Great Rock/Metal Albums of 1987: Gary Moore- Wild Frontier

When I lived in the US, I had heard of Gary Moore, especially from his Thin Lizzy days and knew that he was putting out solo albums but never indulged in them. That all changed when I got to the UK and met a lad from Northern Ireland named Kieran Devlin. We bonded over the likes of Thin Lizzy and Dio and it was he who made my experience of Gary Moore more than just a familiarity. One key contributor to this was Gary’s 1987 album, “Wild Frontier.”

According to history, Gary returned to his native Belfast in 1985 before recording this album. It has been said that his trip gave him the inspiration for it as there is a strong influence of Celtic music on the album. For me, that comes through with the very first track,, “Over the Hills and Far Away.” There is definitely a strong Celtic influence in the song which is about a man who gets wrongly arrested and convicted for robbery but is determined to reunite with his lover once he is free again. However, Gary doesn’t forget his rock roots either and that is certainly evident on the track, “Take a Little Time,” which is a real rocker. What is also cool is that in between the two mentioned tracks, the title track proves to be the perfect bridge between the more Celtic influenced opener and the rocker that is “Take a Little Time.”

Another Gary talent is his guitar playing which shines through on the instrumental, “The Loner.” He simply kicks back and lets the guitar do his talking for him. Five minutes plus of Gary just smoking the fingerboard and it sound brilliant! For me, it’s the best track on the album and because it wasn’t a single, it gets the hidden gem award too. He follows it up with the cover of the Easybeats tune, “Friday on My Mind.” I think the reason this track was released as a single was that there are 1980s sounding keyboards and synths on it and that could be an attempt to gain a more mass appeal. It did get to 15 in Finland, 18 in Ireland and 26 in the UK, so you can say that it worked. There is a hard rock core to it so let there be no talk that Gary was trying to go synth pop on it because he wasn’t.

Maybe it’s me but “Strangers in the Darkness” begins as if it’s going to be a Billy Idol song and that appears in other places. He has two distinct voice sounds which trade off throughout the song and it works. Gary’s guitar licks might have something to do it. Listening closely, the bass line sounds like it could have been an Idol song as well but nonetheless, the song ends with some great guitar work from Gary. That is followed by a mid tempo rocker, “Thunder Rising.” One might think that a song with such a title would be a rocking burner and it has the potential to be such but Gary keeps it mid tempo for the first half of the song. There is an interesting rhythm guitar riff in the middle and the guitar solo with keyboards accompaniment is done well and then it is let off the leash and it’s rightful rocking sound takes over the second half of the song. Then “Wild Frontier” closes out with a Celtic ballad, “Johnny Boy.” After the hard rocking end of the penultimate track, it does slow things down and provides a good end to the album.

Track Listing:

1. Over the Hills and Far Away
2. Wild Frontier
3. Take a Little Time
4. The Loner
5. Friday on My Mind
6. Strangers in the Darkness
7. Thunder Rising
8. Johnny Boy

The CD version of “Wild Frontier” has three additional tracks: 12 inch versions of “Over the Hills and Far Away,” “Wild Frontier” plus the track “Crying in the Shadows”

Gary Moore

Gary Moore- lead and backing vocals, all guitars

Neil Carter- keyboards, backing vocals

Bob Daisley- bass

Roland Kerridge- drum programming

Piece of metal history: Eric Singer, who would later play for Black Sabbath and KISS, was Gary’s drummer for the tour.

From what I see, “Wild Frontier” only made it to #139 in the US album charts. Therefore, I was glad I was in the UK at the time this album came out, otherwise I might have missed it. I must also thank Kieron for giving me further experience into Gary Moore. I returned the favour by introducing him to the Killer Dwarfs.

DTP takes the stage, Download 2017

More useless information: A further reason I regret missing Bloodstock 21 was Devin Townsend headlined on the Friday night. According to sources, because of the Covid restrictions, Devin flew to the UK a month or so prior to Bloodstock so he could get quarantine over. Then, instead of bringing his band over and having them go through all of that, he simply hired and trained British musicians to play with him on the day. Further proof that Devin is a class act!

