Great Metal Albums of 1989: Protect the Innocent- Side 2, The Second Reign

Now that you’ve heard the first side of “Protect the Innocent,” I hope it’s left you hungry for more. Here’s side two, titled “The Second Reign.”

Rush- Prime Mover

Cinderella- Gypsy Road

Scorpions- Rhythm of Love

Dio- Dream Evil

Kingdom Come- Get It On

Dogs D’Amour- How Come It Never Rains?

Anthrax- Metal Thrashing Mad

Mammoth- Fat Man

I hope you’ve enjoyed, that’s only half of this magnificent compilation albums so far.

Next post: Protect the Innocent- Side 3, The Wild and the Willing

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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

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Great Metal Albums of 1988: Anthrax- State of Euphoria

It really perturbs me when an album following one that is considered a pinnacle album for said band is slated for not being as good. It seems it was the case quite often in 1988. Slayer’s “South of Heaven” got undeserved crap because the band slowed things up after “Reign in Blood.” Some even said that David Lee Roth’s “Skyscraper” album was far below the bar set by “Eat’Em and Smile,” I never thought so. You can include Celtic Frost among those as well. The same thing was said about Anthrax’s “State of Euphoria” album. In their case, it followed on from two super albums, “Spreading the Disease” and “Among the Living.” Measuring any album by those two is a difficult task in itself. However, while I don’t think “State of Euphoria” quite reaches that bar, it’s still a good album.

The first two tracks waste no time in assaulting delicate ears with their power thrash which made “Among the Living” such a great album. Those fast and furious tracks get the blood pumping and on “Out of Sight, Out of Mind,” Dan Spitz really rips a cool guitar solo. Something I noticed about the album is that Anthrax attempt to fuse the power thrash of “Among the Living” with the more melodic speed metal of “Spreading the Disease.” I think it works fine but some out there didn’t agree.

Now I get personal. I saw Anthrax three times in the 2010’s and while they kicked ass each and every time, I must say that I was slightly disappointed that they never played my favourite song from the album, “Making Me Laugh.” Those who know me know that I like just about any song which takes a swipe at television evangelists but Anthrax do it with such powerful finesse that this song really rocks! Joey’s constant change up on the vocals is done masterfully. It’s a total headbanger but I guess I will never get to hear it played live.

Following on is one I have heard them play live, “Antisocial.” Of course, I loved it when I heard it live and listening to it not live, I can easily see why it sounds so good live. What I didn’t know is that it’s actually a cover of a song from the French band, “Trust,” who I know from the soundtrack of the film “Heavy Metal.” I’ve never heard the original but this cover is brilliant. On “Who Cares Wins,” the band prove that social topics can be covered in thrash metal songs without the message behind the song getting lost. It’s a hard hitting song highlighting homelessness in America. It also confirms what an underrated bassist Frank Bello is.

Anthrax appear to bring a little horror into their metal on “Now It’s Dark.” After a haunting intro, the guitars kick in and just increase in speed. The song was inspired by the film, “Blue Velvet” and especially the sexual depravity of Frank Booth played by Dennis Hopper in the film. However, that isn’t the only film inspired song on the album. “Misery Loves Company” was inspired by the Stephen King novel and movie, “Misery” and this is what people forget about this album. Anthrax take some interesting topics and make them come alive through their thrash/speed metal approach. Hell, these guys should be praised for this effort! In between those two songs is the hidden gem, “Schism.” It’s a powerful thrash song which tackles racism. This is exceptionally important in 1988 when thrash metal was accused of being too white. Another at-a-boy goes out to the band here.

Track Listing:

1. Be All, End All
2. Out of Sight, Out of Mind
3. Making Me Laugh
4. Anti- Social
5. Who Cares Wins
6. Now It’s Dark
7. Schism
8. Misery Loves Company
9. 13
10. Finale

Anthrax

Joey Belladonna- vocals

Scott Ian- rhythm guitar, backing vocals

Dan Spitz- lead guitar, backing vocals

Frank Bello- bass

Charlie Benante- drums

So, “State of Euphoria” isn’t quite as good as the classics which came before it. That doesn’t mean it’s not a great album in its own right because it is. Any band who can take topical issues and films and bring out the message through thrash metal deserves the utmost respect.

Next post: Killer Dwarfs- Big Deal

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

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If You Have Netflix, Then Watch This Movie!

