Great Metal Albums of 1988: Napalm Death- From Enslavement to Obliteration

The biggest challenge I had to writing about Napalm Death’s 1988 album, “From Enslavement to Obliteration,” is not to make it a total repeat of what I wrote about the previous album, “Scum.” Thankfully, there are some differences. For one, there was no line up changes during the making of the album. The personnel who recorded the second half of that album remains the same on this one. Another difference is the opening song, “Evolved as One.” It’s not the thrash fest which Napalm Death has been associated with over the years. This song is more of a doom metal song with the line, “Weak minds,” repeated quite a lot. It was still an interesting way to open the album.

After the opener, Napalm Death go back to doing what they do best. The opener is the longest track being just over three minutes, which means that if you exclude “Evolved as One,” then the rest of the album has twenty-one songs in about twenty-six minutes. In fact, the next four tracks combined are the same length of time as the opener. Great to see that they stayed with the plan. Saying that, following those four tracks is a great song called “Unchallenged Hate.” Things slow down to near early Metallica speed at first but goes on a full thrash out in the final forty seconds, which, like on the “Scum” album, seems longer in a good way.

It has been pointed out that “F.E.T.O” encounters all the elements the unknowing say is wrong with heavy metal. That all you get is pounding power chords an ear splitting bass, mad drumming and vocals which sound like a dog who’s dying. Well, if that’s the case, then I say give me more of this because it all works very well here, although I would warn that this album is not for the feint hearted. “Inconceivable” is a great thrash out. However, there is evidence that the band can play. There are some cool guitar riffs and drum fills and pounding bass on “Display to Me.” Furthermore, Bill Steer lays down a pretty cool guitar solo on “Emotional Suffocation.”

Track Listing:

1. Evolved as One
2. It’s a M.A.N.S. World
3. Lucid Fairytale
4. Private Death
5. Impressions
6. Unchallenged Hate
7. Uncertainty Blurs the Vision
8. Cock-Rock Alienation
9. Retreat to Nowhere
10. Think For a Minute
11. Display to Me
12. From Enslavement to Obliteration
13. Blind to the Truth
14. Social Sterility
15. Emotional Suffocation
16. Practice What You Preach
17. Inconceivable
18. Worlds Apart
19. Obstinate Direction
20. Mentally Murdered
21. Sometimes
22. Make Way!

Napalm Death (I don’t know why there are five in this photo)

Lee Dorian- lead vocals

Bill Steer- guitar

Shane Embury- bass

Mick Harris- drums, backing vocals

To be honest, being one not to want to be quick at putting metal bands into categories, I have never really knowingly explored grindcore. But since Napalm Death are the pioneers of the sub-genre and after listing to “From Enslavement to Obliteration,” I will attempt to explore it more. Please feel free to point me to other grindcore bands.

Next post: Nuclear Assault- Survive

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Great Metal Albums of 1988: Bitch- Betsy

One dilemma many rock and metal bands had back in the 1980s was the question of risking losing their hardcore following in order to gain mass appeal. That’s why many bands, Iron Maiden and Judas Priest included, did things like add synths to their mid 80s records. While the band Bitch didn’t add synths to their album, “Betsy,” they did drop the “Bitch” and went for a less harder sound in order to gain mass appeal and like so many bands who tried this formula, it didn’t give them the commercial success they were hoping to achieve.

While the Duranies of the world paid no attention to the album, I can testify to the fact that “Betsy” is a cool melodic metal album. Betsy, (real name Betsy Weiss), has a great voice and she should be included whenever you talk about such great female metal vocalists from the 1980s like Lee Aaron, Doro and Lita Ford. I think her voice is that good. Furthermore, she has a great band behind her. Guitarist David Garruth cranks out some really amazing guitar solos on this album and David and Betsy are supported by a very competent rhythm section in Ron Gordy and Robby Settles.

