Great Metal Albums of 1988: Ozzy Osbourne- No Rest for the Wicked

My mind is in debate as to whether or not “No Rest for the Wicked” is the most underrated album in Ozzy’s discography. Although there is a strong argument for “Osmosis” but we’re not here to talk about that album today. As for “No Rest for the Wicked,” it’s an album that I had taken little notice of over the years, so I forgot how good this one is.

One reason why the album is good as it’s the first album to feature guitarist Zak Wylde, who got the job after sending Ozzy a demo tape and then passing the audition. He shows his guitar talent throughout the album, I’m particularly impressed with his riffs and solo on “Devil’s Daughter (Holy Wars).” Saying that, the song also has an impressive bassline from Bob Daisley, who rejoined for the recording of the album, although Bob would be out again after recording was completed. Ozzy took Black Sabbath bandmate, Geezer Butler, for the subsequent tour.

It could be said that another reason why the album is so good as that Ozzy continues the path away from the horror, death related themes of the earlier albums. He started down the road with his previous album, “The Ultimate Sin.” One song which amuses me in particular is “Miracle Man.” Like so many other metal artists in 1988, the song takes a rip at television evangelists, Jimmy Swaggart in particular. Jimmy had always been a fierce critic of Ozzy, so this song was for him. It must have amused Ozzy to high heaven when Jimmy met his downfall in 1988. He addresses his demons on the hidden gem on the album, “Demon Alcohol,” so full marks should be given to him there. Besides, he does it to a good metal backing.

While “No Rest for the Wicked,” might have had Ozzy heading in a new direction in some ways, there are definite reminders of the traditional Ozzy. “Breakin’ All the Rules” is a straight forward metal jam which Ozzy was famous for and on “Bloodbath in Paradise” he proves that he was still able to do the theatrics with some great music. This is another notable guitar effort from Zak. “Fire in the Sky” is another good example with noteworthy drumming from Randy Castillo.

Track Listing:

1. Miracle Man
2. Devil’s Daughter (Holy War)
3. Crazy Babies
4. Breakin’ All the Rules
5. Bloodbath in Paradise
6. Fire in the Sky
7. Tattooed Dancer
8. Demon Alcohol
9. Hero

Ozzy Osbourne

Ozzy Osbourne- vocals

Zak Wylde- guitar

Bob Daisley- bass

Randy Castillo- drums

John Sinclair- keyboards

Now it’s time to say what I’ve been holding back, I think “No Rest for the Wicked” was an improvement from the previous album, “The Ultimate Sin” and I’m not as critical of that album as some others are. However, listening to “No Rest for the Wicked,” I’m rather mad at myself for ignoring it for so long.

Next post: Sanctuary- Refuge Denied

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

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

Rest in Peace Randy Meisner

It is my sad duty to report that Randy Meisner, former bassist and co-founding member of The Eagles has passed away from complications from chronic obstructive pulmonary disease. He was 77. Being one of the founding members, Randy got to play on some of The Eagles’ best known songs such as “Take It Easy,” “One of These Nights” and “Take It To the Limit” and of course, the iconic “Hotel California” album. He left the band in 1977 and although his solo career wasn’t as successful as when he was in the Eagles, he did have some minor hits and played with such great musicians as James Taylor and former band mate, Joe Walsh.

The Eagles

For the full story, click the link: https://www.msn.com/en-gb/entertainment/music/founder-member-of-the-eagles-dies-after-years-of-personal-tragedy/ar-AA1esBTM?ocid=mailsignout&pc=U591&cvid=57358f02373a47d5a8f5a7d432baa2bc&ei=14

Rest in peace Randy. Rock heaven has a new addition and I hope he and Glenn Frey are already jamming away together.

Great Metal Albums of 1988: Testament- The New Order

The debate continues as to which band(s) should be included if the thrash metal world wishes to expand the Big 4. Testament has always been a favourite by many and their 1988 album, “The New Order,” strengthens the argument. It has been considered by many to be their best or at the very least, their second best album. Furthermore, it has been included in many top twenty lists for thrash albums and I can definitely see or hear why.

