Great Metal Albums of 1987: Savatage- Hall of the Mountain King

“Hall of the Mountain King” is the album which thrust Savatage into the spotlight of the heavy metal world. It is definitely a redeeming album for the band after the misstep that was “Fight for the Rock.” While, that album wasn’t as bad as many might say, it is nothing in comparison to the 1987 “Hall of the Mountain King.” This is a fantastic album hands down and the only album from the 1980s to make it into the top five of my favourite Savatage albums list.

My thought as to why this album was so successful is that they went back to what they did on the 1985 “Power of the Night” album. When I posted about that album, I stated that it was a blueprint for the iconic album I am posting about right now.

Savatage comes roaring out of the starting blocks with “24 Hours Ago” and it is clear that they aren’t going to take any prisoners. They are definitely firing on all cylinders here. That carries on with “Beyond the Doors of the Dark,” a no nonsense what we would call these days, power metal tune. Jon Oliva shrieks his way through the song but it sounds right with it. The shredding of brother Criss takes this track to even more dizzier heights. But better is yet to come!

All the things I wrote about Johnny Lee Middleton’s bass playing on the previous album goes even further here. He starts out “Legions of the Night” with a great bass line and combined with Criss’s six-string magic, make a lethal cocktail of cool heavy metal. Jon keeps his vocals shriek free but sings in a more raspier way and it works very well. Oh, did I mention how well Criss shreds on it?

That party is kept well and truly going on the following track “Strange Wings.” This goes more in the vein of what some would consider ‘traditional’ Savatage. This song would have been at home on any Savatage album and the best track on at least one. It’s a very strong melodic metal tune with all the key elements I have been writing about on the other tracks thus far.

Things take a breather on “Prelude to Madness.” It’s an instrumental and if those who want to categorize heavy metal into subgenres, then this is one of the first songs I would classify as progressive metal. Keyboards are brought in and they complement the track, especially as Criss does what Criss does best on it. Now, I’m not sure if the band meant it to happen but I think “Prelude to Madness” is the perfect intro to the title track and in my opinion, the best track on the album. It takes power metal and progressive metal, (okay, I’m using terms unheard of back in 1987), and blend them together to make one hell of a great song. Not only does Criss shred away here but his rhythm guitar spot in the middle of the song is just mind blowing. Jon’s shrieks are accompanied by a sinister laugh and the rhythm section is especially tight. Definitely a brilliant song, though I might be biased. Here’s the funny thing, even though it’s the best song on the album, it only comes in fourth in my favourite Savatage songs of all time list.

While the title track might be the best track, the remaining four tracks don’t take the album down in any way. “The Price You Pay” is a good solid song which keeps things ticking along nicely. Again, the band does everything right on it. However, things take an upturn, if that’s possible, on “White Witch.” This is the fastest track on the album with some great riffing from guess who? The bass and drums keep a pounding pace and I sometimes think that maybe Jon’s voice was more suited to songs like this. This is the one Savatage song which could get a mosh pit going. Following on is a short instrumental in which we get to hear Criss at his best before a very apt closer in “Devastation.” To quote song: “We should have listened to what Christ had to say.” There’s nothing new I can say about the track except it just ends the album extremely well.

Track Listing:

1. 24 Hours Ago
2. Beyond the Doors of the Dark
3. Legions
4. Strange Wings
5. Prelude to Madness
6. Hall of the Mountain King
7. The Price You Pay
8. White Witch
9. Last Dawn
10. Devastation

Jon Oliva- ‘The Grit’ vocals, piano

Criss Oliva- ‘The Crunch’ guitars

Johnny Lee Middleton- ‘The Thunder’ bass, backing vocals

Steve Wacholz- ‘Doctor Killdrums’ drums, percussion

There’s no denying I am a huge Savatage fan. Though I had heard of the band, it was “Hall of the Mountain King” which made me the big fan I am today. Of course, their other great albums help as well.

Next post: Battlezone- Children of Madness

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Great Metal Albums of 1987: The Great Kat- Worship Me or Die!

