Great Metal Albums of 1987: Destruction- Mad Butcher

Thrash bands seemed to be coming out of every corner in 1987 but it seemed even more the case they were coming from what was then West Germany. Historical note: East and West Germany didn’t reunify until 1990. In any case, we had the likes of Helloween and my favourites, Kreator, and touring with the latter in that year was another German band called Destruction. Unfortunately, I wasn’t able to see them when they came to London, but I was treated to their 1987 EP, “Mad Butcher,” which offered some consolation.

Things begin with the title track which after a brief intro, goes full thrash. There are thrashing guitars and pounding bass and drums as Schmier sings or nearly screams, “The Butcher!” Then we have some guitar solos which sound like a trade off but according to Wikipedia, it is Harry Wilkens which does all the lead guitar work. It comes to an interesting end when the song appears cut off but then there is a little twist where the band plays the “Pink Panther” theme with a cool lead guitar accompanying it.

Next up is a cover of The Plasmatics classic, “The Damned.” While I am tempted here to do another “Original vs Cover” post with the song, I have to say that I still prefer the original over the cover. Saying that, Destruction don’t ruin the song, they pay Wendy and company fair homage with their version, especially with the solo from Wilkens and there is a nice little bass part before the song fades away.

Third is what has been called a thrash ballad with “Reject Emotions.” It starts with a ballad like acoustic intro but that doesn’t last long before it goes much heavier. Maybe another reason why it was dubbed a thrash ballad is that the song is slow enough for me to catch more of the lyrics, especially at the chorus. However, it also contains a rather long mosh part towards the middle of the song and opportunities for more lead guitar work. God, I am really beginning to appreciate Harry Wilkens as a lead guitarist. The song also makes up over one-third of the EP, clocking in at nearly seven minutes but those seven minutes do not drag.

Last up is the instrumental, “The Last Judgement” where Harry gets to showcase all of his guitar talents. I like how he combines acoustic elements with guitar solos and backs it up with a strong metal rhythm guitar. According to the blurb, Harry does all the guitar work here. However, it would be amiss of me not to point out the rhythm guitar work by Mike Sifringer on the other tracks. He does lay down a good rhythm which helps Harry do this thing.

Track Listing:

1. Mad Butcher
2. The Damned
3. Reject Emotions
4. The Last Judgement

Destruction

Schmier- bass, vocals

Harry Wilkens- lead guitar

Mike Sifringer- rhythm guitar

Oliver ‘Olli’ Kaiser- drums

Some say that because of their composition, Destruction was the German Slayer. I won’t go that far and after listening to “Mad Butcher” again, while I regret not seeing them in 1987, I would have hoped that Kreator was the headliner with Destruction as support but that’s must my personal preference. “Mad Butcher” is still a cool EP.

Next post: Vow Wow- V

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Great Metal Albums of 1987: Sacrifice- Forward to Termination

I just happened to be in the right place at the right time when I discovered Briar in 1987 but it wasn’t the case for Canadian thrash band Sacrifice in the same year. To my regret, this band and their second album, “Forward to Termination” totally passed me by. It was mostly down to the fact that I was already established in the UK and while there were so many great thrash bands coming out of the US and UK at the time, like in many instances, Canadian bands seemed to get ignored. Listening to this album, I think this is something that needs to be addressed.

Let’s get right to the point, when I listened to the album, I wasn’t thinking that this was some great new strain of unique thrash but what they do on the album is done very well. I hear influences of both of two of my favourite bands, the Stormtroopers of Death and Suicidal Tendencies in the music of Sacrifice. The album begins with riffs associated with ST but goes straight into some hard core frenzied thrash reminiscent of S.O.D., especially the way the opening title track, which is an instrumental, goes right into the next one. In fact, the first three songs are one massive thrash affair where the band show case their talents. We get a solid rhythm section but unfortunately, there is no indication as to which guitarist plays the solos on the songs. Whoever does so on “Reanimation” rips a really cool solo. My only minor concern is the vocals of Rob Urbanati. When he sings straight up thrash, he sounds okay but when he tries to go for the high notes, there are times when he sounds like a cat being strangled. Maybe that was the intention.

After the opening three tracks comes my vote for song of the album, “Afterlife.” This is the cleanest sounding track and everything is not only done right but to perfection and the influences of the two S bands come through. While I don’t know for sure, I think the two guitarists do a solo trade off on the track and it sounds good. The slow down parts are only there to let you catch your breath before the manic thrash bombards your ear drums into submission. Also Rob lays off the falsetto attempts making his vocals sound that much better.