Now onto the songs. The best ones on this album are “Devil Made You Do It” which takes the mick out of the anti-metal Christian brigade but it’s done with a cool guitar solo from David while singing about Satan and pentagrams. “Rock ‘N’ Musician” has a Led Zeppelin vibe to it with lots of swagger and some great opening riffs and shall I sing the praises of David’s guitar playing again? Why the hell not! Speaking of opening riffs, those which open “Cold Shot From the Heart” are probably the best on the album. The rhythm on this song is pure metal.

Whether or not it was the case, I speculate that “You’ll Never Get Out” was the intended single. It is more commercial sounding that the rest of the album, although it’s still a decent song. The rest of the album is basically how I described it before, a very good melodic metal album with some great riffs, vocals, rhythm section and cool guitar solos. Ron Gordy does lay down a groovy bass line on “What Am I Gonna Do With You” and “Sunset Strut.” In short, it’s everything one would expect from a heavy metal album. So my question is: Why isn’t this album spoken about more in the heavy metal world?

Track Listing:

1. You Want It You Got It
2. You’ll Never Get Out (Of Here Alive)
3. Devil Made You Do It
4. Rock ‘N’ Roll Musician
5. Cold Shot to the Heart
6. Flesh and Blood
7. Turn You Inside Out
8. What Am I Gonna Do With You
9. Stand Up For Rock
10. Sunset Strut
11. Get Out

Bitch

Betsy Bitch- lead vocals

David Garruth- guitars, backing vocals

Ron Gordy- bass, backing vocals

Bobby Settles- drums, backing vocals

“Betsy” could be one of the best forgotten albums of 1988. This is a great metal album that somehow got lost along the way. I think it’s time to rescue it from the forgotten realms and have a good headbang to it.

Next post: Napalm Death- From Enslavement to Obliteration + Scum

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Great Metal Albums of 1988: Zodiac Mindwarp and the Love Reaction- Tattooed Beat Messiah

One question which went around the UK in regards to Zodiac Mindwarp and the Love Reaction was whether or not they should be taken seriously. Listening to their album, “Tattooed Beat Messiah,” it is clear to me that the band definitely had a lot of fun recording it. There is a humorous feel to all of the songs and this comes through when Zodiac Mindwarp introduces the album on the “Wolf Child Speech. On the other hand, the band demonstrates that they can play on the big single from the album, “Prime Mover,” which actually broke the top twenty in the UK and New Zealand.

Power chords and humour combine on “Skull Spark Joker.” The power chords reinforce the advice, “Don’t play poker with a skull spark joker, don’t play poker at all.” Then we get to my personal favourite “Backseat Education” and yes, the song infers what you are all probably thinking about but the song just cooks. The same can be said for “Bad Girl City,” another song with some amusing inferences but still rocks out totally. I love the guitar solo and I wish Wikipedia would have been forthcoming on which guitarist plays solos on which song. If any of you out there have knowledge, please share.

“Untamed Stare” is the fastest song on the album and here’s where I sing the praises of Mr. Zodiac Mindwarp himself. He’s no Roth, Coverdale, Dio or other singer from this group you are free to add to the list but he is a decent singer. It’s his more humorous approach to the vocals which sets him apart. I could go out on a limb and call him a heavy metal Weird Al Yankovic but while his songs are funny, they aren’t the parody thought which Weird Al puts into his songs. So, I won’t go out on that limb.

If any song which exemplifies the humour approach to hard rock, then it has to be the cover of the Steppenwolf classic, “Born to Be Wild.” Let’s just say that it’s different and it even has me thinking of a possible ‘Original vs. Cover’ post in the near future. It also sets up the rather amusing “Let’s Break the Law.” No, it doesn’t encourage me to go out and commit crimes, although the PMRC probably said it did but it shapes the mood for most of the remainder of the album. Some amusing, not to be taken seriously songs backed up with some great playing. I think this band has been seriously underestimated. The track “Hey Gasoline” is a prime example. It starts out as if it’s going to be a ballad or a melodic closer but things change and there is some hard rocking to be heard. If it wasn’t for the one minute and ten second “Messianic Reprise” at the end, “Kid Stuff” would have been a brilliant closer. It has the catchy melodic vibe and cool, bring it home, guitar solo to end this album right.