Could this be a case of looks being deceiving? When you look past the guitar, leather and spikes, you might be inclined to think that this innocent looking young lady sang Taylor Swift type songs. After all, it seems that these days, some female pop singers dress in a neo-metal fashion in an attempt to lure younger metal males into checking out their music. However, metalheads aren’t as stupid as they think. They listen to what’s inside the album and not judge by the cover. With The Great Kat, on the other hand, she is the real deal. What you get from her debut album, “Worship Me or Die!” is a half hour of great thrash metal.

After a great shredding introduction, Kat, (real name Katherine Thomas), declares that she is the “Metal Messiah.” Her declaration is short and to the point with some great power riffs to back her up. After, she lets you know that she is possessed by the devil and you are her little slaves. Her shredding backs up her claim. If that’s not enough to convince you, she power chords and shreds her point in declaring “Death to You.”

Once you are convinced she the possessed metal messiah, you get my favourite track of the album, “Satan Goes to Church.” My amusement for television evangelists is satisfied when the song is introduced by a television evangelist telling us to repent. That is quickly sidelined by a thrash frenzy telling us that Satan is coming into the church and writing his name in blood before burning it down. It’s all tongue and cheek but I bet the Jesus freaks back then got their knickers all in a twist over it.

Now that Satan has burned down the church, you have no other choice do what Kat says in the title track, “Worship Me or Die!” Kat declares her omnipotence by letting you know that Kat rules, once again backed up by serious thrash chords and more shredding. From there, she goes on a four song death to all march, first summoning demons, then a speed death, a song which seems to go at 900mph. It carries on with killing the Muthers, (I don’t think she’s talking about actual mothers here), before laying it all to rest with “Ashes to Dust,” complete with a funeral service at the beginning. It’s all one big thrash-fest and I must give full credit to the rhythm section for being able to keep up with her.

Kat gets the children involved by playing a sweet little game called, “Satan Says.” Backed by foreboding, slower riffs, she kindly warns the children what might happen if they don’t play. “Satan goes follow me, Satan says ‘Go to Hell!'” The album then closes out with a total metal massacre, with the great shredding in which the album was first brought in.

Track Listing:

1. Metal Messiah
2. Kat Possessed
3. Death to You
4. Satan Goes to Church
5. Worship Me or Die
6. Demons
7. Speed Death
8. Kill the Muthers
9. Ashes to Dust
10. Satan Says
11. Metal Massacre

The Great Kat (she doesn’t look so innocent here)

The Great Kat- guitar, lead vocals, violin

Tom Von Doom- bass

Adam Killa- drums

“Worship Me or Die” proves a point I have been making recently here and on other blogs; Back in the 1980s, female shredders didn’t get the respect they so deserved. The Great Kat, I emphasize the great because she was just as good as many of her male counterparts at the time and she should have been taken more seriously.

Next post: Savatage- Hall of the Mountain King

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Rest in Peace Taylor Hawkins

Taylor Hawkins

I’m sure this sad news is all around the world by now. When I turned on the TV news this morning, I was very saddened to learn of the death of Foo Fighters drummer Taylor Hawkins. While details surrounding Taylor’s death haven’t been released, his band was on tour of South America at the time. Tributes from all around the rock world and beyond have been pouring in. Therefore, I can only add my condolences to Taylor’s wife and children and to the Foo Fighters as well.

Rest in peace Taylor

Great Metal Albums of 1987: Shok Paris- Steel and Starlight

The more I travel through the metal history of 1987, the more I feel the need to thank my sister Dawn for sending me samples of great bands I might have otherwise missed. Like with Warlock, four tracks from Shok Paris’s album, “Steel and Starlight” appeared on the same tape. The difference, however, is that while Doro had already achieved great things and continues to do so, when I listen to Shok Paris, my question is: Why didn’t this band go further? After all, there must be something about why I remember them so well since the cassette they are on is with the other ones in those ammo cans in my attic.

The famous ammo cans . I thought this would be a good excuse to put this picture in the post.