Here’s my strange mind again but I get the feeling that it was a thing back in the 1980s to start thrash albums with some acoustic intro. After all, it’s done on Metallica’s “Master of Puppets” and on Kreator’s “Pleasure to Kill” albums. It does lure you into a sense of mellow on the opener, “Eerie Inhabitants,” before going full thrash metal. There is a definite Metallica vibe to this opener.

Thrash metal madness only increases as the album goes on. The title track is a great song for mosh pits and Alex Skolnick lays down a great guitar solo. I can see why “Trial By Fire” was released as a single. It opens with a foreboding intro as if it’s going to be a black metal song but then accelerates immediately to Testament cruising speed. There is a some great thrash power chords and a strong bassline and a great guitar solo from Alex. The chorus goes a little more melodic but the change makes it all the better. However, you do not get time to recover as the short, sharp “Into the Pit” blasts your ear drums into submission.

Fortunately, the album lets you take a breather at the midpoint with a more melodic instrumental “Hypnosis.” Once again, the myth that thrash bands can’t really play their instruments is blown out of the water. Rest assured, Testament get back to business with the tracks, “Disciples of the Watch” and “The Preacher.” Never ask me which of these two songs I like best because both of these are very fast thrash monsters, with the band firing on all cylinders. Then again, they pretty much do that throughout the entire album.

According to Alex from an interview in 2013, the cover of the Aerosmith number, “Nobody’s Fault” was added to the album to make sure the band was fulfilling it’s obligation to make the album over forty minutes. It wasn’t available on the LP, however. It might be worth an “Original vs. Cover” post” as Testament put their own branding on it. A Day of Reckoning” keeps the party going. “The New Order” closes out with a second instrumental, “Musical Death (A Dirge).” It’s quite melodic for the most part but any ideas about dropping off are obliterated by a brief but mind blowing flurry of power chords. It makes a good closer.

Track Listing:

1. Eerie Inhabitants
2. The New Order
3. Trial by Fire
4. Into the Pit
5. Hypnosis
6. Disciples of the Watch
7. The Preacher
8. Nobody’s Fault (Not on the LP)
9. A Day of Reckoning
10. Musical Death (A Dirge)

Testament

Chuck Billy- lead vocals

Alex Skolnick- lead guitar

Eric Peterson- rhythm guitar

Greg Christian- bass

Louie Clemente- drums

Going back and reading about what I wrote about Testament’s debut album, “The Legacy,” I can say that “The New Order” was three-thousand giant steps forward and the debut was a great album. They are definitely favourites should the Big 4 expand by one.

Next post: Ozzy Osbourne- No Rest for the Wicked

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

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

Great Metal Albums of 1988: Motorhead- No Sleep at All

According the written history, Motorhead put out this live album, “No Sleep at All,” because there was a huge clamour from fans for a live album with this line-up. Not only did the band quench the fans’ thirst, they did so in a unique manner. While most live albums were recorded in places like Budokan or Hammersmith or at some American venue, “No Sleep at All” was recorded from a concert in Finland.

Since it was the mid 1980s when I finally got into Motorhead in full earnest, this album was perfect for me at the time. Most of the tracks on it were from the albums which were released around the same time. Songs from “Rock ‘N’ Roll” and “Orgasmatron” pretty much make up the content of the album. Of course, there are old favourites such as “Ace of Spades” and “Overkill,” the latter closing out the album. Naturally, we could all add our own ideas as to which of the old songs should have been included, for me it’s “Iron Fist,” but that’s a pointless argument. The fans wanted to see a live album from the current line up at the time, so it’s no surprise that songs from the albums of the time featured heavy. Did I just go full circle?

Motorhead have always been a great band live and having seen them twice, both during this era, I can concur. This is in spite of the fact that when I saw them in New York in December 1985, I thought Lemmy was being a bit of an asshole with his constant moaning about the sound. They sounded great to me. Oh, the other time was Donington 1986. The point I am trying to make is that Motorhead are so great live, that any live album is bound to be good, this one included. Furthermore, it is also why I think the best part of the album is tracks four through seven. I especially like Lemmy’s little speech when he introduces “Built for Speed.” Just as amusing was when he introduces my favourite Motorhead song, “Killed By Death.” He says it was a big hit for them because he has 10,000 copies at his house.