Next post: Tesla- Mechanical Resonance

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com

Farewell to Black Emerald

For the past eight years, I have been trying to open the eyes of the music world to the Reading, UK based band, Black Emerald, here on 80smetalman. Now, it’s my sad duty to announce that they will be going their separate ways. Guitarist, Edd Higgs, has left to go to university and it was decided by Connor Short and Simon Hall, that the band shouldn’t continue without Edd. Tragic, but I totally understand their decision. Therefore, I am going to use this post to reminisce about my experiences with Black Emerald.

Black Emerald at Bloodstock 2013

It all began at Bloodstock, 2013. My stepson Teal and I went on the Sunday in full readiness to get rocked by the likes of Devil Driver, Exodus, Anthrax and of course, headliners Slayer. Arriving early, we milled about the venue waiting for festivities to begin and I took the moment to hand out cards for “Rock and Roll Children.” I gave a card to one gentleman who looked to be my age. He, in turn, handed me a CD and said that I might want to check this band out on the New Blood Stage. It turned out that the man happened to be the father of one of the band members. Anyway, I did go see them. At the time, there were four members of Black Emerald but that’s irrelevant. What was relevant was the fact that this group of hungry young men showed that they had the chops to rock. Good vocals, a powerful rhythm section and a guitarist who could shred. I was even amused when lead singer and bassist, Simon Hall shouted “Hail Satan” at the end. When I returned and wrote my write up of the Bloodstock day, I stated that I was so impressed with Black Emerald, my next post was arguments as to why they should be signed.

My delusions of grandeur kicking in here, I would like to think that some record executive read that post and immediately signed Black Emerald. I did try to introduce them whenever I could, I took the demo CD with me when I went to America in 2014. Whatever the case, four years on, I received a message from drummer Connor’s mother, Sarah, who informed me that the band had recorded a new album. She also informed me that they were down to three members. Naturally, I shouted it out here and it must have paid off because I was invited to attend the official album launch in Reading in February, 2018. That night, history was made as I and everyone else in attendance was treated to the full album, “Hell Can’t Handle All of Us.” Again, I plugged it here as it is a great album.

Sarah and me. Sarah worked her socks off to make sure the evening was top notch. Full marks to her!

Edd Higgs on guitar

Simon Hall on bass and vocals

Connor Shortt on the drums

In the years following the release of “Hell Can’t Handle All of Us,” the band did tour the UK, unfortunately for me, I was never available whenever they came near me. Their final gig was the weekend before last when they returned to Bloodstock and rocked the Jagermeister Stage. This is another reason why I am bummed that I couldn’t go to Bloodstock this year.

Is the disbanding of Black Emerald a tragic loss to metal? I like to think so. I would have loved to see them up on the Dio Stage at Bloodstock but it’s not to be. All I can do is wish Simon, Edd and Connor all the best in whatever endeavours they embark upon in the future. I don’t usually post entire albums but in this case, I will make an exception.

Farewell Black Emerald

Next post: Gary Moore- The Wild Frontier

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com

A Triumphant Return for Live Music!

In case you didn’t see it on my last post, “Kreator- Flag of Hate,” I have spent the past four days in the fabulous Northern English city of Newcastle Upon Tyne for a small vacation. Mrs. 80smetalman is in love with the city and I guess so am I on a lesser scale. After taking her and her two granddaughters around all the shops and on Thursday a trip to The Baltic, which is an art gallery in Gateshead, across the river from Newcastle, in the evenings, she gives me my freedom to hit the pubs of the city. When this happens, the very first place I go to is Newcastle’s number one rock bar, “Trillian’s.” It has great beer and always great music, what more can one ask for? My other reason for heading straight there on the first night out is to check out what bands may be playing there on the Thursday.

Got to have at least one tourist shot, this is a shot of the river Tyne from the viewing point at the Baltic.

Enjoying a pint of Motorhead Road Crew

Also had a bottle of Elvis Juice

Also discovered another Motorhead beer. This one is called Overkill. God, you’re all thinking I must be a right alkie.