Track Listing:

1. Wolf Child Speech
2. Prime Mover
3. Skull Spark Joker
4. Backseat Education
5. Hey Baby
6. Bad Girl City
7. Untamed Stare
8. Tattooed Beat Messiah
9. Born to Be Wild
10. Upside Down
11. Let’s Break the Law
12. Spasm Gang
13. Hey Gasoline
14. Planet Girl
15. Kid Stuff
16. Messianic Reprise

Zodiac Mindwarp and the Love Reaction

Zodiac Mindwarp- vocals

Cobalt Stargazer- guitars

Flash Bastard- guitars

Trash D. Bastard- bass

Siam Thunderhide- drums

Not that I had any doubts that people couldn’t think humour and metal could coexist on the same album but the concrete proof is right here on “Tattooed Beat Messiah.” Well done to Zodiac Mindwarp and the Love Reaction.

Next post: Bitch- Betsy

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Great Metal Albums of 1988: Running Wild- Port Royal

My introduction to pirate metal came at Bloodstock 2018 when I was totally wowed by the band Alestorm. It turns out, this particular subgenre of heavy metal has been around since the 1980s and one of its founders was the German metal band, Running Wild. Of course, I’ve said many times over that metal wasn’t so categorized and sub- categorized as it is today, so Running Wild wouldn’t have been known as pirate metal. In any case, what I think like about pirate metal, if Running Wild’s “Port Royal” album is anything to go by, is that songs are all about pirates and there seems to be no set rules as to who the pirate theme is delivered. This album seems to incorporate several other subgenres such as Viking metal and power metal.

Alestorm on stage with a lot of flying inflatable objects. Bloodstock, 2018

Following a brief intro where a lost person is informed he is in Port Royal, the band go into a power metal mode for the next two tracks. Power chords galore on both tracks kick start this album off right. They get the blood pumping and the head and fist banging and of course a cool guitar solo on the second track, “Raging Fire.” From there, “Into the Arena,” goes almost speed metal. Rolf Kasperek’s clear and melodic vocals which are on every track don’t alter with the faster tempo of the track. When I hear the guitar solos and fills on the track, I can’t help thinking that it’s a case of Helloween meets Anthrax’s “Spreading the Disease” album.

At the album’s midpoint, we come to the best song on the album, “Uaschitschun,” which is what Native Americans referred to white males. This song is from the view of Native Americans on how the greed of the white colonizers was devastating the land. The lyrics are sung to a strong metal backing and some nice backing vocals at the chorus but the message behind the song is never lost. In fact, a very powerful spoken word inspired by Chief Seattle when whites came to buy the land hits the message home at the end.

Only when the last tree is felled, the last fish caught and the last river poisoned

Then you will know that man can’t eat money.

If one need further reflection on the meaning of the previous track, then the instrumental, “Final Gates,” lets you do that. However, it is quite catchy with a groovy bassline from Jens Becker. Also, I would like to know who the lead guitarist is because it’s not specified on Wikipedia. Both Kasperek and Majk Moti are credited as guitarist. The instrumental provides the perfect bridge between the previous track and “Conquistadores.” On this one, Running Wild go Viking metal here and I get vibes of Hammerfall with this one. It turns out that the video for the song did get some play on MTV’s “Headbanger’s Ball,” so that’s a plus for them. And like “Uaschitschun,” the music only goes to push home the message behind it and there’s a cool guitar solo and drum fill at the end.

The next three tracks go more speed metal, especially the middle one, “Warchild.” This is definitely the fastest track on the album and it’s done well. These three tracks go streaking through, very nicely I might add, to the eight minute plus closer “Calico Jack,” which is about, yeah you guessed, a pirate. Apparently, this Calico Jack was the designer of the famous pirate skull and crossbones flag known as the ‘Jolly Roger.’ Great history lesson where all of the elements the band used on all the previous tracks come together and make a great closer.