To be honest, I don’t think this compilation tape is in either of those cans but in another box I had tapes in but that’s not the point. The point is those four tracks on “Steel and Starlight” blew me away so much back then and finally listening to their full album, I can see why. While it wasn’t a term back in 1987, Shok Paris would be classed as melodic metal today. Were they pioneers? If they had been more successful internationally, then I would answer “yes.”

The opening two tracks were both from Dawn’s tape and both have cool intros before going into full metal. However, while I already knew those opening tracks were good, track three, “Tokyo Rose,” convinced me that this band is for real! Vic Hix’s lead vocals sometimes sound over the top but he manages to keep it within the boundaries and of course the shredding of Ken Erb is top notch. But what really sticks out for me in this song is the rhythm guitar work, fair dues to Eric Marderwald here.

Ken’s shredding comes in more with another non-tape track, “Rocked Outta Love.” Only here, Vic does put his big toe outside the boundary on this occasion, but it doesn’t detract from the song. After that, we go back to a song which was on the tape, “Castle Walls.” I don’t remember the long progressive intro being on the tape, I hope my sister didn’t cut it out because it is done very well. Ken playing a solo along with Eric on the acoustic guitar sets things up perfectly when the song goes full metal with some more great shredding. It’s also the first track where we get to appreciate the bass from Kel Berkshire.

Drummer Jan Roll checks in on “On Your Feet” with some cool drum rolls at the beginning. This is a definite straight forward metal song which is nicely done with some more drum rolls through the song. “Falling for You” is another straight ahead metal tune but it sounds like all five band members equally contribute on it. That brings me to the tracks which has stood out for me even after thirty-five years, “Exhibit A.” However, don’t ask me to explain why I like it so much. It could be the opening lyrics:

“Its four in the morning and I wait for my case

Today is the day, I got a date with the state

They’re screaming for blood, they’re sealing my fate

Don’t kiss me goodbye because it’s never too late.”

Maybe it’s the fact that Vic doesn’t try so hard to be Joe Cool Metal singer and his vocals are brilliant as they are. Then again, that was the case on the previous track. Possibly, it’s because the track picks up a little more speed than the others without losing the melody or is it down to the lyrics being about a defendant on trial? In any case, I just love the song! Okay, the top notch solo from Ken helps as well.

“Lost Queen” has been added to my list of songs about prostitutes which I will write a post about much further down the line. It’s slows down a bit and it’s definitely a good melodic metal track. But if I were to call any tracks filler, though I won’t, the last two tracks aren’t quite as good as the rest. They’re still good tracks, I wouldn’t leave either one off the album. It’s just they’re not as good. Saying that, the penultimate track has been growing on me.

Track Listing:

1. Go Down Fighting
2. Steel and Starlight
3. Tokyo Rose
4. Rocked Outta Love
5. Castle Walls
6. On Your Feet
7. Falling for You
8. Exhibit A
9. Lost Queen
10. Hot on Your Heels
11. Streets of Pleasure

Shok Paris

Vic Hix- vocals

Ken Erb- lead guitar

Eric Marderwald- rhythm guitar, backing vocals

Kel Berkshire- bass, backing vocals

Jan Roll- drums

Shok Paris is an excellent reason why we should have had the internet in 1987. While I will forever be grateful to my sister for sending me those tapes, I think if they had more exposure, they would have gone further than they did.

Next post: The Great Kat- Worship Me or Die

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Great Metal Albums of 1987: Warlock- Triumph and Agony

There are two ways I can speak about three or four of the songs from Warlock’s 1987 album, “Triumph and Agony.” The first was when my sister sent me one of the many heavy metal compilation tapes she would send me in the late 80s and early 90s. Four of the songs from the album made it onto her tape and those four songs gave me an indication of how good an album this was. Those tracks were “All We Are,” which is the best known song from the album, “I Rule the Ruins,” “Kiss of Death” and “East Meets West.” The second way came about the two times I saw Doro at Bloodstock. In 2010, she sang “All We Are” and “I Rule the Ruins.” At Bloodstock 2018, Doro sang those two songs again plus “East Meets West.”