Originally, the band listed to play the night was called Spangles. My immediate reaction to the name was that they were going to be a Bangles tribute band. Is my logic right? That wouldn’t have mattered though, I still would have gone to see them. It turned out that the Spangles weren’t able to make it on the night. When I got to Trillian’s, there was a gentleman playing guitar and singing on the stage but I only caught the end of his final song. However, I liked what I heard.

The first band to hit the stage was Silverjet, a band who seems to be pretty well known in the North of England and has been around for awhile. Their brand of metal turned my head straight away but it was their third song, which I believe is titled, “All I Wanna Say is Fuck Off!” that really got things going. From that amusing song, which included audience participation, the metal got heavier and the band just went with it. There were many power chords and some excellent shredding from both guitarist, Mewse and lead singer Dave Kerr. They greatly succeeded in exciting the crowd and won at least one new convert, me.

Silverjet get things going

A better shot of Silverjet

The second band on the night, Logoz, describe themselves as schizofrantic punk rock melodica and from what I heard, I am inclined to agree. My initial impression of them was they were a combination of Motorhead meets The Jam. Here’s the other unique point about this band. Normally, three piece bands consist of guitar, bass and drums but Logoz have a drummer and two guitarists at least they did this night. Their video I’ve watched on Youtube does show a bass player. Anyway, bass player or not, these guys made the rest of the night their own and had a few of the patrons dancing along to them. I would definitely subscribe to their brand of schizofrantic punk rock melodica.

Logoz appear on stage

In command at Tillian’s

These two were definitely enjoying Logoz

What a better way to return to live music. Two bands I knew absolutely nothing about were able to wow me. As it was my final night in Newcastle, I can’t think of a better way to have ended my trip there. You can find music from both Silverjet and Logoz on Youtube and Spotify and I highly recommend you check them out!

Next post: Black Emerald, An End of an Era

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com

Great Metal Albums of 1987: Kreator- Flag of Hate

It is times like these I wish the internet existed back in 1987. This way, I wouldn’t have to worry about getting my historical facts wrong. See, I didn’t discover Kreator’s EP, “Flag of Hate,” until early 1987. Therefore, at the time, I assumed that it must have been released in that year or at the very least, at the tail end of 1986. Well, according to Wikipedia, (I know it’s not the most accurate source at times), the EP came out even before their much heralded 1986 album, “Pleasure to Kill.” So, to you purists and those Brits who think Americans don’t give a stuff about historical accuracy, I apologize for my error and blame the lack of internet and the fact that it was that iconic “Pleasure to Kill” album which first got Kreator seriously noticed. If it hadn’t been for that album, “Flag of Hate” might have passed by virtually unnoticed and that would have been a shame because it’s a fine album.

“Flag of Hate” consists of just three songs, all very good ones. Having heard “Pleasure to Kill” first, my initial reaction when the title track came blasting through my stereo speaker was that they were carrying on with the formula that made mentioned album so great. It is loud, fast and furious and straight to the point. Like the songs from that other album, it clocks in at just under four minutes but it’s three minutes and fifty-six seconds of pure thrash madness with power chords galore, Mille Petrozza barking his way through the lyrics and then showing that he can shred. It also makes me wonder why he demoted himself to rhythm guitar in recent years. Still, it’s a great start!

It’s the other two songs where things get rather interesting. Both “Take Their Lives” and “Awakening the Gods” are over six minutes long. At the time, many thought great thrash songs should have been short and sharp and about half that time. Anything else and you’re getting into concept territory. However, as Flotsam and Jetsam proved on their “Doomsday for the Deceiver” album, you can have great thrash songs of up to nine minutes in length. Now for those who think that a song of that length might give mosh pit participants a heart attack, “Take Their Lives” does slow down in places so you can catch your breath. When it does, the void is filled with some great guitar riffs and Mille screaming the song title. He also shreds very well on this one.

“Awakening the Gods” opens with riffs that could fit in very well with most mainstream metal songs. However, it isn’t long before things go really nuts. Like “Take Their Lives,” “Awakening the Gods” does slow down in the middle with song great instrumental work from all three members of Kreator. In fact, while I have been singing the praises of Mille for his vocals and guitar work, I should definitely sing the praises of drummer Ventor, especially on this last track. The fact that he doesn’t miss a beat throughout the entire seven plus minutes of this song is just amazing. He is certainly an underrated and hard working drummer and deserves a lot of praise. It was no wonder when Kreator finished their set at Download 2018, Ventor was drenched in sweat.