Track Listing:

1. Intro
2. Port Royal
3. Raging Fire
4. Into the Arena
5. Uaschitschun
6. Final Gates
7. Conquistadores
8. Blown to Kingdom Come
9. Warchild
10. Mutiny
11. Calico Jack

Rolf Kasperek- lead vocals, guitar

Majk Moti- guitars

Jens Becker- bass

Steffan Schwarzmann- drums

It was only recently I became aware that Running Wild even existed, my loss for sure. I don’t remember who told me about this band but whoever it is, thank you. I discovered a great album in “Port Royal.”

Next post: Zodiac Mindwarp and the Love Reaction- Tattooed Beat Messiah

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Great Metal Albums of 1988: Overkill- Under the Influence

Some people might call me manic/depressive. After all, I’ve gone from reviewing a melodic metal album from Winger to the thrash metal of Overkill. The thing is that I have always been able to do that, even listening to tapes or CDs in the car. But the explanation for it is quite simple, for me good music is good music and it doesn’t matter if it goes from extremes as long as it’s suitable for me. The key is that I like the music.

The 1988 album, “Under the Influence,” from Overkill, who are from my home state of New Jersey, is thrash as thrash was meant to be. Overkill come out with flames burning out the back with opener, “Shred.” Interesting title for a song because it was before lead guitarists were nicknamed ‘shredders’ but guitarist, Bobby Gustafson, does exactly that on the guitar solo. It stamps the band’s authority for the entire album and no quarter is given when the album progresses to “Never Say Never.” While a thrash blast at first, things do slow down a little and we get treated to a clunky bass line from D.D. Verni but it’s Bobby ‘Blitz’ Ellsworth’s vocals that make the song.

Not wanting to be left out, “Hello From the Gutter” has some great drum fills compliments of Sid Falck, which along with some great riffs from Bobby introduce a blinder of a song, especially when we get to the guitar solo. While the first two tracks lay down the foundations to establish the album, this one carries it into outer space. That level of continues on with the next track, which is my favourite, “Mad Gone World.” Starting with some wicked chords, guitar, bass and drums launch into a huge thrash-fest. Believe me, when I hear this song, I want to get out of my chair and find a mosh pit. Bobby’s high screams only go to make this song even better, only resting for the mosh parts and another great guitar solo. At the end of the song, I don’t want just a mosh pit but a stage to dive from.

After four uplifting songs, maybe Overkill thought the listener needed a slight rest. I stress the slight here because “Brainfade” slows down slightly and while it’s a decent track, I don’t rate it as high as the first four tracks. Still, when I listen to the album, I never skip over it. However, mayhem returns with the track, ‘Drunken Wisdom.” This song is one I think many of us can identify with. Most of us have probably been to a party where the drunk guy thinks he can use his current condition to deliver what he thinks is remarkable insight. I know, I ‘ve been that guy and also the one listening to that guy. What’s more is how the song starts of with a soft acoustic intro and then slowly progresses with power chords and a noticeable bass line which is more doom metal. However, after some words from Bobby condemning such acts, the song picks up tempo and there is a great guitar solo. It never gets to thrash metal pace but it’s a good change of pace and it ends on that soft acoustic piece.

Once again, I’m going to be critical of the order of tracks on the album. My criticism of “End of the Line” isn’t the song itself, it’s that it would have been better as the closer and not just because of the title. For me, this vibe behind the song, combined with the melody and feel and the guitar solo followed by the instrumental part, just says to me that this song should have been at the end. It would have been a great way to end the album. The actual closer, “Overkill III (Under the Influence) would have been better in the number seven slot. Just a simple swap between the two songs would have made a great album even greater. Not to leave it out, “Head First” is perfectly fine at the penultimate spot.