Track Listing:

1. Dr. Rock
2. Traitor
3. Dogs
4. Ace of Spades
5. Eat the Rich
6. Built for Speed
7. Deaf Forever
8. Just Cos You Got the Power
9. Killed by Death
10. Overkill

Motorhead, 1988

Lemmy- lead vocals, bass

Phil ‘Wizzo’ Campbell- guitar

Michael ‘Wurzel’ Burston- guitar

Phil ‘Philthy Animal’ Taylor- drums

Actually, there isn’t much detail I can add about this live album, It does what it set out to do, showcase the workings for a great line-up and for me, it was the right album at the right time.

Next post: Testament- The New Order

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

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

Great Metal Albums of 1988: Acid Reign- Moshkinstein

Acid Reign came to my attention via a heavy metal compilation album I bought in 1989. The track from that album, which I will review in due time, was the opening track on this 1988 EP, “Moshkinstein.” From the very first strike of the power chords, “Goddess” gets the blood pumping and the fists punching the air. It further has one looking for a mosh pit and possibly a stage to dive from. This song is just pure carnage, no question about it with its breakneck speed pace and swirling guitar solos and the capable vocals of H, who is now known as Howard H. Smith.

The second track, “Suspended Sentence,” does start out slower but seems to slowly increase in speed, led by a pronounced drumbeat. You get about a minute of steady, hard pumping rhythm to bang your head to before a guitar hook brings in the vocals. Then the song just gets faster until it’s at the near breakneck speed of the first track. However, it does slow down for more vocals, the constant change of pace keeps things extremely interesting. Oh yes, there’s a cool guitar solo trade off supported by a cool bassline.

The instrumental, “Freedom of Speech,” lets you enjoy a quick breather before it goes to the best track on the album for me, “Motherly Love.” Dialogue from the movie, “Psycho” opens the track and that dialogue is also used in the chorus. In fact, the film is the theme of the song, which is sung from Norman’s point of view. It’s not fast, more Metallica “Black Album” speed but that hones in the point the song is trying to make. A steady rhythm of crashing guitars and H’s vocals are well suited to the song and the keyboard interlude in the middle adds a further dimension. The weird thing is that this is the best track despite the absence of a blistering guitar solo. Just some well placed lead guitar hooks.

Speed returns, somewhat, on the track, “Respect the Dead.” At least after a suspenseful sounding intro with the guitars. They get cracking afterwards and it results in a straight forward metal song. There is a good guitar solo, actually two blended together and I can safely say that Kev and Gaz make a good guitar combo. Closer, “Chaos (Lambs to the Slaughter),” begins in doom metal form before going full thrash. It ends the album in the same way it came in, fast and mental.

Track Listing:

1. Goddess
2. Suspended Sentence
3. Freedom of Speech
4. Motherly Love
5. Respect the Dead
6. Chaos (Lambs to the Slaughter)

H- lead and backing vocals

Kev- guitar, backing vocals

Gaz- guitar, backing vocals

Ian- bass, backing vocals

Ramsey- drums, keyboards, backing vocals

Howard changes his clothes for the finale, Acid Reign at Bloodstock, 2016

Acid Reign may be Britain’s best kept thrash metal secret. While people fawn over the likes of Motorhead and Venom (and rightly so), Acid Reign doesn’t get their fair dues. This EP is one reason why I think so.

Next post: Motorhead- No Sleep at All

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

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

Great Punk/Metal Albums of 1988: Dayglo Abortions- Here Today, Guano Tomorrow

Before I post about this really unusual but cool album, I will tell you how I learned a lesson about procrastination. I was thinking about going to Bloodstock for the Sunday this year as Megadeath, Helloween, Sepultura and Ugly Kid Joe were top of the bill. However, because I was hoping not to go on my own and hoping someone would accompany me and making provision for Mrs. 80smetalman as I would be gone all day, I didn’t get the tickets straight away. Checking my emails the other night, I discovered that all Sunday Day Tickets have been sold out. So, I won’t be going this year, that will teach me to procrastinate.