My stepson, Teal, recommended the film, “Metal Lords,” to me and in the past few weeks, I’ve seen it twice and now I’m going to plug how good the film is here. Without spoiling the entire plot, “Metal Lords” is about two socially displaced high school kids, Hunter and Kevin. Hunter is a total metalhead who dreams of hitting the big time as a great metal guitarist. Kevin, the drummer, although not a metalhead in the traditional sense, follows Hunter’s lead because Hunter saved him from a bully in third grade. Together, they form the band, Skullfucker.

All the heavy metal cliches are in the film but the thing was, I don’t care because they are all the truth. There’s the being picked on by the jocks, singled out by teachers and late in the film, Hunter’s father has him committed to a clinic because as we all know, only insane people listen to heavy metal. In addition, Kevin gets a girlfriend, Emily, who plays the cello. With the band still not able to find a bass player, Kevin tries to pitch Emily but Hunter rejects it saying that the cello is not a metal instrument. This eventually leads to a falling out between the two friends and Kevin joining the bubble gum pop band, Mollycoddle. It all leads to what some will call a predictable ending but it’s all done a great metal form.

My strange ability to pick out the small details in films, I found it amusing that when Kevin is in Mollycoddle, he finds playing the drums to their songs a lot easier than being a metal drummer. Even if he does nail, “War Pigs.” Then there’s my favourite scene when Kevin is in the pool and about to cheat on Emily, he is visited by Scott Ian, Tom Morello, Kirk Hammett and Rob Halford who all (Rob even more so) remind Kevin what a great girl Emily is and he shouldn’t cheat on her. Then again, if those four Gods visited me, I would do anything they said. One last point, “War Pigs” sounds excellent played on the cello.

Kevin being visited by Scott, Tom, Kirk and Rob

Of course no metal film would be worth its weight if it didn’t have a killer soundtrack.

1. Skullflower- Machinery of Torment
2. Judas Priest- Metal Gods
3. Iron Maiden- The Trooper
4. Avenged Sevenfold- Hail to the King
5. Judas Priest- Painkiller
6. Metallica- For Whom the Bell Tolls
7. Black Sabbath- War Pigs
8. Mastodon- Blood and Thunder
9. Judas Priest- Grinder
10. Ozzy Osbourne- Dee
11. Motorhead- Ace of Spades
12. Metallica- One
13. Pantera- Cowboys From Hell
14. Metallica- Master of Puppets
15. Zeal & Ardor- Trust No One
16. Guns ‘N’ Roses- Since I Don’t Have You
17. Metallica- Whiplash
18. Pantera- I’m Broken

Performance of the song in the film

I urge everyone to watch “Metal Lords.” It may be a little predictable but with all of that metal, who the hell cares?

Next post: Original vs. Cover

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

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Great Metal Albums of 1987: Exodus- Pleasures of the Flesh

When I heard that Exodus had come out with a new album in 1987, my first thought was to whether they would still astound the world with their extremely fast playing. With their debut album, “Bonded By Blood” and seeing them supporting Anthrax the year before, I was astounded that mortal men could play so fast. A point I made in “Rock and Roll Children.” Therefore, when I got to listen to “Pleasures of the Flesh,” I did so with that thought in mind.

Original album cover

Even before the album came out, there was some turmoil and controversy. First, lead singer Paul Balof was fired from the band and was replaced by Steve Souza. Then there was the controversy of the album cover. The one directly above was the cover the band intended to use and it was the one which appeared in metal magazines when the album was announced. However, it was changed to the cover at the very top of the page. I’m not sure if the change was the record company’s idea because they got cold feet about the original cover or it was something else. I see nothing wrong with the cover.

Now to answer the question: Did Exodus continue to astound the world with extremely fast playing on “Pleasures of the Flesh?” My answer that in the case of the first three songs, the answer is a definite yes. All three of those songs are at the breakneck speed that Exodus was becoming famous for. In addition, Souza’s vocals was able to keep up with the rest of the band. He proved to be a welcome change. However, the band actually slow right down to a more mainstream metal sound on the fourth track, “Brain Dead.” Don’t get me wrong, it’s still an excellent song and it’s good that they change it up a little but in Exodus’s case, it’s almost going totally the other extreme. Maybe they intended it as a shock effect after the furious mosh of the first three songs.