Track Listing:

1. Shred
2. Never Say Never
3. Hello From the Gutter
4. Mad Gone World
5. Brainfade
6. Drunken Wisdom
7. End of the Line
8. Head First
9. Overkill III (Under the Influence)

Overkill

Bobby ‘Blitz’ Ellsworth- lead vocals

D.D. Verni- bass, backing vocals

Bobby Gustafson- guitar, backing vocals

Sid Falck- drums

There is much debate as to which band should join the Big 4, should it be expanded to the Big 5. While Overkill would still be considered an outsider in the running, “Under the Influence” makes a bold claim on the band’s behalf.

Next post: Running Wild- Port Royal

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Great Metal Albums of 1988: Winger

Back in 1988, heavy metal wasn’t so categorized, at least in my view. If it had some good power chords, suitable vocals and killer guitar solos, then it was metal. Sure, I knew of glam metal. Bands like Motley Crue, Bon Jovi and Europe carried that banner proudly. As for hair metal, it didn’t exist although I would say that TNT were pioneers of the genre. Therefore, when my sister sent me one of her many compilation tapes from the US, I made no such distinction when it came to the Winger song, “Headed for a Heartbreak.” I just liked the song.

Winger’s debut album was exactly one direction which heavy metal seemed to be heading in the late 1980s. For metalheads, there were power chords galore but there was some great melody and power ballads to gain the band much commercial success with the album. Four singles were released from the album, one of which, “Heading for a Heartbreak,” has already been mentioned. It’s considered a great power ballad and I don’t disagree. Three other singles begin the album, the first one, which was also the first single, “Madeline,” is another almost power ballad type song but it shows the potential of the band from the right off. The second track, “Hungry,” is noticeably heavier. Maybe it’s me mellowing with age but I appreciate the combined power chords with melody much more these days.

Single/track three, “Seventeen” is my favourite among the singles. It’s even more rockier than “Hungry” with a lot of swagger to it. True, it’s about intimacy with a girl of the same age as the title but the lyrics don’t matter here. It’s a catchy hard rock vibe and guitarist, Reb Beach, really steps into the spotlight on this one. His rhythm guitar work is exceptional and he plays a blinder of a guitar solo. But before I get into the deeper cuts and reveal the hidden gem, one can’t help but notice the cover of the Jimi Hendrix classic, “Purple Haze.” It wouldn’t win a Original vs. Cover competition in my eyes but it’s done fairly well.

Although “Without the Night,” wasn’t released as a single, maybe it should have been. It’s a good enough power ballad. Kip Winger does pour some genuine passion into the vocals and lays down a cool bassline. Maybe it should have been called, “Kip’s Song.” Okay, maybe not because bass and vocals are supported by some good keyboards from Paul Taylor. Additionally, we get another great guitar solo from Reb and one can’t forget the drumming of Rod Morganstein. However, it’s not the hidden gem.

So, the search for the hidden gem continues. All four remaining tracks are contenders but the winner is “Time to Surrender.” Reb’s riffs at the very beginning lets you know that Winger want to rock. This one is great hard rocker but with some great harmonizing at the chorus and some superb guitar fills. I had to momentarily stop typing so I can bang my head to it, at least until the guitar solo. “Poison Angel” comes second in the hidden gem search. In contrast to the other tracks, this one just gets down to business with some traditional metal. The fastest song on the album. One final point. I think it was a good idea to have the final single, “Heading for a Heartbreak,” close the album.

Track Listing:

1. Madeline
2. Hungry
3. Seventeen
4. Without the Night
5. Purple Haze
6. State of Emergency
7. Time to Surrender
8. Poison Angel
9. Hangin’ On
10. Heading for a Heartbreak

Winger

Kip Winger- lead vocals, bass, keyboards

Reb Beach- guitar, backing vocals

Paul Taylor- keyboards, backing vocals

Rod Morganstein- drums, backing vocals

Additional Musicians:

Dweezil Zappa- slide guitar on “Purple Haze”

Beau Hill, Ira McLaughlan- backing vocals

Sandra Park, Rebecca Young, Hae Young Ham, Maria Kistopoulos- strings

It has been said that with Winger’s debut album, hair metal was launched upon the world. It could be the case but I never noticed it. For me, this is a great album no matter what category you put it in.