Mille leads Kreator onto the stage with Ventor in support. Download 2018

Track Listing:

1. Flag of Hate
2. Take Their Lives
3. Awakening the Gods

Kreator

Mille Petrozza- vocals, guitar

Rob Fioretti- bass

Jurgen ‘Ventor’ Reil- drums

“Flag of Hate” may only have three songs but those songs are so powerful, by the time you’ve listened to the EP, you would have though you had listened to a ten song LP. With albums like this, who needs aerobics to get in shape?

Next post: I am off to Newcastle Upon Tyne for four days this week. Mrs 80smetalman loves the city and is definitely looking forward. For me, it’s my first opportunity to see a live gig in nearly two years. I’ll be heading to Newcastle’s best known rock bar, Trillians. According to Facebook, on Thursday they’re having a tribute to the 30th anniversary of Metallica’s “Black Album.” If that’s the case, it sound very promising and I’ll give a full report upon my return.

Trillian’s from my first gig review on 80smetalman back in 2012

To buy Rock And Roll Children, email me at: tobychainsaw@hotmail.com

Great Metal Albums of 1987: Flotsam and Jetsam- Doomsday for the Deceiver

As said in previous posts, being in the UK in 1987 had the reverse effect of being in the US. The delay of learning about new bands and albums that had come out of the US. I didn’t learn of the band Flotsam and Jetsam until January 1987 and did not know they already had an album out. Another aspect of that year was that it seemed to be a tough year for support bands I saw live. For instance, when I saw Crimson Glory in the February in support of Metal Church and Anthrax, I wasn’t impressed with them but I was impressed with their 1986 self-titled album. The same can be said for Flotsam and Jetsam. I wasn’t impressed when I saw them open for Megadeath in the March. However, their album, “Doomsday for the Deceiver” suggests that they probably had an off night.

An air of familiarity springs on the opening track, “Hammerhead.” Travelling back through my Swiss cheese memory more than 34 years, I am pretty sure they opened with this song. Why not? It’s a great song to open with and sets the tone for the rest of the album. What is unfamiliar is the fifth track, “Doomsday for the Deceiver.” I don’t remember any ballad type intros when I saw them live but here it is on the title track and it’s done very well. It goes on for around two minutes before the full power thrash of Flotsam and Jetsam takes over. You get nine minutes of ballad guitar, then power chords, some falsetto vocals from lead singer, Eric A. K. Knutson, more power chords and some a couple of great guitar solos Edward Carlson and Michael Gilbert. Since it is unclear if there were any singles released from the album, this track could be the hidden gem as well as the best track on the album.

What I also like about the album is the band’s ability to change things up. While we get the nine minute title track, we also get short and very powerfully to the point tracks like “Iron Tears.” Just shy of four minutes, this song hits you about the head with a large hammer and a couple of good guitar solos are in it as well. It is also the case with “Desecrator” which is only three seconds shorter than “Iron Tears.” However, time length has nothing to do with the fact I prefer “Iron Tears.” But if you really want a short, sharp pounding thrash effect, then “Fade to Black” is the song for you as it’s just over two minutes long. I do like the opening guitar riffs on this one.

Second in length is “Metalshock” which is over eight minutes long. It too has a ballad type intro and I like the way the bass comes in on it. That shouldn’t be much of a surprise because of who plays bass on the album. However, after the intro, the song goes more traditional metal at first but the speed increases and by the three minute mark, goes in into thrash territory. Then it goes back to mainstream metal for the guitar solos and it sounds like we get a trade off between Carlson and Gilbert and even a bass solo from Jason Newsted, yes that Jason Newsted! Then after more guitar solos, things go full thrash before slowing down to ballad speed at the end. These change ups definitely keep the listener interested.

