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

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: Scorpions- Savage Amusement

Back in the 80s, I used to think that only Led Zeppelin used to go three years or more between albums, however, The Scorpions proved me wrong. Unless you count their brilliant live album, “World Wide Live,” “Savage Amusement” was the band’s first studio album since the colossal 1984 album, “Love At First Sting.” Therefore, the question asked when the album came out was: “Would the four year lay off be a good thing or a bad thing?” My short answer is that it was a good thing.

Things get right down to business with the opener, “Don’t Stop at the Top.” Maybe this song was a wake up call for the band. Perhaps they had spent four years resting on their laurels and realized that if they didn’t put out a new album, they would be forgotten. So, they went back to the studio and recorded this one and used this great opener as their announcement they were back. Right away, with the great soloing by Mathias Jabs and the soaring vocals of Klaus Meine, you wouldn’t have thought they had been away for so long. It’s also the hidden gem on the album.

After being energized by the opener, the album follows with its big single, “Rhythm of Love.” It has a catchy mellow vibe at first but the chorus really rocks. If the opener didn’t convince you, then this one lets you know that the band was definitely firing on all cylinders. They also get Canadian metal queen, Lee Aaron to sing on the track. After the big single, cones another track which was released as single further down the line, “Passion Rules the Game.” It might not have charted but that makes no difference with me, it’s a great Scorpions rocker and like many of the songs on this album, reminds me of my favourite Scorpions album, “Blackout.”

They do change things up a little with “Media Overkill.” 80s sounding effects are used at the beginning but it’s not long into the song where Scorpions normality returns. Okay, there are some weird noises in middle of the song but the song is exactly what you want from the band. “Walking on the Edge” has a great intro with the acoustic guitar and Francis Buchholz’s bass. The track showcases their ability to switch between ballad and hard rocker without breaking a sweat. There are no ballad vibes on “We Let It Rock, You Let It Roll.” It’s the fastest song on the album and just powers its way through its three and a half minute life. Mathias stamps the song with a blistering guitar solo.

“Every Minute, Every Day” is hard for me to describe. While not a bad thing because they definitely make it work, but there seems to be a lot of things going on at once here. Most notable is the rhythm section. Schenker, Buccholz and Rarebell are the glue which holds the song together while Klaus and Mathias work rings around the song. Herman opens “Love on the Run” with some great drumming. It’s another fast song, almost speed metal but the Scorpions were always capable of such feats. “Savage Amusement” goes out with a power ballad, “Believe in Love,” something the band was always good at. Cliche remark but in this case, the track was the best way to end the album.

Track Listing:

1. Don’t Stop at the Top
2. Rhythm of Love
3. Passion Rules the Game
4. Media Overkill
5. Walking on the Edge
6. We Let It Rock, You Let It Roll
7. Every Minute Every Day
8. Love on the Run
9. Believe in Love

The Scorpions

Klaus Meine- lead and backing vocals

Rudy Schenker- rhythm and lead guitars, backing vocals

Mathias Jabs- lead and rhythm guitars, voice box, backing vocals

Francis Buccholz- bass, backing vocals

Herman Rarebell- drums, backing vocals

Additional Musicians:

Lee Aaron- backing vocals on “Rhythm of Love”

Insert further cliche but yes, the Scorpions were well and truly back with “Savage Amusement.” It’s a great album and if they’re going to wait four years before putting out and album, then the wait is worth it.

Next post: Candlemass- Ancient Dreams

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: Kingdom Come

My introduction to German band Kingdom Come came through a compilation album I got in 1989. While they did gain some notice in the UK, what I didn’t know was that they actually had made some considerable headway in the US. This debut album of theirs made it to number 12 in the rock charts. Listening to the album, I can fully understand why.

There is no question that Kingdom Come was heavy influenced by Led Zeppelin. It is crystal clear on songs such as “17” and “Loving You” and it can be heard on many of other tracks as well. Even if the Led Zep influence isn’t immediately clear in the riffs, what is clear is the fact that lead singer, Lenny Wolf, sounds like a clone of Robert Plant. On the track, “Pushin’ Hard,” he even does that little stutter that Plant used to do on some Zeppelin tunes. In fact, if you were not to have read what I’ve just written and listen to the song first time, you would think that Robert was singing on it.