Following after is the seven minute long “Flames of Armageddon.” I like the way this track goes back and forth between hardcore thrash and more mainstream metal. While the solo is cool, it could have been a little longer, I think the rhythm guitar is truly fantastic on the song. What is also good about “Flames of “Armageddon” is that in spite of the length, it does not get repetitive as there are constant changes in tempo with vocals and guitar solos and a foreboding, impeding doom bass line from Scott Watts. It’s another great track.

Some cool guitar riffs start the second half of the album on “The Entity” and that sets the stage for the remainder of the album. What you get is Sacrifice honing in their craft, which pays dividends. More cool song opening riffs, great rhythm work, including the guitars and some cool guitar solos. If I went through each of these songs, I would simply be repeating myself for the most part. There is an interesting rhythm guitar part before the solo trade off on “Forever Enslaved” and the intro on “Cyanide” reminds me of the S’O.D. classic, “The Pre-menstrual Princess Blues.” Plus there is some more rhythm and lead guitar work on it but when Rob screams the song title, there is more of the strangled cat. They do change things up on the intro of “Light of the End” where you get a short but definitely to the point guitar solo before going nuclear. Then the album goes out in a mad thrash rage that is “Pyrokinesis.”

Track Listing:

1. Forward to Termination
2. Terror Strikes
3. Reanimated
4. Afterlife
5. Flames of Armageddon
6. The Entity
7. Forever Enslaved
8. Cyanide
9. Light of the End
10. Pyrokinesis

Sacrifice

Rob Urbinati- vocals, guitar

Joe Rico- guitar

Gus Pynn- drums

Scott Watts- bass

Honestly, I wish I had heard “Forward to Termination” back in 1987, I would have been seeking mosh pits. But they say better late than never and even my 60 year old ass can fully appreciate the pure thrash of Sacrifice and state that Canadian bands should have been shown more respect.

Next post: Destruction- Mad Butcher

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Great Metal Albums of 1987: Kreator- Terrible Uncertainty

Everybody in the metal world has their own choices as to which bands should be added to make the Big 4 the Big 5 and beyond. Nuclear Assault was one suggestion I have heard as was Venom but for me, if there was one band I would add, I would choose German thrashers Kreator. By 1987, after three albums, including this 1987 “Terrible Uncertainty” album, and an EP, I was definitely a Kreator fan. Sure, there were those who didn’t take them seriously and I know of one guitarist who reckoned Mille Petrozza had only been playing guitar for six months, not true, but I never let any of that spoil my enjoyment of this band.

“Terrible Uncertainty” opens with the organized chaos which is “Blind Faith.” This song just goes for it and lets you, the listener, know that Kreator aren’t going to take prisoners. It’s just one big enjoyable thrash stew which has me wanting a most pit each time I hear it. But they weren’t simply going to rest on the laurels of their previous smash album, “Pleasure to Kill.” That continues through the next song as the intensity doesn’t not let up. To quote the song title, Kreator are definitely “Storming with Menace.” On the subject of “Pleasure to Kill,” there are similarities between the title track of that album and this one. Like the previous, they slow things down slightly and the melody is similar. Plus, Mille shreds away like a demon on it, after which, there is a great rhythm guitar mosh part. However, the song begins with a bass line from Rob Fioretti and it’s nice to hear his four string here.

Mille shares lead vocal duties with drummer Ventor on “As the World Burns” as well as Ventor delivering some cool drum fills in the middle of the song, which gives way to another Mille shred. The track is ‘slower’ than the previous song but no less ferocious. Pounding drums and bass backed up with some great thrash riffs introduce “Toxic Trace.” Again, the drum fills supplement my argument that Ventor is a very underrated drummer. The track also returns the album to more speedier territory in parts and is the longest song on the album clocking in at just over five and a half minutes. It is followed by the second longest track, “No Escape” which is just over five minutes. It keeps the album on boil before it overflows with the thrashing speed of “One of Us.” Mille produces an intriguing guitar solo here and it should dispel any thoughts that he was only playing guitar for six months.

For me, Kreator save the best for last with the closer, “Behind the Mirror.” Newly added guitarist Jorge Trzebiatowski makes his debut by playing the doom infested intro to the track and he shows here that he was a welcome addition. When his intro is over, Mille and co go total thrash metal nuts. If one is energy depleted from the rest of the album, this song provides the rejuvenation needed to carry through to the end. It’s a great way to end the album, especially with Mille’s guitar solo.