“All We Are” not only received limited airplay on US radio but got on the rotation at MTV’s Headbanger’s Ball. It also opens the album well. “I Rule the Ruins” is a classic melodic metal song. I love how smoothly she sings the title at the chorus. While “Kiss of Death” didn’t get played either time at Bloodstock, it is in no way a lesser song. The song opens with a wolf howling followed by light strumming of the guitar before it goes into full metal swing with some crunching guitars and Doro showing her vocal range. It also has an interesting bass line when it goes back to the slower second verse only for the power to return at the chorus and then a blistering guitar solo. However, the song of the album for me and is “East Meets West.” There’s not much to the lyrics but then the line, “When east meets west, there’s gonna be one hell of a mess” kind of sums up what the song is about. The very frightening thing is that with what is going on in the Ukraine, these lyrics could prove prophetic. Lyrics or not, what makes the song for me is that newly added guitarists Niko Arvantis and Tommy Bolan solo their way all through the song, great stuff.

Doro on the Sophie Stage, Bloodstock 2018

Now let’s talk about the other tracks on “Triumph and Agony.” The actual length of “Three Minute Warning” is less than what the title suggests but it is a good bridge between “All We Are” and “I Rule the Ruins.” But the hidden gem for me is the haunting power ballad that is “Make Time for Love.” Shoot me for not remembering this track when I posted my top 30 power ballads a few years back. “Make Time for Love” is a true power ballad in every sense.

It would be a major mistake to assume that the final four songs from the album are filler. “Touch of Evil” opens with some foreboding sounds with drumming by guest drummer Cozy Powell. The song accelerates to being the closest Warlock comes to speed metal on the album, though that doesn’t stop the guitar solo fills from keeping up. After the audience cheers giving it a recorded live effect, Doro’s vocals make “Metal Tango” live up to its name. Again, some good guitar work here and the rhythm section makes themselves known on this one. “Cold, Cold, Cold” is a true power metal track, definitely one to bang along to. That brings us nicely to the closer, “Fur Immer,” which is German for forever and it’s sung in the band’s native tongue at the beginning but sung in English at the chorus. Very interesting and it works. It is more a ballad with the piano and the clever drumming in the background but a cool guitar solo rips in the middle.

Track Listing:

1. All We Are
2. Three Minute Warning
3. I Rule the Ruins
4. Kiss of Death
5. Make Time for Love
6. East Meets West
7. Touch of Evil
8. Metal Tango
9. Cold, Cold, Cold
10. Fur Immer

Warlock

Doro Pesch- vocals

Niko Arvantis- guitar

Tommy Bolan- guitar

Tommy Henriksen- bass

Michael Eurich- drums

Additional Musicians:

Cozy Powell- guest drummer on “Touch of Evil”

Rudy Richman- guest drummer

Sterling Campbell- guest drummer

Unfortunately, “Triumph and Agony” would be the last album made under the name Warlock. By 1988, Doro was the only original member of the band and the band’s ex-manager would sue for the rights to the name. Thus the name Doro was born but that’s another story. Still, this was a great album for them to go out on.

Next post: Shok Paris- Steel and Starlight

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Great Metal Albums of 1987: Testament- Live at Eindhoven

Having conquered America with their debut album, “The Legacy,” Testament took their campaign to Europe. While playing the Dynamo Open Air Festival in Eindhoven, Holland, they recorded this live EP. From a historical standpoint, this was a great idea because in World War 2, Eindhoven was the first major Dutch city to be liberated by the combined force of British XXX Corps and the US 101st Airborne. From what I hear on the EP, the audience were ready for some great metal and Testament delivered.

Before the thrash gets underway, the album begins with Chuck Billy asking the audience why they don’t have any beers in their hands. “Let’s see some fuckin’ beers!” he shouts to the crowd and only when they oblige, does the true fireworks begin. Boy do the fireworks begin! They come out firing on all cylinders with “Over the Wall.” If this song doesn’t get the crowd going, then nothing was going to. I get the impression that it did, at least it got me going.