What I’m not going to do is compare the other individual members of Kingdom Come to those of Led Zeppelin. Lead guitarist, Danny Stag, is not Jimmy Page and this is not a negative dig at Danny. He can shred and he proves it on such songs as the bluesy ballad “What Love Can Be,” though again, the Zeppelin influence can be heard here as well. He really jams out on the already mentioned “17” and I have to give credit where due to the rhythm section on this one. Johnny B. Frank should have been given more notoriety as a bass player.

Onto the single, the song which appeared on the compilation album, which I will cover in the 1989 tour, “Get It On.” Again, the LZ influence can be heard, Lenny’s vocals make it nigh impossible not to think otherwise. But there is some great riffing by Danny and rhythm guitarist Rick Steiner who also plays keyboards. Everything about the song leads me to understand why this was picked for the single, it ticks all the boxes. However, me being me, it’s not the best song on the album. That award goes to the preceding track, “The Shuffle.” This one is a solid straight ahead rock track, which ticks all the boxes for me.

One track which doesn’t sound so much like LZ is “Now Ever After.” True, Lenny still sounds like Robert but the vibe from this song is more Whitesnake than anything else. It’s more a typical 80s rock tune, though it’s done well. The bassline is further proof that Johnny should have been given more notice as a bass player. This leads me to my a nit pick about the album. I think it would have made a better closer than “Shout It Out.” For me, the lyrics and the spirit behind them as well as how the song fades out just says closer to me. However, if this track wasn’t on the album, then “Shout It Out would be the right song for the job.

Track Listing:

1. Livin’ Out of Touch
2. Pushin’ Hard
3. What Love Can Be
4. 17
5. The Shuffle
6. Get It On
7. Now Forever After
8. HIdeaway
9. Loving You
10. Shout It Out

Kingdom Come

Lenny Wolf- lead vocals

Danny Stag- lead guitar

Rick Steier- rhythm guitar, keyboards

Johnny B. Frank- bass

James Kotak- drums

Now that I have listened to the album in earnest and read a little of the history behind it, I am surprised that after such a good debut album, Kingdom Come didn’t go onto great glories. This debut shows that they could have been more of a household name, at least in the metal community.

Next post: Dokken- Beast From the East

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: Helloween- Keeper of the Seven Keys: Part II

When I posted about Helloween’s previous album, “Keeper of the Seven Keys: Part I,” Keepsmealive, I’m not sure if it was Aaron or James, asked me if it was worth checking out Part II. I told him I would let him know when I got to the album on the tour of 1988. Well, now I can answer that question and confidently say that he should check out this album. With “Part II,” Helloween pretty much stick to the formula from their previous albums. The only difference might be that this particular album may border more on melodic metal while “Part I” was my introduction to power metal.

In keeping with Helloween tradition, the album opens with a short, just over a minute long instrumental before going into a melodic/power metal foray. “Eagle Fly Free” is a brilliant opening of what’s to come. As with all the album, Michael Kiske’s vocals are superb, he is definitely an underrated singer but you get some great power chords and a cool guitar solo. There’s even a short bass solo from Markus Grosskopf.

Power metal isn’t lost on “You Always Walk Alone” as there are power chords galore to keep you entertained. There is a very interesting musical interlude in the middle of the song, between the two guitar solos where light guitar notes accompany a bass line with cymbal drumming. It’s all quite good and that brings us right to the hidden gem of the album, “Rise and Fall.” This is one of those uplifting anthem type songs where Ingo Schwichtenburg brings in on his drums. The chorus is quite amusing and I like the faster tempo changes and of course, a blistering guitar solo trade off between Kai Hansen and Michael Weikath.

After the hidden gem comes the first single released from the album, “Dr. Stein.” This is a straight forward metal tune and I can hear why it was released as a single. It had me bobbing my head along with the beat and the anthem style chorus followed by some great power chords. The addition of keyboards gives it an extra hook. However, it’s the song three tracks down the line which is the best known song from the album, “I Want Out.” It’s one where it can be said that if you haven’t heard of this song, then you don’t know Helloween. Most people in and out of metal identify the band with that iconic song.