Track Listing:

1. Blind Faith
2. Storming With Menace
3. Terrible Uncertainty
4. As the World Burns
5. Toxic Trace
6. No Escape
7. One of Us
8. Behind the Mirror

Kreator

Mille Petrozza- lead vocals, guitars

Ventor- drums, co-lead vocal on “As the World Burns”

Rob Fioretti- bass

Jorge ‘Tritze’ Trzebiatowski- guitar on intro to “Behind the Mirror”

“Terrible Uncertainty” fully established Kreator as one of the greats of thrash metal, at least in my mind. They proved they could thrash with the best.

Next post: Sacrifice- Forward to Termination

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The Original vs. The Cover: I

Before I launch into my own version of the original vs. the cover, I thought I would share my experiences from this past Sunday when I went with my sons to see the Miami Dolphins play the Jacksonville Jaguars at Tottenham Hotspur Stadium in London. Believe it or not, this was the first NFL game I actually saw live. Some might think differently because I grew up in the US, but it was something I was going to do one day but never got around to it. Sure, I’ve been to other games, NFL Europe, the World League in the 1990s and two USFL games in the 80s but never a NFL game.

To make a long story short, we had a great time, in spite of the fact that my son Jake’s Dolphins lost as a result of a poor coaching decision late in the game. He stated that at least his favourite player, wide receiver Mike Gesicki, had a great game with eight receptions for 152 yards. So now, I will bore you with the pictures I took on the day and one thing I hope my British readers will take away is that Sunday proved that American football is popular in Great Britain.

Left to right: Jake, some strange dude and Will

The coin toss

The Dolphins have the ball deep in their own territory

Action from a few plays later

Before I went off on my little hiatus, I stated that my next post would take a leaf from 2loud2old and write my own post of “The Original vs. The Cover.” The song I have chosen is “I” which appears on KISS’s “Music From the Elder” album and was covered by the band Hair of the Dog in 1999 on their “Rise” album.

KISS from 1981

Remembering back to when I reviewed the “Music From the Elder” album way back in 2014, one mistake I made was not singing the praises of “I” enough. All I said that it should have been the closer and while I stick by that, I should have pointed out that I think it’s the best song on the album. This tune really nails 1970s hard rocking KISS and if more songs had been in this vein, then “Music From the Elder,” would have been a much better album! Another point I didn’t notice back then is that Paul and Gene share the vocals duties on the song and they bounce off each other very well. It makes me think that maybe they should have done more vocal collaborations on albums. When you listen to it here, Youtube has also connected the actual closer, “Finale” with it.

Hair of the Dog

Rise

KISS must have definitely done something right when they recorded “I” because Hair of the Dog do not venture far from the original formula. Their version is just a great hard rocking one which ticks all the boxes for me. Going back to KISS, I mentioned that “I” should have been the closer on “Music From the Elder.” I think the reason for this is that it is the closer on the “Rise” album and what a marvellous closer it is. However, when the song appears to end, there is a twenty second space of nothing and then Hair of the Dog throw in an amusing surprise so don’t miss that.

My Verdict: While it was great to hear KISS go back to their roots on one song from an album which isn’t included when their best albums are mentioned, I think that Hair of the Dog puts more pizazz into their version. I will say that KISS laid the foundation but HotD built it up into a phenomenal song. Have a listen and let me know what you think.

Next post: Kreator- Terrible Uncertainty

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

Great Metal Albums of 1987: Briar- Take On the World

Sometimes it’s a case of being in the right place at the right time when it comes about discovering a new band. I’m sure that was the case with some bands with many of you. In this particular instance, my discovery of British metal band, Briar, came when I saw them support legends Stryper at the Hammersmith Odeon in May of 1987. Stryper were absolutely phenomenal that night and I was sure that my one friend Dave was going to convert right there and then. Furthermore, another friend, Tim, was hit by a flying bible but someone else grabbed it before he realised what happened. Oh yes, I’m posting about Briar. Actually, I don’t remember anything spectacular about them and the song I remember most, “One Foot Back in the Door,” appears on their next album. However, there was something about the band or I wouldn’t have remembered them after all these years.

Their 1987 album, “Take on the World,” opens with the title track and what you get sets the tone for the rest of the album. It’s a straightforward metal tune with some decent guitar and vocal work. It’s a good track to lead off the album but the next track, “Closing In,” is better. The intro is straight to the point but very catchy. It’s a song to bob your head along to while you are driving or sitting down and listening to. However, it does tail off a little in the middle and there could be a little more oomph to the chorus but the guitar solo makes those issues very minor.