Alex Skolnick begins the second song with a guitar solo bringing in the King Diamond-ish “Burnt Offerings.” Like it does on the studio album, it lures you in as if it’s going to be a slower song before exploding into space at 900 mph. Alex delivers another great guitar solo. Then in the middle of the order comes the best known song, “Do or Die.” Chuck introduces the song by saying “You got to do what you got to do to survive. You got to do or die.” Listening to the song, I regret they didn’t play it when I saw them live in 2009 because they kill it here. It’s just one big thrash party where the crowd is chanting “Testament” at the end .

Following “Do or Die” is my choice for hidden gem, “Apocalyptic City.” It closed out “The Legacy” perfectly but here it does just as well as the penultimate track. While I was prepared for it coming in like a ballad before going full nuts, it still sounds fresh with some great guitars. Alex and rhythm guitarist Eric Peterson just nail it here. It shows what an underrated combo these two are and as far as lead/rhythm guitar combos go, I will put Alex and Eric right up there with Hammet/Hetfield, Jabs/Schenker and the Brothers Young.

“Reign of Terror” is the closer and it comes in with a pounding drum and more guitar work from the above mentioned combo. I love how the speed of the intro just keeps accelerating before Chuck’s vocals come in and take over. I can’t help thinking that there must have been a mosh pit going when this song was being played. Unfortunately, it’s over too soon. Five tracks, no matter how amazing, isn’t enough and when it’s over, I find myself wishing it was a proper LP.

Track Listing:

1. Over the Wall
2. Burnt Offering
3. Do or Die
4. Apocalyptic City
5. Reign of Terror

Testament

Chuck Billy- vocals

Alex Skolnick- lead guitar

Eric Petersen- rhythm guitar

Greg Christian- bass

Louie Clemente- drums

What “Live at Eindhoven” demonstrated was that Testament were a kick ass live band and this album helped them make their mark in Europe. It’s also another reason why they should be considered making the Big Four into the Big Five.

Next post: Warlock- Triumph and Agony

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Great Metal Albums of 1987: Napalm Death- Scum

When listening to the debut album, “Scum,” from British metal band, Napalm Death, the first question which arises is: Is Napalm Death the British version of the Stormtroopers of Death? Like the S.0.D., whose album “Speak English or Die” had twenty-one tracks in under thirty minutes, “Scum” has twenty-eight tracks in little over thirty-five minutes. Also like their American predecessor, the album is full of ear-bashing short, sharp, in your face tracks. Many of the tracks on “Scum” are under one minute in length but when you listen to them, the interesting thing is that it feels like a full three minute song crammed into that little amount of time.

What is just as interesting is that the band had a complete lineup change while making the album. The first half of the album has a different singer, guitar and bass than the second half with drummer Mick Harris being the only permanent fixture. However, I don’t hear any real change when I listen to the album. It’s still an all speed ahead assault on your eardrums. Some will even raise the criticism that you can’t understand the lyrics being sung but guess what? I don’t really care. This is just a great album to thrash out and create lots of mayhem to. My only regret resulting from listening to the album is that I have never seen them live. I think that would be an experience.

One challenge I had when listening to “Scum” was identifying stand out tracks. It is a challenge when songs are over just as you are getting into them. Although, there are tracks like “Born On Your Knees” which has a cool intro as well an instrumental portion to mosh along to. Another song which I think stands out is “Polluted Minds.” While only a minute long, it packs a very powerful punch. “Prison Without Walls” is another memorable one, not that any of these songs aren’t. However, what you do get here is twenty-eight tracks to have a great mosh to.

Tracks Listing:

1. Multinational Corporations
2. Instinct for Survival
3. The Kill
4. Scum
5. Caught…in a Dream
6. Polluted Minds
7. Sacrificed
8. Siege of Power
9. Control
10. Born On Your Knees
11. Human Garbage
12. You Suffer
13. Life?
14. Prison Without Walls
15. Point of No Return
16. Negative Approach
17. Success
18. Deceiver
19. C.S.
20. Parasites
21. Pseudo Youth
22. Devine Death
23. As the Machine Rolls On
24. Common Enemy
25. Moral Crusade
26. Stigmatized
27. M.A.D.
28. Dragnet

Napalm Death

Tracks 1-12

Nik Napalm- vocals, bass

Justin Broaderick- guitar, vocals

Mick Harris- drums

Tracks 13-28

Lee Dorrian- vocals

Jim Whitely- bass

Bill Steer- guitar

Mick Harris- drums, vocals

History has determined that “Scum” marked the official initiation of the sub-genre now known as grindcore and Napalm Death have been attributed as its pioneers. I won’t debate that fact but all I know is that I have come to love having my ears cleaned out by the album.