The remaining four tracks are all of a similar length ranging from four and a half to six minutes. What you do get is some good thrash metal and some interesting themes. “She Took An Axe” tells the story of Lizzy Borden, no not the band, the actual person. If I ever have to teach about Lizzy in a history lesson, I would use this song. Thinking back to when I saw them, I remember a song being introduced as an anti-Nazi song. That undoubtedly has to be “Der Fuhrer.” While the song is about Adolph Hitler, it does not praise him in anyway. It does open with some great guitar work, which goes for over two minutes. On the subject of amusing lyrics, “ULSW” is quite a funny song set to good solid thrash and a fantastic guitar solo tradeoff. This only confirms my belief that Flotsam and Jetsam had an off night in March, 1987.

Track Listing:

1. Hammerhead
2. Iron Tears
3. Desecrator
4. Fade to Black
5. Doomsday for the Deceiver
6. Metalshock
7. She Took and Axe
8. ULSW (Ugly Lying Stinking Wench)
9. Der Fuhrer
10. Flotzilla

Flotsam and Jetsam

Eric A. K. Knutson- lead vocals

Edward Carlson- guitar, backing vocals

Michael Gilbert- guitar, backing vocals

Jason Newsted- bass, backing vocals

Kelly David Smith- drums, backing vocals

80smetalman’s Theory: Two reasons why Flotsam and Jetsam failed to impress on that night. The most obvious one is that during Megadeath’s set, Dave Mustaine walked off stage pissed off because of the sound. It turned out that Megadeath’s equipment got tied up in UK customs and as a result they didn’t get a decent sound check. So, if the headliner didn’t get a decent check, what hope did the opening band have? I must give them the benefit of the doubt on that one. The other is that by the time they came to London, Jason Newsted had already been headhunted by Metallica and wasn’t there on the night. So, in conclusion, should Flotsam and Jetsam make their way around again, I would definitely go see them on the strength of this debut album alone.

Next post: Kreator- Flag of Hate

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com

Great Metal Albums of 1987: Bad News

At Donnington 1986, after being very impressed by opening act Warlock, there came a band I had never heard of before called Bad News. They definitely got my attention when they came out on stage and announced they weren’t going to start playing until the crowd started shouting, “Fuck off Bad News!” When they did begin playing, I have to say that although I wasn’t blown away by them, I thought they were okay. I was especially amused when they played “Teenage Virgins From Hell” which lasted all about three seconds. It brought back memories of songs of the same length by the Stormtroopers of Death. What I found out later was that they were considered a joke band as pointed out by Kerrang’s review of the day.

In the years following, I would eventually find out that Bad News was actually a made up band consisting of members from the UK television series “The Young Ones,” a show I thought was so good because it was so stupid. The band was an episode from another TV series called “Comic Strip,” where they follow the band who are trying to make it big in the heavy metal industry. I haven’t watched it in years, so maybe a revisit should be on the cards. I assure you it’s really funny.

The Young Ones

Before I launch into their self-titled 1987 album, I have to point out that Steveforthedeaf and I just happened to be on the same page here. His recent posts on made up bands has been excellent and well timed. There was no collaboration between Steve and me, my Bad News post would have gone out today but whether you want to call it fate, coincidence or an act of the heavy metal gods, it’s just happens that our posts on the topic has been at the same time. Now for the album.

Like with a lot of albums around the time, the album opens with a song which sounds as if it’s recorded live, “Hey, Hey Bad News.” It’s a good way to open the album. The remaining five songs are all very amusing and from a heavy metal perspective, well played. One song, which sticks out is their very interesting cover of the Queen classic, “Bohemian Rhapsody.” I warn hard core Queen fans that they may find this song offensive if they don’t have a sense of humour. That is the only way one can appreciate the song because lead singer, Vim Fuego, (aka Adrian Edmonson), screeches his way through the song. Saying that, it can’t be that offensive as Brian May produced it and lends his guitar skills to several songs on the album.