Next post: Overkill- Under the Influence

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Great Metal Albums of 1988: Bullet Boys

Yet another album which I missed back in the day but was made aware of it by one of you out there. As far as I know, Bullet Boys might have been a sensation in the US but they never made an impact in the UK. That’s my excuse for missing them back in the day and I’m sticking with it. Still, they say it’s better late than never and after listening to this debut album, I’m glad that I finally got to experience them.

Bullet Boys come out firing on all cylinders with “Hard As a Rock.” It’s a throat grabbing opener and lets you know that these guys are out to rock you. This is immediately followed by the single, “Smooth Up In Ya.” My initial thought was that this tune was too high energised to be a single given the music environment at the time. This song just rocks, pure and simple. With that title, I’m surprised that this song wasn’t on some sort of PMRC hit list. So, two songs in and I’m enjoying the album very much.

A “Working for the Weekend” percussion intro brings in “Owed to Joe.” This track is a little slower and more 80s metal sounding, not that that’s ever a bad thing. Returning to the musical climate of the time, one would have thought this one might have been the single because of said vibe. Nevertheless, the song still kicks ass, the guitar solo especially. Afterwards, we move on to the very Van Halen sounding “Shoot the Preacher Down,” which gets my vote for hidden gem. I can definitely imagine Van Halen playing this. The singer does his best DLR and the guitars are Eddie inspired. Then the rhythm section is definitely Michael and Alex cloned. Maybe because the song sounds like one of my favourite VH songs, “Hot For Teacher,” is the reason I like it so much.

However the band doesn’t rest on their laurels. Midway through the album, we get a metalized cover of the O’Jays classic, “For the Love of Money.” I don’t know how the O’Jays might have felt about the cover but I sure like it. The guitar work of Mick Sweda and bass of Lonnie Vincent reigns supreme here. As we head to the second half of the album, we get my least favourite track, “Kissin’ Kitty.” It’s in no way a bad song, it just doesn’t reach the heights the other songs on the album do. It has this ‘all been done before’ vibe to it even though the Bullet Boys play it very well.

If the mentioned hidden gem wasn’t on the album, then the track “Hell On My Heels” would have been bestowed the honour. While a slower neo-blues song where the rhythm section shines, the song still is able to knock your socks off. It has a cool guitar solo but I think what kept it from being the gem is down to my belief that singer Marc Torien tries too hard to be Joe Cool metal singer. Quarterback signals begin the fastest track, “Crank Me Up,” which they do. This song is what Van Halen might sound like if they went speed metal. Furthermore, I’m really beginning to like Mick as a guitarist.

Some very interesting guitar riffs, bass notes and drum fills bring in penultimate track, “Badlands.” It’s short and to the point but catchy nonetheless. Closer “F#9” begins as if it’s not going to be a closer. However, that changes as the song progresses. The tempo changes to more of a wind down vibe as the song and the album is heading for its natural conclusion. Still, we get one last cool guitar solo from Mick. Overall, I’m impressed.

Track Listing:

1. Hard As a Rock
2. Smooth Up In Ya
3. Owed to Joe
4. Shoot the Preacher Down
5. For the Love of Money
6. Kissin’ Kitty
7. Hell on My Heels
8. Crank Me Up
9. Badlands
10. F#9

Marc Torien- lead vocals

Mick Sweda- lead guitar, backing vocals

Lonnie Vincent- bass, backing vocals

Jimmy D’Anda- drums

Yes, I regret missing the Bullet Boys self titled debut album back in 1988. I got to hear it now and while, in spite of Tee-Bone Man and Superdekes’ adventures, I can’t go back in time. Still, I think it’s a great album.

Next post: Winger

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