Next post: Testament- Live at Eindhoven

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Great Metal Albums of 1987: Motorhead- Rock ‘n’ Roll

“Rock ‘n’ Roll” is Motorhead’s worst performing album chartwise of all time. It was slammed by so-called critics and even Lemmy admitted that it wasn’t their best album. He sites some of the reasons such as having the wrong producer and the personal problems that guitarist Wurzel was experiencing at the time. Taking all into account, while I won’t equate “Rock ‘n’ Roll” with the classics, it is far from a bad album.

The first two tracks are the best ones on the album. Both prove that Motorhead hadn’t lost their touch and were capable of kicking your ass at 120 miles an hour. “Eat the Rich” was used in a film of the same title where Lemmy appears in the film in the role of Spider. Reflecting back to Gene Simmons’s role in a film a few years prior, maybe there is a correlation to bass players acting in films and the effect it has on their next album. I haven’t seen the film in ages but I wasn’t that impressed, especially coming from the Comic Strip group which made “Bad News.” But I remember Lemmy was pretty good in the film.

While the first two tracks are the best ones, I don’t think the album downturns that drastically afterwards. If there is any criticism to be aimed at the album is that Motorhead rely on the same formula that had made them so great over the years. Some people might have got tired of what they perceived as the same sound again and again. However, I say that true, there are similarities to classic Motorhead material, they do it with the same passion as well. You still get thrashing guitars, Lemmy’s unmistakable vocals, some great guitar solos, my favourite is on “Stone Deaf in the USA,” which is also my pick for the hidden gem.

If listeners wanted something different on a Motorhead album, then “Blessing” provides it. The band doesn’t play on it but instead it’s a prayer offered by Monty Python star Michael Palin who asks God to bless Motorhead. Michael says his prayer in the same fashion as his character in the Python film, “The Meaning of Life.” Being both a Motorhead and a Monty Python fan, I found it all very funny. Even if you don’t find it funny, the tracks “Traitor” and “Dogs” go back to traditional kick ass Motorhead sound. “Dogs” is especially a great song to bang your head along to.

The album saw one change in personnel as drummer Pete Gill was out and Phil “Philthy Animal” Taylor was brought back in. While no one debates Phil’s efforts on the album, to some, it wasn’t enough to save it but what do they know? I like this album.

Track Listing:

1. Rock ‘ n’ Roll
2. Eat the Rich
3. Blackheart
4. Stone Deaf in the USA
5. Blessing
6. The Wolf
7. Traitor
8. Dogs
9. All For You
10. Boogeyman

Motorhead

Lemmy Kilmister- bass, lead vocals

Wurzel- lead guitar, slide guitar on “Stone Deaf in the USA”

Phil ‘Wizzo’ Campbell- rhythm guitar, slide guitar on “Eat the Rich”

Phil ‘Philthy Animal’ Taylor- drums

Michael Palin- Speech on “Blessing”

British fans might have been getting tired of Motorhead, but it wasn’t the case in the USA. The lack of chart success for “Rock ‘n’ Roll” made Lemmy relocate to America where fans were wanting to see Motorhead live and buy their albums.

Next post: Napalm Death- Scum

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Great Punk Albums of 1987: Gaye Bykers on Acid- Drill Your Own Hole

Everyone’s question when they see the name of this band is: Is it just a clever name? Originally, I thought the answer was ‘yes’ because two people I know saw them live opening for such greats as Motorhead and both said that Gaye Bykers on Acid were rubbish. Therefore, for many years I ignored them. However, since I began blogging, I realized that I shouldn’t just let someone else’s opinion deter me from checking out a band on my own. Whether people like it or not, Gaye Bykers on Acid were a part, albeit a small part, of music history in 1987 and that’s why they are getting their spot here on 80smetalman.