After hearing the album, “Here Today, Guano Tomorrow,” I have officially declared the Dayglo Abortions to be the best Canadian artist not to have cracked Britain. If I hadn’t already been living in the UK at the time, this album would not have passed me by. With this album, they took a different approach from their debut “Feed Us a Fetus” album from two years prior. Instead of 24 songs in less than 40 minutes, the album consists of nine songs in 34 minutes. However, the change doesn’t in any way detract from the band’s playing style or the controversial song lyrics. After all, the first two tracks have “Fuck” in the title.

On the first of those tracks, the Dayglos send out a reminder of their previous album by including “Arrrgh,” “Fuck” and “Kill” in the lyrics. It’s a great hardcore punk jam. However, they do slow it down with the second track. At first, I thought it was going to be an anti- religion song with a title like, “Fuck Satan to Death” but it appears not. Some great guitar work in the song though.

Near thrash metal rears its head on “Dragons.” This could have easily been a Suicidal Tendencies song but the Dayglo Abortions stamp their authority on it. It also starts a series of similar sounding songs, although each are unique. No guesses on what “Hide the Hamster” is about but the thrash speed makes it that much more enjoyable. They do go a little quasi-progressive on “The Spawn of Yog Sothoth” but go back to their punk roots on “Shred.” It has the best guitar solo on the album and it could be the first skateboard song.

What has gone before sets things up for the two best tracks on the album, “Drugged and Driving” and the title track. I plead the fifth amendment as to whether the former song actually applied to me back then. However, it would be the song of choice if I was ever to drive in that state, which I won’t. Besides, the speed of the song would definitely keep me awake at the wheel, it has a headbanging metal feel. It’s the title cut that takes a dig at TV evangelists. There is a remark about Tammy Faye Baker and all her make up. As for the closer, good song but I don’t know who Johnny Stiff is and why anyone wants to kill him.

Track Listing:

1. Fuck, My Shit Stinks
2. Fuck Satan to Death
3. Dragon
4. Hide the Hamster
5. The Spawn of Yog Sothoth
6. Shred
7. Drugged and Driving
8. Here Today Guano Tomorrow
9. Kill Johnny Stiff

Dayglo Abortions

Spud- bass, vocals

Cretin- guitar, vocals

Nev (The Impaler)- guitar, vocals

Mike Anus- guitar, backing vocals

Jesus Bonehead- drums, backing vocals

Hopefully, at least my British readers, will now agree with me that the Dayglo Abortions are the best Canadian band not to have cracked Britain. This album and the previous album are strong testimonies to my assertion.

Next post: Acid Reign- Moshkinstein

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

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

Great Metal Albums of 1988: Lilian Axe

Here’s another band which didn’t come to my attention until they had a few albums under their belt. In the case of Lilian Axe, it was the early 1990s and the “Poetic Justice” album where I really took notice of this band. If what I’m seeing on the net is anything to go by, their self-titled debut album has gotten little recognition over the years. Therefore, the question I’m asking today is: Is that fair?

Unlike some of the album I have visited recently, this album builds itself up to the middle, which for me, is the best part of it. Further speculation here but I think opener “Dream of a Lifetime” was the intended single from the album. It has that melodic, commercial vibe with enough hard guitar not to disappoint metalheads. It does hold one’s interest.

As the album progresses, things go harder. “Inside Out” is more of a traditional metal tune with some interesting guitar hooks backed up by a solid rhythm section and vocals and a good guitar solo. That continues on with “Visions in the Night,” a tune which is very similar to its predecessor, except some keyboards come in as the song fades out. Both songs provide a nice lead up to the four best songs on the album starting with some cool guitar riffs opening “Picture Perfect.” Some chugging power chords, only to slow down enough for the harmonizing at the chorus and the best guitar solo so far. This is the track which lets you know that Lilian Axe want to get down to business.

The two best tracks come dead centre. “The More That You Get” is a very appropriate title because you get more hard power chords and some serious rocking. However, for me, “Misery Loves Company” is the best track on the album. This is the song where everything comes together to blow your mind. It just goes straight into some power chords and takes no prisoners. This song has me wanting to get up, flash the horns in the air and start headbanging away.