One reason why it might have been a shock trick is that things go back to extreme metal speed on “Faster Than You’ll Ever Live to Be.” This one is probably the fastest song on the album and the band handles it all quite comfortably. Plus there is some cool guitar solos at the end. That has me wondering about the seven plus minute long title track. Was this meant to be their concept song? There are lots of animal sounds at the beginning before it goes into a fast but not too fast intro. While fast in many parts, the speed is not sound barrier breaking and some might say that guitarists Gary Holt and Rick Hunolt are trying to show off what they can do. If that’s the case, they do it very well but what really impresses me is the bass line from Rob McKillop. He does lay down a solid beat while Rick and Gary shred about the place.

Even more perplexing in things Exodus is their brief acoustic instrumental “30 Seconds,” which is actually forty seconds long. I have no complaints about it as it is played well. Again, that only serves to be a brief break in the action as they go back to thrash although, “Seeds of Hate” isn’t as speedy as many of the other tracks. It’s more Metallica “Black Album” speed. Nevertheless, it begins wit a very cool drum roll from Tom Hunting and the song delivers. Then “Chemi- Kill” begins with some way out guitar effects. For me this dispels the myth that Exodus are a thrash band only capable of playing three chords. They can play more, they choose to play those chords very fast. They still do so on this track, except there are some more way out parts in the middle. But Exodus don’t let you forget they are a thrash metal band as the closer, “Choose Your Weapon,” goes out in full Exodus thrash fashion.

Track Listing:

1. Deranged
2. Til Death Do Us Part
3. Parasite
4. Brain Dead
5. Faster Than You’ll Even Live to Be
6. Pleasures of the Flesh
7. 30 Seconds
8. Seeds of Hate
9. Chemi- Kill
10. Choose Your Weapon

Exodus

Steve Souza- lead vocals

Gary Holt- guitars

Rick Hunolt- guitars

Rob McKillop- bass

Tom Hunting- drums

While my band of choice for making the Big 4 the Big 5 is Kreator, Anthrax’s Scott Ian has insisted that the spot go to Exodus. It’s hard to argue with Scott on this point, especially with albums such as “Pleasures of the Flesh.”

Next post: Candlemass- Nightfall

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Great Metal Albums of 1987: Helloween- Keeper of the Seven Keys: Part I

Back in 1987, there weren’t so many subgenres of heavy metal. Sure, there was glam metal and there was thrash. Anything in between was considered simply to be mainstream metal. While all these subdivisions normally send my head into a spin, in the case of Helloween and their album “Keeper of the Seven Keys: Part I,” the term ‘power metal’ fits perfectly. Some called them thrash back then because they did play faster than mainstream metal bands such as Iron Maiden or Judas Priest. However, they weren’t in the same area as Slayer or Anthrax either. Plus, their image would have been more in line of what is considered the traditional heavy metal look. Therefore, I can say that this album was the first power metal album I listened to.

After short introductory opener in line with their previous album, “Walls of Jericho,” the album goes speeding through the next three tracks. The question of how new singer, Michael Kiske, would sound on the album is quickly answered. He was brought on board because Karl Hansen stepped away from vocal duties as he found it difficult to sing and play guitar at the same time. On a separate note, that explains why good shredders such as Dave Mustaine and Mille Petrozza demoted themselves to rhythm guitar. Anyway, those songs cast aside any worry that Kiske wouldn’t be up to the job as his vocals are just superb. Another positive from Karl stepping down from vocals is his being able to solely concentrate on guitar results in some great solos, especially on “Twilight of the Gods” where he and Michael Weikath do a cool guitar solo tradeoff.

Helloween must have recognized that we the listeners needed a short break after those opening songs as things slow right down for the ballad, “A Tale That Wasn’t Right.” It’s a decent power ballad but not totally mind blowing. The band do everything right here, vocals, bass line and a cool guitar solo but it doesn’t catapult it into greatness as far as great power ballads go. However, following “A Tale That Wasn’t Right” is the best song on the album, “Future World.” Lyrically, it sounds like a song for kid’s show and with some of the laser sound effects in the middle, it sounds like it even more. But with the great power chords and massive guitar solos, it is a phenomenal song.

What I hate about listening to the album on Youtube is the fact that the only the cut for video portion of “Halloween” is played. Therefore, eight minutes are cut from this thirteen minute long blockbuster. Fortunately, I have that full length version of this great song elsewhere, which makes up for it. Even though “Halloween” is so long in length, the constant changes in tempo and swirling guitar solos as well as the power chords make it no less interesting. The other good thing is that after such a long song, the album goes out very appropriately with a closer that is less than two minutes long.