Another song of note is “Bad News,” where each member of the band gets their own break in the song. We get a few chords of bass and a drum roll but when rhythm guitarist, Den Dennis, who nearly misses his cue, plays, you hear excerpts from “Whole Lotta Love.” Lyrics from two songs are very amusing. “Ghengis Khan” is about rape, pillage and burn and “Masturbike” has lyrics which I’m surprised wasn’t noticed by the PMRC. However, my favourite song on the album is the closer, “Drink Till I Die.” It sounds like they’re trying to copy Motorhead and it was said that Lemmy viewed Bad News with a great sense of humour. Anyway, going back to my mindset back in 1987, a song about getting drunk appealed to me a great deal. Saying that, I laugh and wince at the same time when I hear the line, “Put your dick in a blender.” Ouch! Still, it’s a great way to end the album.

Track Listing:

1. Hey, Hey Bad News
2. Ghengis Khan
3. Bohemian Rhapsody
4. Bad News
5. Masturbike
6. Drink Till I Die

Bad News

Vim Fuego- vocals, lead guitar

Den Dennis- rhythm guitar

Colin Grigson- bass

Spider Webb- drums

Brian May

Brian May- guitar on “Bad News” and “Drink Till I Die”

So the question is: Are Bad News a joke band? That was the original intention when Adrian Edmonson, Nigel Planner and Rik Mayall got together on the project. While some so called metal purists may agree with the premise, my thought is that while they may be a joke band, they have left behind a legacy and an amusing album. Oh, one thought which really pisses me off is that non-metal people site Bad News as proof that you don’t need talent to play heavy metal. No, it isn’t! Of course, that was before Metal Church identified the human factor and Brian May did lend a hand. That just makes the album even better.

Next post: Flotsam and Jetsam- Doomsday for the Deceiver

To buy Rock and Roll Children- email me at: tobychainsaw@hotmail.com

Great Rock/Metal Albums of 1987: Deep Purple- The House of the Blue Light

Reading a little of the back story which went on while Deep Purple was recording the album “The House of the Blue Light,” I am a little surprised. Ian Gillan stated that relations in the band were strained. That the band was like an all star team, a lot of talent but no real spirit. Ritchie Blackmore stated that he felt like he played like shit on the album and Jon Lord added that the album was hard to put together. He went onto add that the band’s mistake was trying to make the album sound too current. While I tend to agree with Jon here, (may he rest in peace), I still think it’s a pretty good album.

In reinforcing Jon’s comments, I do think that Deep Purple tried too hard to make this album sound too much like their previous comeback marking album, “Perfect Strangers.” At least as far as the first three tracks are concerned. While all three tracks are good, tracks one and three were released as singles, they would have also fitted just as well on “Perfect Strangers,” not that there is anything wrong with that. However, when I hear the album, I do get what Ian is trying to say about superstars. On each of those tracks, there is some individual contributions. The album begins with a horror movie like organ intro from Jon and it sounds good and the second track ends with a nice little drum solo from Ian Paice. Roger’s bass playing is solid and Ian Gillan sounds as good as ever and Ritchie’s solos on that second track makes me question how he could have thought he played like shit.

When I posted about “Perfect Strangers,” I stated that the new generation of metalheads were disappointed in that album because none of the songs sounded like “Smoke on the Water.” I think that Deep Purple might have taken that on board when they recorded “The House of the Blue Light.” There are some real rocking tracks, starting with the fourth one, “Mad Dog.” This song goes more up-tempo and even though the keyboards seem to dominate, the song still rocks. Once again, my theory is proven that keyboards can be used in metal if used correctly. Besides, the opening guitar riffs on the song are spectacular.

Hard rocking tracks continue through the next two tracks after that and then Deep Purple take a trip back to their progressive rock days of the 70s with “Spanish Archer.” That’s what I loved about them in that decade. They could be total hard rock or go completely progressive and still produce great songs either way. It’s also the reason why “Woman From Tokyo” remains my favourite DP song. Oh God, I’m digressing again. Getting back to this album, “Spanish Archer” takes the band back to those days. There is some very good keyboard wizardry from Jon and again, I question how Ritchie could have played like shit as his solo is good and I must point out that his solo on “Hard Lovin’ Woman” is possibly the best on the album.

Deh, deh, deh deh! Now for the hidden gem and that comes on the penultimate track, “Mitzi Dupree.” On this one, they throw a total curve ball and go total blues rock. There’s lots of swagger and the talent of this band purely shines through. It’s not what I would expect from Deep Purple but man oh man, do they pull it off and do so fantastically. This is a song where you just want to sit in a chair with a beer in hand and just bob side to side to it. In fact, it’s the best song on the album!