“Nobody Knows” is the power ballad and while it won’t break my top 30 list of great power ballads, it’s still an okay one. It ticks all the boxes of what a good power ballad should be, an acoustic intro, soft, melodic vocals, a steady bassline, good harmonizing at the chorus and of course, a great guitar solo in the middle. After a very cool keyboard intro, “Hard Luck” takes things back to the more harder metal and penultimate track, “Waiting in the Dark,” keeps the rocking going strong.

One mission of an album closer is to make sure you want to visit the album again, if the other tracks leave you unconvinced. While the other tracks here do convince me to visit the album album again, “Laughing In Your Face” would do that anyway. It’s a great closer with the catchy melodic, we’re going out on a high vibe to it.

Track Listing:

1. Dream of a Lifetime
2. Inside Out
3. Vision in the Night
4. Picture Perfect
5. The More That You Get
6. Misery Loves Company
7. Nobody Knows
8. Hard Luck
9. Waiting in the Dark
10. Laughing In Your Face

Lilian Axe

Ron Taylor- lead vocals

Steve Blaze- lead guitar

Jon Ster- rhythm guitar, keyboards

Rob Stratton- bass

Danny King- drums

There have been quite a few bands where I called their debut album ‘a promising start,’ however, in the case of Lilian Axe, that statement holds true. While they would put out superior albums in the future, their debut is the rock which those albums are built upon. To answer my original question, no it’s not fair that this album gets overlooked.

Next post: Dayglo Abortions- Here Today, Guano Tomorrow

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

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

I’m a Granddad, Again!

In more zeal to post about Crimson Glory, I forgot to announce the birth of my fourth grandchild, 3rd granddaughter, who was born the past Friday. Please share my joy in welcoming baby Poppy into the world and congratulations to my son Jake and daughter in law Grace.

Great Metal Albums of 1988: Crimson Glory- Transcendence

Crimson Glory need to reform and play one concert with me in attendance. The reason, as I explained when I posted about their debut album, I saw the band support Metal Church and Anthrax and was totally unimpressed. In fact, I said after seeing that gig that Crimson Glory need not have been there because Anthrax and Metal Church were that brilliant. However, now that I have heard the debut album and now their 1988 album, “Transcendence,” I am beginning to think that the reader from when I posted about the debut album was right and that it was simply an off night because both of their studio albums, “Transcendence” especially, are really good.

“Transcendence” begins with some progressive metal with “Lady of Winter” and immediately jumps to the power metal of “Red Sharks” and they do it without breaking any sweat. In fact, there is a strong Helloween vibe with the second song, not a bad thing. But both tracks stamp the album’s authority and sets you up for the cool power ballad that is “Painted Skies.” This song extends the all the band member’s capabilities to the limit and the band delivers. Great guitar work, both lead and rhythm, a good bass line, great drumming and some magnificent vocals. It also helps that I am a sucker for a good power ballad.

Not wanting you, the listener, to get bored, Crimson Glory change things up yet again with the near thrash metal sounding “Masque of the Red Death.” I know very little of lead singer, Midnight, but he can easily fit his vocals into whatever the band play. Furthermore, upon listening to him, I am not surprised at the comparisons to Geoff Tate which were going around at the time. Also, I must add another under appreciated guitarist to that ever expanding list. I’m very impressed with the six string wizardry of Jon Drenning.

Things sort of plateau at the midpoint of the album. “In Dark Places” is a solid tune which walks a fine line between the power and progressive metal which Crimson Glory were known for. It’s a good song but not as good as the first four and if a gun was put to my head and I had to choose a song classed as filler, then it would have to be “Where Dragons Rule.” Fortunately, there is no gun at my head and I can say that it’s not filler but a decent song which keeps the album ticking along.

History has said that “Lonely” was released as a single and did fairly well. I can’t say because it never made it to the UK but I can understand why it would have been released as a single as it meets the criteria. It has an ear catching acoustic hook at the beginning followed on by ballad like vocals from Midnight. There is a haunting feel to things with a bassline which suggests impending doom before things liven up. It’s not too heavy but heavy enough but with some more great guitar work from Jon.