What I like about their debut album, “Drill Your Own Hole” is that it doesn’t fit nicely into any preconceived pigeon holes. Wikipedia attempts to define the album as ‘noise rock’ or ‘neo psychedelic rock’ and I see small arguments in both cases. The opening track, “Motorvate,” gives weight to the argument as is sounds like The Doors going post punk. On the other hand, although there is no mention of it in what I’ve read about the band and this album and it could prove my insanity, I detect a strong Dead Kennedys influence on many of the tracks. Tony Byker’s guitar licks sound very much like East Bay Ray’s from the Dead Kennedy’s “Frankenchrist” album.

One track which is way out there is “Zen Express.” The intro sounds very similar to that of the theme song to “Friends” but goes more like a punked up version of The Monkees after. Another comment from a critic way back then is that the Gaye Bykers on Acid sound is the collision of punk and hippy psychedelic rock. That collision is abundantly clear on this track. The track which follows it, “Git Down,” is more like the Kennedys sound but with some wild soloing from Tony. But the track also has a bit of a swagger to it as well.

“World War 7 Blues” would be a great song for a cover from a heavy metal band. There is a definite metal vibe which you can surely bang along to. Just add some power chords. Saying that, Tony’s riffs are good on this one as well and this brings me to my next point. The glue which holds the album together is the strong bass lines from Robber Byker. You have probably already guessed that the band is all surnamed Byker but anyway, Robber does a fine job on the album.

It’s Jim Morrison meets Madness on the track “After Suck There’s Blow.” That’s the only way I can describe this track except unlike Madness, there’s no horns on the song. The remainder of the album goes out on pretty much the same vein with lead singer Mary Byker sounding like a punk Jim Morrison, interesting guitar riffs from Tommy and Robber and Kev Byker laying down a strong rhythm section. On top of that, they take the piss out of TV evangelists on “Drive-In Salvation.” I always tip my hat to anyone who does that. So, while they might have sucked live, “Drill Your Own Hole” is a decent album in its own right.

Track Listing:

1. Motorvate
2. Call Me a Liar
3. All Hung Up
4. Zen Express
5. World War 7 Blues
6. Git Down (Shake Your Thang)
7. After Suck There’s Blow
8. So Far Out
9. Drive-In Salvation
10. TV Cabbage

Gaye Bykers on Acid

Mary Byker (Ian Garfield Hoxley)- vocals

Tony Byker/Phlegm Lubricant/Tony Shuttleburger/Sven Eleven (Tony Horsfall)- guitar

Robber Byker (Ian Reynolds)- bass

Kev Byker/Cubehead Buffalo Hyde/Gavina Hyde/Kenny Pride (Kevin Hyde)- drums

Another amusing point in regards to the “Drill Your Own Hole” album is that the first 1,000 pressings came without the hole in the centre. So, in order to listen to the album, you had to do what the album title said. After much thought and several listens to the album, I have come to the conclusion that this is a good album but you need an open mind and a sense of humour to fully appreciate it.

Next post: Motorhead- Rock and Roll

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

To sign the petition for Bruce Dickinson to receive a knighthood, click the link: https://www.change.org/p/special-honours-committees-for-knighthoods-a-knighthood-for-bruce-dickinson

Great Metal Albums of 1987: Twisted Sister- Love is for Suckers

As a big Twisted Sister fan, it saddens me to write that “Love is for Suckers” was an album which was doomed from the start. Following the disappointing (I didn’t think it was that bad) “Come Out and Play” album, Twisted Sister was seen as a band in decline. In the summer of 1986, all of their albums were selling at half price or less. Therefore, not many people cared when they released this album a year later.

Cracks were already beginning to emerge in the band even before the album was made. Drummer A.J. Pero left and was replaced by Joey Franco. Furthermore, Dee Snider originally intended it to be a solo album, however, the record label insisted that all the band be brought in and record it as a Twisted Sister album. With all this seeming to go against it, it is little wonder why the album is virtually unheard of outside Twisted Sister circles and even the band doesn’t like to talk about it. But, is the album that bad?

