fever” or “Scream Dream” but it’s definitely one to stick in your car stereo and turn up the volume at a red light when the guy in the car next to you is trying to act cool playing his top 40 tunes.

Track Listing:

  1. High Heels in Motion
  2. Strangers
  3. Little Miss Dangerous
  4. Savage Dancer
  5. Crazy Ladies
  6. When Your Body Talks
  7. Little Red Book
  8. Take Me Away
  9. Angry Young Man
  10. Painkiller

Ted Nugent

Ted Nugent- lead and backing vocals, lead guitar, percussion

Dave Amato- rhythm guitar, synthesizers, lead and backing vocals

Patrick Leonard- keyboards and synthesizers

David ‘Hawk’ Wollinski- keyboards and synthesizers

Lawrence Dermer- keyboards and synthesizers

Ricky Phillips- bass, backing vocals

Jay Ferguson- bass

Michael Mason- drums, percussion, backing vocals

Joe Galdo- drums, percussion

Duane Hitchings- drums, perucssion

Rick Baron, Tommy Thayer, Sandy Slavin, Bobby Colomby, Robby Weaver, Jamie St James, Carmen Appice- backing vocals

I wasn’t going to make any more Steve Lukather jokes but what the hell!

“Little Miss Dangerous” didn’t take the world by storm or restore Ted Nugent to his former glory. When I saw him live the second time in Wildwood, NJ, I don’t think there was more than 500 people in attendance. It’s a shame because this is a good effort from Ted.

Next post: Judas Priest- Turbo

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On another note, as of today, I begin my final year of being in my fifties.
































Great Metal Albums of 1986: MASS- New Birth

Posted in Uncategorized on June 4, 2020 by 80smetalman


My first contact with Massachusetts metal band MASS, (yes, they took their name from their home state), came about in a rather unusual way. In early 1986, my local radio station, which was renowned for playing top 40, announced that MASS was coming to a local club. To generate interest for the gig, the station played the first single from their debut album, “New Birth,” “Do You Love Me” quite a bit. I listened to the song several times and was somewhat impressed. That’s why even though I originally wasn’t going to go see them that night because I came off an eight hour shift at the parking lot and had college the next day,  but when a friend said he was going to see them, it didn’t take much persuasion to come along and I’m glad I did. MASS kicked ass that night and made a great impression on me and likewise, my friends and I must have made an impression on them, Because after the gig, lead singer Louie St August came over and shook our hands.

First, let me mention the single, “Do You Love Me.” Once again, I’m cursing my Swiss cheese brain. This is a great power ballad and how it got left out of my series of posts of my top thirty power ballads is beyond me. Therefore, I posthumously put it at number thirteen, joint with “Wasted Time” by Asphalt Ballet. “New Birth” has a second power ballad in the form of “Day Without You,” which is also a good song.

Power ballads aside, MASS show that they can rock out on the rest of the album. While the first two tracks set the tune for things, it’s the third track, “Time,” which really cooks. I mean that this song is a real metal jam and it’s the first track where guitarist, Gene D’Itria, really lays down some great soloing. This carries on to the next track, “Back to Me.” The sheer power of this song cancels out what sounds a little like dodgy production on it.

Not a criticism but I wonder if the title track would have been better as the opener. Those fast power chords at the intro are just amazing and it’s probably the fastest song on the album. However, since I first got the album on cassette, it does open side two in excellent form and by then, I’m fully on the Gene D’Itria is a great guitarist bandwagon. Bassist Fevin Varrio and drummer Joey Vee Vadala show what they can do on “Left Behind” and they do it very well. While on the subject of individual talents, singer Louie St August is definitely a great singer both with the rockers and two power ballads. He can hit the high notes and that comes through with “Voyager (Look for the Edge).” In fact, it’s probably the best song which showcases all four members’ talents together. Notwithstanding, they don’t do too bad of a job of that on the rest of the album.

Track Listing:

  1. Too Far Gone
  2. Crying Alone
  3. Time
  4. Back to Me
  5. Do You Love Me
  6. New Birth
  7. Left Behind
  8. Voyager (Look for the Edge)
  9. Day Without You
  10. Watch Her Walk


Louie St August- lead vocals

Gene D’Itria- guitar

Fevin Varrio- bass

Joey Vee Vadala- drums

All of us have bands whom we think should have been more successful than they actually were. One of mine is my all time favourite Canadian band. Another one is MASS and every time I listen to “New Birth,” I say that about them.

Next post: Ted Nugent- Little Miss Dangerous

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Prices for Rock and Roll Children

Posted in Uncategorized on June 4, 2020 by 80smetalman


My first ten copies of “Rock and Roll Children” have arrived and now I’m ready to take orders. I’ve already sold one, so that means there are nine left. Obviously, if these go, I’ll order more.

These are the prices which include shipping costs:

UK- £20

USA- $40

Canada- $54 (Canadian)

Shipment costs to other countries will be given if inquired.

Again, I will autograph all copies with a personal note.

To buy or FFI, email me at