Track Listing:

1. Initiation
2. I’m Alive
3. A Little Time
4. Twilight of the Gods
5. A Tale That Wasn’t Right
6. Future World
7. Halloween
8. Follow the Sign

Helloween

Michael Kiske- vocals

Karl Hansen- guitar, backing vocals

Michael Weikath- guitar, keyboards and backing vocals

Marcus Groskopf- bass, backing vocals

Ingo Schwichtenberg- drums

I figure that if “Keeper of the Seven Keys: Part I” was my introduction to power metal, then I have had a great introduction. Thank you Helloween.

Next post: Black n Blue- Nasty Nasty

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

Another Book to Add to Your Reading List

Anthrax bassist Frank Bello has written a book about his time in the band which is called, “Fathers, Brothers and Sons.” His book is truly written from the heart book not only tells about his time with Anthrax, which he has been a full member of since 1985, but also what his life was like before Anthrax, growing up without a father. FFI: click on the link https://www.newjerseystage.com/articles/2021/11/04/frank-bellos-memoir-fathers-brothers-and-sons-surviving-anguish-abandonment-and-anthrax-is-released/

It’s on my reading list.

Anthrax: I think Frank is on the far left. Bloodstock 2016

Great Metal Albums of 1987: Anthrax- Among the Living

Anthrax’s 1987 album, “Among the Living,” which was the follow up to the fame launching “Spreading the Disease” album was one that caught a lot of people off guard. Many people assumed that after the success of the slightly more melodic predecessor, they would continue the same way with the new album. Boy, was everybody wrong! If anything, “Among the Living” was the thrashiest album to date.

This is evident with the very first song, the title track where they do quote the previous album title in the lyrics. This track beats you around the head with two very large blunt objects. It is just hard and heavy, just the way any thrash metal fan would expect. However, Joey Belladonna still has his highly melodic voice, blowing the myth that thrash singers all sound like barking dogs out of the water. If anything, the title track fulfills the speculation of what Joey would have sounded like if he was the lead singer in the Stormtroopers of Death.

Listening to the album again these past few days has brought a paradox to my insane mind. Back in 1987, I accepted the title track as a great opener to the album. However, all three times I saw Anthrax live in the past decade, they opened with the second song on the album, “Caught in a Mosh” and it is a great song to open a show with. Believe me, it gets people moshing but here’s the thing, even though Anthrax opens their live shows with it, it still doesn’t sound out of place being second on the album. God, I better stop thinking about this or my head might do a “Scanners.”

Ian and Bello proving that age has little effect on metal. Bloodstock 2016

Another concern, at least for the record company was that a return to a more hardcore thrash style might not be a successful venture. Album sales and the consensus from many in the metal world that this is Anthrax’s best album shoot that down. Although, I am still partial to “Spreading the Disease” but I admit I’m mental. However, further proof is the fact that in February, 1987, while watching the famous UK show, “Top of the Pops” in the student bar, I had the satisfaction to see Anthrax break into the top 40! Okay, it only got to 34 but it was a slap in the face to all the pop loving trendies.

Yet a further element which sets Anthrax apart from many other thrash bands is that their songs are about topical issues. “Efilnikufesin (N.F.L.)” is an anti drug abuse song inspired by the tragic death of John Belushi. It is also “nice fukin’ life” spelled backwards. However, Scott Ian still gets asked by the less informed why he wrote a song about the National Football League. I agree with Scott here, listen to the song you asshole! “Indians” is about how badly the Native Americans have been treated throughout the centuries since Europeans came to the Americas. Then there’s my vote for hidden gem, “A Skeleton in the Closet.” This song is about former Nazis who were allowed to come to the West undetected and live among the populace as if nothing happened in their past but are still being hunted by those who won’t forget the holocaust.

All of these songs are done with the full ear pounding power of Anthrax. Each song has drum fills, pounding bass and a rhythm guitar which can change speed at the drop of a hat. Dan Spitz produces some good solos along with the mosh parts and it is his efforts on “A Skeleton in the Closet,” which makes it my hidden gem. However, in spite of all the hardcore, thrash and speed metal all rolled into one, Joey Belladonna sings through these songs as if it’s just another day at the office. There are also some nice little surprises along the way, for example, the acoustic intro to “A.D.I./Horror of it All.” With all of these element in place, it is little wonder these songs are so good.