Let me get right to the point, “Love is for Suckers” is a notably better album than their previous album. While many critics slammed the album for giving us nothing new, I think that they were just trying to recapture the magic which brought them to superstardom just a few years earlier. The album starts off with a great TS anthem in “Wake Up the Sleeping Giant.” Dee wrote this song as a big ‘FU’ to the likes of Tipper Gore and the PMRC. While it’s a true metal song, it is the only song to appear on the Twisted Sister tribute album, “Twisted Forever,” covered by the rap artist Chuck D and his version is also really good.

“Hot Love,” while lyrically, it is a song about lusting after and wanting someone, it’s backed up be some really heavy power chords and a cool guitar solo. It was the only single from the album and didn’t do too bad, reaching 31 in the Billboard charts. Then we get to the title track, which is speedier track where Joey Franco earns his stripes with the band. True, it’s an anti-love song, but its done with a sense of humour. Franco’s drumming leads in “I’m So Hot for You,” I’m getting a vibe where this album is going lyrically where Dee seems to be focusing on the love theme. But there is the catchy guitar vibe to it which has you banging away to it nevertheless. Closing out the first side is “Tonight,” which is a departure from the love song lyrics of the previous three songs and more of a motivational song, intended to get you up and raise your fist. I sometimes think this song should have come right after the opener but the energy behind it is such that when the song ends, you need that breather to change the record or tape over. It has a great guitar solo and ends with “Did you come to see the bad boys?”

Side two opens with some great riffs on “Me and the Boys.” This track definitely reminds me of the Twisted Sister I came to know and love. It’s a definite wake up call taking you back to the good old days. This brings me to my big question about this album. Why wasn’t “One Bad Habit” released as a single? I remember having this on in my car and my friend who was in the car with me and unknown to things Twisted Sister began singing along to it. The lyrics, “I have one bad habit, I love to rock and roll” may have sounded cliche but would have worked. The guitars would have let metalheads know that it wasn’t a sell out song but the use of the horn section was vey nicely done.

“I Want This Night (To Last Forever)” comes in as if it’s going to be a power ballad but as it progresses, you get more power and less ballad. It’s just gets down and dirty and highlights the fact that Eddie Ojeda and Jay-Jay French haven’t lost their touch with the six strings. The penultimate track, “You’re All That I Need” is the true power ballad and brings back fond memories of their other great power ballad, “The Price” off the “Stay Hungry” album. This one comes pretty close to equalling that classic one. Keeping with the “Stay Hungry” theme, “Yeah, Right” is a short, to the point power track which closes this album the way “SMF” closes their most iconic album.

Track Listing:

1. Wake Up the Sleeping Giant
2. Hot Love
3. Love is for Suckers
4. I’m So Hot for You
5. Tonight
6. Me and the Boys
7. One Bad Habit
8. I Want This Night (To Last Forever)
9. You’re All That I Need
10. Yeah, Right

Twisted Sister

Dee Snider- lead vocals

Eddie Ojeda- guitars, backing vocals

Jay-Jay French- guitars, backing vocals

Mark ‘The Animal’ Mendoza- bass, backing vocals

Joey ‘Seven’ Franco- drums, percussion

Twisted Sister come out and play, taken at Bloodstock 2016

Due to the lack of recognition “Love is for Suckers” received, Twisted Sister would break up shortly after. Dee rarely speaks of the album and I now know why they didn’t play any songs off it when I saw them at Bloodstock 2010 and 16. He stated that it brings back too many bad memories for the band. It’s a big shame how one seemingly bad album, “Come Out and Play,” can wreck a band because I like the album a lot more than I did their previous one.

Next post: Gay Bikers on Acid- Drill Your Own Hole

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

To sign the petition for Bruce Dickinson to receive a knighthood, click the link: https://www.change.org/p/special-honours-committees-for-knighthoods-a-knighthood-for-bruce-dickinson