“Odd One Out” is a faster paced song which keeps going right to the chorus and that’s my minor complaint about it. The chorus sounds a little lazy but again, this is more me nitpicking because the rest of the song, guitar solo included is very good. The chorus issue goes away on the next track, “Everybody,” in spite of the fact that the lyrics are one of those ‘I’ve heard this before’ type. It’s sung with more passion and there are some good heavy guitar riffs and a cool solo trade off between guitarists Dave Fletcher and Darren Underwood. The two D’s carry that on to the next track, “Always Gonna Love You” with a great lead guitar intro. This is the fastest song on the album, though it’s not near Exodus speed but it’s a good headbanger nonetheless. Especially with another guitar solo trade off.

With expectation building as the album goes on, one might think “Lorraine” would be an extra super track. It’s not bad, there is some good strong riffs on it but it’s more of a plateau than an ascension in metal build up. I don’t know if a single was ever released from the album but I wouldn’t be surprised if it was this track. I think my problem with the track is that there is no guitar solo and I think the inclusion of such would have given it the boost it needed.

Now, as you know, I am a sucker for a great power ballad and “Without You” had the potential to be such. Unfortunately, the track is let down from what I feel is lousy production. The guitar work is very good and maybe it’s time to comment on Kevin Griffiths vocals because while he sounds good on the rest of the album, his vocals are the only thing not adversely effected by the production on this track. Fortunately, all is well because Briar go out on a total high with the closer, “Keep On Running.” It has that 80s, ‘let’s make them think it’s recorded live’ effect on it but in this case, that only makes it sound that much better! There is definitely some oomph to this track and it’s my favourite on the album right down to the fantastic guitar solo. Oh yes, message to Blackie Lawless, Kevin Griffiths plays bass as well as sings lead and proves you can do both effectively.

Track Listing:

1. Take On the World
2. Closing In
3. Odd One Out
4. Everybody
5. Always Gonna Love You
6. Lorraine
7. Without You
8. Keep On Running

Briar

Kevin Griffiths- lead vocals, bass

Dave Fletcher- guitar, backing vocals

Darren Underwood- guitar, backing vocals

Dean Cook- drums, backing vocals

Briar came and went unnoticed by most of the metal world but not by me. I urge you to take a second and have a listen to the “Take On the World” album, I can assure you it won’t be time wasted.

Next post: I am taking a bit of a hiatus for the next two weeks or so. Next week, I have a 72 hour shift at work, (I get paid to sleep in) and then I will visit my daughter. Next Sunday, I am going to do something which one would have thought I would have done growing up in America. Unfortunately, it was always one of those things I was meaning to do but never got around to it. I will be going with my two sons to London to watch an NFL game. When I get back from that, Mrs 80smetalman and I are going away for a couple of days. When I do return, I will be taking a leaf out of 2loud’s book and writing my own Cover vs. Original post. Stay safe until then.

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

Great Metal Albums of 1987: Nuclear Assault- Game Over

My introduction to Nuclear Assault was in 1986 when I was told they were a spin off of the Stormtroopers of Death. However, it’s only the case of bassist Dan Lilker, who was in S.O.D. Unfortunately, that was my only experience of the band and it wasn’t until 1987 that I heard the album, “Game Over.” More unfortunate was the fact that I never got to see them live until Bloodstock 2015 but I can say that they were definitely worth the wait.

Dan Lilker talking to the crowd, Bloodstock 2015

Nuclear Assault in full assault

Dan Lilker’s time with the Stormtroopers of Death and Anthrax (Dan was cofounder with Scott Ian) comes through straight away on the album. Like with S.O.D., the albums begins with an instrumental. “Live, Suffer, Die,” is a short sharp shock of moshing thrash for the full minute and eight seconds of the song. Those influences carry on over the next four tracks as each of them are serious hard core thrash. While all of those tracks are good, the one which sticks out is “Betrayal,” probably because of the lyrics singing about a back stabbing whore. This is definitely a song about being cheated on and it proves you don’t need to sing about such subjects in a ballad. However, I also love the guitar solo in “Radiation Sickness.”

“Hang the Pope” might only be forty-six seconds long but it is still an amusing song. I don’t know how those of the Catholic faith feel about lyrics calling on people to go to the Vatican and hang the pope until he’s dead but it is a very amusing, explosive song. Things appear to slow down on the intro of “After the Holocaust” but it is probably the fastest song on the album and that is saying something. The guitar solo from Anthony Bramante is amazing. Then as a break in the action, we get the twenty-two second long “Mr. Softee Theme.” For the non-American readers, Mr. Softee is an ice cream company whose vans drive around the streets selling ice cream. Maybe the Mr. Softee company should have used Nuclear Assault’s version for their trucks. It would have been less annoying.