Track Listing:

1. Among the Living
2. Caught in a Mosh
3. I Am the Law
4. Efilnikufesin (N.F.L.)
5. A Skeleton in the Closet
6. Indians
7. One World
8. A.D.I./Horror of It All
9. Imitation of Life

Anthrax

Joey Belladonna- lead vocals

Scott Ian- rhythm guitar, backing vocals

Dan Spitz- lead guitar, backing vocals

Frank Bello- bass, backing vocals

Charlie Benante- drums

Anthrax proved with “Among the Living” that you don’t always have to compromise your principles to be successful. With this album, they came back harder and faster and for that, the album was very successful.

Next post: Metallica- The $5.98 EP/$9.98 CD Garage Days Revisited

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

Great Metal Albums of 1986: Slayer- Reign in Blood

Two major questions always arise whenever Slayer’s 1986 album, “Reign in Blood,” is mentioned. One, is it the best Slayer album of all time? Two, should it take its place along some of the other great albums which helped pioneer thrash metal in 1986 such as Metallica’s “Master of Puppets,” Anthrax’s “Spreading the Disease” and Megadeath’s “Peace Sells Buy Who’s Buying?” To me, the answer is an obvious and definite, “Yes!” While there is room for debate on question one, there shouldn’t be any on question two. “Reign in Blood” was one of the standard bearers for thrash, not only in 1986 but for all time.

What really amused me back then and further proves my insanity is the controversy some of the songs on the album caused. Take the opener and probably best known song on the album, “Angel of Death.” The song is about evil Nazi scientist Josef Mengele, who performed hideous experiments on inmates at Auschwitz during World War 2. A few idiots suggested that the song was pro-Nazi because the lyrics don’t say what an evil man Mengele was. However, I do like guitarist Jeff Hanneman’s response: “Well, wasn’t it obvious?” No matter though, because like all other songs on the album, it’s one massive thrash-a-thon. It gives you a great introduction to what the rest of the album is going to be like: fast, pounding guitar chords, manic vocals, thumping rhythm section and the classic guitar solo trade-off between virtuosos King and Hanneman.

Of course, if you want to get controversial, then look at “Necrophobic.” I remember religious fanatics spitting out their milk and cookies over this one. Then again, the lyrics are about having sex with a corpse but of all the times I’ve listened to the song, I have never had any inclination whatsoever to do such things. Proof that if the music is good and in this case, the music for the entire album is outstanding, then the lyrics won’t matter much. However, a friend and I were thinking of recording the anti-religious song, “Jesus Saves,” and sending it to Jimmy Swaggart. Actually, if I hadn’t already been in England at this time and got to see Slayer in America, I would have been tempted to record and play it to the Jesus freaks who would have undoubtedly come to the concert to save our souls. It’s the only reason why “Jesus Saves” is my choice for hidden gem because every song here is one.

Slayer, Cardiff 2018

Actually, there’s not much more I can say about “Reign in Blood” because the album speaks for itself. With this album, you have the mold which many thrash bands would try to imitate in the years after. It’s definitely one of the greatest thrash albums of all time and did I say, it’s my favourite Slayer album?

Track Listing:

1. Angel of Death
2. Piece by Piece
3. Necrophobic
4. Altar of Sacrifice
5. Jesus Saves
6. Criminally Insane
7. Reborn
8. Epidemic
9. Postmortem
10. Raining Blood

Slayer

Tom Araya- bass, vocals

Jeff Hanneman- guitar

Kerry King- guitar

Dave Lombardo- drums

Much to the annoyance of Duranies, Madonna Wannabees and glam rock poseurs, thrash metal had truly found its home in 1986. Fantastic albums such as Slayer’s “Reign in Blood” was the reason why.

Next post: Tobrik- Wild On the Run

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

2018: Tragedies and Triumphs

We are all reflecting on 2018 as the year comes to a close. For me, the year has been a roller coaster of triumphs and tragedies. The tragedies being losses in my own personal life as well as some in the music and entertainment world. Although it happened in 2017, the effects of the passing of my mother in law were felt for several weeks into the new year. Then, when I thought Mrs 80smetalman and I had gotten over it, my mother died in early March. Losing both mothers barely two months apart is something I would not wish on any couple. After putting that behind us, my wife’s aunt suddenly died. No one was really expecting it but it was not the way anyone wanted to see the year end.

Like 2016 and 17, 2018 has had its share of people we love from the music world departing this world, including two I only just found out about. Those were Matt ‘Guitar’ Murphy from The Blues Brothers and former Jefferson Airplane/Starship lead singer Marty Balin. Saying that, the list I found them on did not include Huntress lead singer, Jill Janus, which I’m a little peeved about. Here’s a list of some of the others who passed on.