Progressive metal returns with “Burning Bridges,” which like the preceding track, starts with an acoustic intro and foreboding bassline. It too goes into a more traditional metal direction and it sounds good, especially the guitar solo. With the keyboard backing, it too could have been a single but I still prefer “Lonely.” Unlike many other albums, the penultimate track here isn’t the least strongest. “Eternal World” comes in with strong power chords and lead guitar work. This one is more speed metal and it rocks, waking you up after two slower songs.

If you need further proof of Crimson Glory’s talent and versatility, then the answer comes in the from of closer “Transcendence.” This track captures and recreates everything done on all the previous tracks and lays it all out before you. There’s progressive parts, power parts and even acoustic bits, which serve to end the album as it should.

Track Listing:

1. Lady of Winter
2. Red Sharks
3. Painted Skies
4. Masque of the Read Death
5. In Dark Places
6. Where Dragons Rule
7. Lonely
8. Burning Bridges
9. Eternal World
10. Transcendence

Midnight- vocals

Jon Drenning- lead guitar

Ben Jackson- rhythm guitar

Jeff Lords- bass

Dana Burnell- drums

Additional Musicians:

Jim Morris, Lex Macar, John Zahner- synthesizer programming

Janelle Sadler, Tim Morris, Jim Morris, The Killing Crew, The Red Death Mob, The Dragon Beast- additional backing vocals

Note to self, don’t judge a band from one off night because it must have been that when I saw Crimson Glory in 1987. “Transcendence” proves this point.

Next post: Lilian Axe

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

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

Great Metal Albums of 1988: Fates Warning- No Exit

I knew the name Fates Warning back in 1988 and might have seen one or two of their records at some record store but that was all I knew of them. In fact, if I hadn’t been tipped off, they would have totally passed me by, which is sort of sacrilege from a metal point of view. It’s bad enough that I missed their pre-1988 albums on this tour of the golden decade of heavy metal. Fortunately, I get to at least talk about the last two albums of the decade, starting with “No Exit.”

Everything about this album screams, “concept album,” but there is no evidence of that in the history. It could be the case with the second half of the album, a song titled, “The Ivory Gate of Dreams,” which is twenty-one minutes long and broken down into eight parts but there is nothing to support the claim. In any case, whether it’s a concept album or not is irrelevant because it’s a good progressive metal album, before that label became a thing.

What is interesting about “No Exit” is that there is only one song which stands out and only barely at that. That happens to be “Shades of Heavenly Death” where the band incorporate bits of thrash metal combined with their more progressive style and it works a treat. The other songs just carry you on from one track to the next in an almost hypnotic heavy fashion. Singer, Ray Adler, who joined the band for this album, has a rough but yet melodic voice which fits the music perfectly. Guitarists Jim Matheos and Frank Aresti hone their craft very well on all the songs. Whether it’s the scorching guitar solo which opens “Anarchy Divine” or the acoustic intro to “In a Word” or the thrash power chords of “Shades of a Heavenly Death, these two deliver the goods and more. Speaking of the standout song, you get treated to a short but memorable bass solo from Joe DiBiase and you can’t leave out the drumming of Steve Zimmerman.

Track Listing:

1. No Exit
2. Anarchy Divine
3. Silent Cries
4. In a Word
5. Shades of a Heavenly Death
6. The Ivory Gate of Dreams

i. Innocence

ii. Cold Daze

iii. Daylight Dreamer

iv. Quietus

v. Ivory Tower

vi. Whispers on the Wind

vii. Acquiescence

viii. Retrospect

Fates Warning

Ray Adler- vocals

Jim Matheos- guitar

Frank Aresti- guitar

Mark Castigilone- keyboards

Steve Zimmerman- drums, percussion

Joe DiBiase- bass

Finally, Fates Warning get the just dues I should have given them ages ago. For me, “No Exit” has given me the motivation I needed to go and check out their earlier albums.

Next post: Crimson Glory- Transcendence

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

To give Bruce Dickinson his much deserved knighthood, click the link: https://www.change.org/p/special-honours-committees-for-knighthoods-a-knighthood-for-bruce-dickinson?redirect=false