Things go back to full speed thrash on “Stranded in Hell.” It is on this track I get to appreciate the drumming of Glenn Evans and I will say now that Dan Lilker is a very underrated bass player. He really comes through on “My America.” The closer is a real paradox. While all of the other songs are less than four minutes, several less than three, “Brain Death” is over seven minutes. It starts like it’s going to be a slower metal song with the acoustic intro which is a little hypnotic if you listen closely and the pace only picks up a little when the acoustic guitar goes electric. It is at the two minute mark when the song explodes into full thrash glory, though it’s instrumental part in the middle slows down again and goes on for several minutes before going out in a thrash speed flurry.

Track Listing:

1. Live, Suffer, Die
2. Sin
3. Cold Steel
4. Betrayal
5. Radiation Sickness
6. Hang the Pope
7. After the Holocaust
8. Mr. Softee Theme
9. Stranded in Hell
10. Nuclear War
11. My America
12. Vengeance
13. Brain Dead

John Connelly- guitar, vocals

Anthony Bramante- lead guitar

Dan Lilker- bass

Glen Evans- drums

Calling Nuclear Assault an Anthrax or S.O.D. spin off is inaccurate. Sure, there are heavy influences from both of those bands on the album, “Game Over,” but the album also proves that they are their own band capable of their own brand of thrash.

Next post: Briar- Take On the World

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

Great Metal Albums of 1987: Manowar- Fighting the World

With each album from Manowar I listen to, the more I think that Kerrang Magazine should apologize for calling them a joke band in a 1986 issue. Manowar are definitely not a joke band, they are as serious as any other metal band in the world. True, their image may be over the top but that doesn’t stop their music from being as good as it is. When I listened to the 1987 album, “Fighting the World,” I did so with these thoughts in mind. By the time the album finished, I was in no doubt that they were never a joke band.

According to sources, the single released from the album was “Blow Your Speakers” and I must say that it is a fantastic song. The true heavy metal power railing against commercial radio stations who refused to play heavy metal. It is my favourite track on the album and when I listen to it, I do want to blow my speakers with it. Here’s the weird thing, over a decade ago, I picked up a compilation album and the Manowar song on the album was the title track. So, you can see why I found this a little confusing. If anything, I’m surprised it wasn’t released as one because it is that good. It also was an inspiring song when I wrote “Rock and Roll Children,” because by 1987, it seemed that heavy metal was fighting the world.

Right after the two opening songs comes the hidden gem, “Carry On.” I think several bands who came later drew influence from this song. The intro is something right out of a Strativarius song and then after that acoustic intro, you get a song which could have inspired both The Darkness and the Black Veil Brides. It is a very enjoyable song which you can’t help to move your head along to. It also has a great guitar solo from Ross the Boss. Some might say that the repetition of the chorus “Carry on, carry on, forever carry on” might drag on a bit at the end but it doesn’t bother me.

Very interesting sound effects such as police sirens begin the track, “Violence and Bloodshed.” This is a very fast paced song with some more interesting sound effects at the guitar solo. “Defender” starts with a spoken word from a father to his son. The father isn’t there but he charges his son with the task of defending the helpless to the end. The background music is very suspenseful and sounds great with the words. Eric Adams sings the response of the son saying he will take up the task. The guitar and bass comes in harder but still has that gloomy feeling before going into what could be Ross’s best guitar solo on the album. After that, the spoken voice and Eric’s vocals join together with the chorus “Ride like the wind, fight on, you’re the defender.” It is a cool concept song.

Sandwiched between two minute and a half tracks, the first an instrumental, is “Holy War.” The track starts with the clapping thunder of where the instrumental left off. After a slow build up, it explodes into the fastest song on the album. It does slow down a little for the second verse but the energy cannot be held in and just explodes again. While we get another great guitar solo, my ears are more tuned into the rhythm section, especially Joey DeMaio’s bass. Closing the album is “Black Wind, Fire and Steel.” While it’s rather fast paced, the melody of the song makes it perfect for the closer. The background guitar during the verses gets my attention as does how it all comes together as it winds down to the end.

Track Listing:

1. Fighting the World
2. Blow Your Speakers
3. Carry On
4. Violence and Bloodshed
5. Defender
6. Drums of Doom
7. Holy War
8. Masters of Revenge
9. Black Wind, Fire and Steel

Manowar

Eric Adams- vocals

Ross the Boss- guitar, keyboards

Joey DeMaio- bass

Scott Columbus- drums

Not that I ever thought it in the first place, but “Fighting the World” put to rest any thought that Manowar were a joke band. They play their metal as good as anyone else. Kerrang should be ashamed and it could be why it has basically sucked since the mid 1990s.

Next post: Nuclear Assault- Game Over

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