Vinnie Paul

Bruno Sammartino

Blues Brothers with Aretha Franklin

It’s rather ironic that Aretha Franklin and Matt Murphy, they played husband and wife in the Blues Brothers film, both died in 2018.

Marty Balin

The only decent shot I got of Jill Janus and she has her back to me

Ed King

Fortunately, there were many triumphs in 2018 as well. The best of those was becoming a grandfather, thus ensuring a third generation of metalheads in the LeFevre family. In addition, two weeks ago, I got to see my daughter receive her master’s degree, a proud moment.

Grandfather and grandson

Needless to say, there were a lot of musical highs in 2018 as well. In February, I was invited to the album launch party for the band Black Emerald. A band I had seen at Bloodstock in 2013 and impressed me so much, I wrote a post as to why they should be signed. Someone must have read it because this year saw the release of Black Emerald’s debut album, “Hell Can’t Handle All of Us. I have listened to the album several times now and it’s brilliant. I hope this is the dawning of great things to come for this band.

Although my trip to the US, was due to tragic circumstances in March, I still got to experience what I called “America’s best kept secret” in the form of blues guitarist and singer Hannah Wicklund and her band the Steppin’ Stones. This was another album from this year that I enjoy more with each listen.

Hannah Wicklund

Hannah wasn’t the only lady in rock to turn my head in 2018. Not long after, I got to experience Lebanese metal maidens Slave to Sirens. Last report I heard, they are working on a full length album and I will definitely be picking it up when it comes out.

Slave to Sirens

No year would be complete without going to a music festival or two. In June, I went to the Sunday at Download where I was awed by the likes of Iglorious, Shinedown, Black Veil Brides, Marilyn Manson and Ozzy himself. I was also introduced to up and coming new band, Puppy but the best part for me was after a more than thirty year wait, I got to see German thrashers, Kreator. It was definitely a day to remember.

Mille leads Kreator onto the stage

Ozzy’s kick ass show

One festival wasn’t enough so in August, I went to Bloodstock for the full three days. Each day brought both the expected and unexpected. On the Friday, Suicidal Tendencies, Judas Priest and Doro all performed as well as I thought but I was further impressed by Kamelot and Feed the Rhino. Likewise on Saturday, Gojira proved they earned the headlining slot but I was also wowed by Orden Organ, the pirate metal of Alestorm and Sophie Lancaster Stage headliners Orphaned Land. I am currently listening to Orphaned Land’s new album, “Unsung Prophets and Dead Messiahs” and so far, I’m very much liking what I am hearing. However, you can’t forget Sunday, which could have been called Scandinavian Day as most of the bands were from Sweden or Finland. Still, Fozzy was brilliant as always and Mr Big showed they could play Bloodstock and Devil Driver was one big mosh pit. On the other hand, I was very grateful for my introductions to Amaranthe and Nepalese metalers Underside. This was a great way to end my festival career.

Feed The Rhino welcome everybody to Bloodstock

ST comes on stage

Doro on the Sophie Stage

Levermann and Kersting leading from the front.

Alestorm on stage with a lot of flying inflatable objects.

Orphaned Land

A shot of the entire band

Amaranthe won me over

Underside show that you can rock in Nepal.

Late in the year, AC/DC tribute band Hell’s Bells made their annual trip to Stroud and were as good as always but the year ended with seeing Slayer, Anthrax and Lamb of God in Cardiff. This is supposed to be Slayer’s farewell tour and it was a great night for them to go out on.

Obviously, I got closer to the stage for Hell’s Bells

Anthrax in Cardiff

Lamb of God

Slayer appear!

Yes, 2018 was a year of triumphs and tragedies for me. The important thing is that I got through it with many great memories. Likewise, 2019 is also looking very promising. On the personal side, both of my sons are getting married this year. My younger one in February and my eldest is getting married in December. While I have retired from going to three day festivals, I think I will go to Bloodstock on the Sunday with the Scorpions headlining that day and Dee Snider playing as well. However, the band I want to see most that day is Queensryche. I’m already looking forward.

So, I wish all of you a very happy 2019! I look forward to continuing my tour through the golden decade of heavy metal as well as talking about relevant events and I look forward to reading what you all have to say in 2019.

Next post: I think I’ll put on some of the music from the bands I mentioned here.

To download Rock and Roll Children, go to: https://c-newfreepdf.cf/olddocs/free-download-online-rock-and-roll-children-pdf-1609763556-by-michael-d-lefevre.html