In between those two singles are the tracks, “We Got the Right” and “March of Times.” Both are great power metal anthems and “We Got the Right” shows the versatility of Michael Kiske’s vocals while “March of Times” is another hidden gem, with that guitar solo tradeoff. Now, remember what I said about not straying too far from the formula. Well, like “Part I,” “Part II” ends with an ten minute plus blinder of a song in the form of the title track. Youtube must have read my post on “Part I” because I got the entire thirteen minutes and fifty two seconds of full Helloween inspired metal glory. It’s a great way to end the album.

The CD version of “Part II” has a tenth track called “Save Us.” There is nothing wrong with the song, but it shouldn’t have been stuck on at the end because of what a great closer the title track is. Now, it’s said that Americans are always getting it wrong but in the case of the CD version here, they got it right as “Save Us” is the seventh track on the US version. I think it was better placed there.

Track Listing:

1. Invitation
2. Fly Eagle Free
3. You Always Walk Alone
4. Rise and Fall
5. Dr. Stein
6. We Got the Right
7. March of Times
8. I Want Out
9. Keeper of the Seven Keys
10. CD bonus track: Save Us

Michael Kiske- lead vocals

Kai Hansen- guitar, backing vocals

Michael Weikath- guitar, keyboards, backing vocals

Markus Grosskopf- bass

Ingo Schwichtenburg- drums

Listening to “Keeper of the Seven Keys: Part II” I am wondering which of the two parts is the better album. Therefore, I am going to have to listen to them in conjunction in order to decide. Oh, the things I have to do.

Next post: After being in Europe for 36 plus years, I am finally going to Paris to visit Jim Morrison’s grave. I will tell you all about it when I get back.

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: Bonfire- Fireworks

I nearly forgot, blame old age, that I begin any given year with albums which came out the previous year but didn’t come to my attention until the year I’m posting on. One of these was the second album by German metal band, Bonfire and my discovery of them came in a rather amusing way. My friends’ band, Torque Show was playing their first gig at London’s famous club, The Marquee. They were the opening band for, you’ve already guessed it, Bonfire.

Torque Show

The photo above is misleading, only two members of the band were left by the time Torque Show played the Marquee and they were on their second drummer. Anyway, they played well as an opening band and paved the way for Bonfire who impressed me as well. At least to the point that I gave their second album “Fireworks,” a go. It was a good night.

The best way to describe “Fireworks” is a straight forward glam metal album. The album does nothing I would call groundbreaking but it is consistent all the way through. For me, it doesn’t really fully kick into gear until the third track, “Sleeping All Alone.” There’s nothing wrong with the first two tracks, they both provide a good listen but it’s this particular track that turned my head. It could be the cool guitar solos from Hans Ziller which do it. That level is maintained with the following track, “Champion.” It’s a good straight ahead metal tune, one which would be radio friendly and the rhythm section, including the rhythm guitar, lay down a good foundation for the song.

Bonfire gets down and dirty with “Don’t Get Me Wrong” as this is a sleazy sounding, guitar crunching number. This is one to pump your fist in the air and flash the horns to. I can’t remember which songs they played that night so I can say if I did or not. I know I did stage dive. However, things dip a little after as “Sweet Obsession” doesn’t quite measure up to the previous three tracks. It has a good bassline though. The same can be said for “Rock Me Now.” Its intro sounds similar to the Great White classic, “Rock Me,” but then picks up speed but in spite of the increased speed, it lacks a little punch.

Fortunately, my pick for track of the album comes in and the last two tracks become distant memories. “American Nights” comes in with some cool drumming and definitely has some swagger. Lead singer, Claus Lessman, who sings well on all tracks, gives it a bit more oomph with the vocals and the rest of the band respond accordingly. Cool guitar riffs and lead guitar hooks bring in “Fantasy.” The changes in tempo keep it interesting, One minute it sounds like a ballad but then goes total metal the next with some great guitar work.

Penultimate track, “Give It a Try,” is a decent power ballad and you can feel the passion in Claus’s vocals and some good power ballad soloing from Hans. Listening to it and then to the actual closer, “Cold Days,” I think that these two songs should have been switched around. “Cold Days” would have been a better penultimate track and the passion behind “Give It a Try” would be better for a closer.