Track Listing:

1. Bad Attitude
2. The Unwritten Law
3. Call of the Wild
4. Mad Dog
5. Black & White
6. Hard Lovin’ Woman
7. Spanish Archer
8. Strangeways
9. Mitzi Dupree
10. Dead or Alive

Deep Purple

Ian Gillan- vocals

Ritchie Blackmore- guitar

Roger Glover- bass

Jon Lord- keyboards

Ian Paice- drums

Deep Purple said they learned their lesson after making this album. Instead of trying to chase trends, they would simply make the music they wanted and the fact that they’re still around and making records more than thirty years later, shows they’re doing something right. Still, “The House of the Blue Light” is still a good album.

Next post: Bad Nes

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com

Great Rock/Metal Albums of 1987: The Cult- Electric

For some unknown reason, The Cult’s 1987 album, “Electric,” almost passed me by, I stress, almost. I think the reason for this was because I was in Great Britain by this time and I have the sneaking suspicion that The Cult were more popular in the US than in their native country. The first single from the album, “Love Removal Machine,” never made the top 40 in the UK, so I never saw it on “Top of the Pops” when I was working in the student bar. However, I don’t remember ever hearing it played at East London’s favourite Friday night heavy metal spot, Oscar’s. If they had, I would have remembered it because The Cult do have a distinctive sound.

On “Electric,” they went away from their gothic rock sound and more in a heavy metal direction. But even with that, it’s still The Cult. What is weird is on tracks two and three. Both of those tracks have intros which remind me very much of The Darkness. Since, The Cult were a decade and a half or more before The Darkness, we can safely say which band influenced which. However, on the topic of the third track, “Lil’ Devil,” even with The Darkness sounding intro, there is more of a throw back to their more gothic rock sound from the previous album, “Love.” It was the second single from the album but maybe it should have been the first, but what do I know?

While not The Darkness, the following track, “Aphrodisiac Jacket,” has a great metal intro and that vibe carries on throughout the song. This one is definitely a song to headbang away to. It has some great power chords and it gives me the opportunity to sing the praises of guitarist Billy Duffy like I did when I posted about the “Love” album. He really plays a blinder of a solo on it and keeps it up with the guitar hooks as the song winds down. Needless to say, it’s my choice for hidden gem.

Back to The Darkness intro with “Electric Ocean.” So much so, when I hear this, I can picture Ian Astbury singing in that band. However at the same time, you still know it’s The Cult. My weird mind going into overdrive again. You can forget The Darkness on “Bad Fun.” This is more of an AC/DC song but again, The Cult stamp is definitely put on it. At first listen, I was ready to condemn “King Contrary Man” as filler and then that Billy Duffy guitar solo kicks in and obliterates any filler thoughts.

So far, I’ve made comparisons to The Darkness and AC/DC but on “Love Removal Machine,” it’s the Rolling Stones who get the credit. It’s like the Rolling Stones playing “She Sells Sanctuary” but with a great Duffy guitar solo. I can see why this song got picked for a single but I still stand by my choice for “Lil’ Devil” being a better one. It has said that “Electric” boasts the worst cover of the Steppenwolf classic, “Born to be Wild.” Trust me, I have heard worse versions of that song than this one. Okay, it was from cover bands playing in bars but their versions were still worse than this one. Besides, Billy’s guitar solo is even better than the one on the original.

Track Listing:

1. Wild Flower
2. Peace Dog
3. Lil’ Devil
4. Aphrodisiac Jacket
5. Electric Ocean
6. Bad Fun
7. King Contrary Man
8. Love Removal Machine
9. Born to Be Wild
10. Outlaw
11. Memphis Hip Shake

Ian Astbury- vocals

Billy Duffy- guitars

Jamie Stewart- bass

Les Warner- drums

It seems that “Electric” was a great album that nearly slipped under my radar, although not many others. On it, The Cult proved their versatility. They can play rock or metal and I think The Darkness benefitted greatly from it.

Next post: Deep Purple- The House of Blue Light

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com