Track Listing:

1. Ready 4 Action
2. Never Mind
3. Sleeping Alone
4. Champion
5. Don’t Get Me Wrong
6. Sweet Obsession
7. Rock Me Now
8. American Nights
9. Fantasy
10. Give It a Try
11. Cold Days

Alternative Cover

Claus Lessman- lead and backing vocals

Hans Ziller- lead and acoustic guitars, backing vocals

Horst Maier- rhythm guitar, backing vocals

Jorg Deisinger- bass, backing vocals

Additional Musicians

Ken Mary- drums

Martin Ernst- keyboards

Maybe I should thank Torque Show, for opening for a great band. Torque Show broke up a couple of years later but Bonfire still burns on. With albums like “Fireworks,” it’s plain to see why.

Next post: Cheap Trick- Lap of Luxury

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

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

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

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

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

Great Metal Albums of 1987: Destruction- Mad Butcher

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

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

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

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

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

Track Listing:

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

Destruction

Schmier- bass, vocals

Harry Wilkens- lead guitar

Mike Sifringer- rhythm guitar

Oliver ‘Olli’ Kaiser- drums

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

Next post: Vow Wow- V

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

Great Metal Albums of 1987: Kreator- Terrible Uncertainty

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

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

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

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

Track Listing:

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

Kreator

Mille Petrozza- lead vocals, guitars

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

Rob Fioretti- bass

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

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

Next post: Sacrifice- Forward to Termination

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

Great Metal Albums of 1986: Warlock- True As Steel

Another great thing about 1986 was that heavy metal was truly becoming international. In the case of Germany, although it was only West Germany at the time, The Scorpions had already been a worldwide hit and Accept was getting lots of attention. In addition, some great thrash bands were coming out of the country such as Kreator. All of this made it possible for an up and coming German band to step into the metal spotlight, that band was Warlock.

My introduction to Warlock came when I saw them at the 1986 Donington Festival and I was very impressed. It could have been partially down to the fact that fronting the band was this blonde bombshell named Doro Pesch who tingled my 25 year old hormones at the time. Okay, she still does it to my nearly 60 year old ones too but not only that, even then I knew she had a stupendous voice and a great band backing her. I was converted to Warlock that day.

Doro mesmerizes the crowd, Bloodstock 2018

Naturally, Warlock’s performance at Donington made me check out her 1986 “True As Steel” album and the magic they produced on stage shone through on the album. The two songs which still capture my attention all these years later are “Fight for the Rock” and “Love in the Danger Zone,” both were released as singles. I also remember “Fight for the Rock” getting played at the metal club in East London I would venture to on Friday nights.

The two mentioned tracks are among the first four on the album which go ripping through at a steady metal pace. If your attention isn’t grabbed after those four songs, then it never will be. Then they change things up a bit on “Midnight in China.” It goes for a more heavy blues sound and has a great guitar solo trade-off between guitarists Niko Arvanitis and Peter Szigeti. This song has an anthem type feel where if played live would be a good audience participation song. Unfortunately, I don’t recall it happening at Donington. It’s the hidden gem on this album.

Things go very fast after with “Vorwarts, All Right.” It accelerates to speed metal proportions and the band pull it off very well. Then after the powerful title track, another anthem type song, comes a song which really intrigues me. I used to wonder what Doro was actually singing about in “Lady in a Rock and Roll Hell.” Part of me was hoping that she was singing out against the sexism that was around in heavy metal at the time, it hasn’t totally gone away. No, it’s about needing a man. Still a good song though and right after comes a genuine power ballad in “Love Song.” Again, it’s done very well. It could be argued that it should be the album closer but after the rather amusing “Igloo on the Moon,” the album is closed out by the instrumental “T.O.L.,” which does close things out nicely.

Track Listing:

1. Mr. Gold
2. Fight for the Rock
3. Love in the Danger Zone
4. Speed of Sound
5. Midnight in China
6. Vorwarts, All Right
7. True as Steel
8. Lady in a Rock and Roll Hell
9. Love Song
10. Igloo on the Moon (Reckless)
11. T.O.L.

Warlock

Doro Pesch- lead vocals

Niko Arvanitis- guitar

Peter Szigeti- guitar

Frank Rittel- bass

Michael Eurich- drums

I think that in 1986, Germany was welcomed as a full on contributor to the heavy metal world. With this album, Warlock would extend its conquests beyond Europe and get the recognition is so richly deserved.

Next post: Motorhead- Orgasmatron

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