Archive for Heavy Metal

Great Metal Albums of 1987: WASP- Inside the Electric Circus

Posted in 1980s, Concerts, Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , on September 22, 2021 by 80smetalman

Let me start with a debate I unintentionally started on Mike Ledano’s blog a few years back. He posted about a new album from former WASP guitarist Randy Piper. After reading the review and listening to the sample track and then remembering when I saw WASP perform at Donningtion 1987, I was of the mindset that Blackie Lawless fired the wrong guitarist. Believe me, that comment created lots of debate with one person in particular stating that Blackie indeed fired the right guitarist because Randy Piper was a screw up.

The whole debate actually started before the recording of the album, “Inside the Electric Circus.” Prior to recording, Blackie Lawless made the transition from bass to rhythm guitar and consequently fired Piper and in came Johnny Rod on bass. So the big question was for this album, did the transition pay off?

Thinking back to their previous album, “The Last Command,” which I found to be a bit average except for three very kick ass songs, I find “Inside the Electric Circus” to be a big improvement except for the fact that there aren’t any songs which transcend the ionosphere. However, the bulk of this album holds up and there is very little I would call filler. In fact, I have been finding rather difficult to find a standout track. There just seems to be a bit more oomph to the album.

There are a few throwbacks to the better tracks on “The Last Command.” I do get a “Wild Child” vibe on “Restless Gypsy” and though it’s not as phenomenal as its predecessor, “Restless Gypsy” is still a brilliant track. It is on this track where I have to conceded that Blackie didn’t fire the wrong guitarist because Chris Holmes delivers a killer solo on the track. My question is why don’t I remember him playing any solos like that at Donnington? Likewise, I can feel a “Blind in Texas” vibe to “Shoot From the Hip.” Going back to the debut album, I can hear a “I Wanna Be Somebody” vibe on “Easy Living.” On the other hand, the intro on “95-Nasty” has a opening riff that reminds me a little of AC/DC’s “For Those About to Rock, We Salute You.” And now I can say that I have a favourite track, It’s “I’m Alive” due to its Heart’s “Barracuda” vibe with a couple of killer guitar solos. I think I need to apologize to Chris Holmes.

Track Listing:

  1. The Big Welcome
  2. Inside the Electric Circus
  3. I Don’t Need No Doctor
  4. 95-Nasty
  5. Restless Gypsy
  6. Shoot From the Hip
  7. I’m Alive
  8. Easy Living
  9. Sweet Cheetah
  10. Mantronic
  11. King of Sodom and Gomorrah
  12. The Rock Rolls On
WASP

Blackie Lawless- lead vocals, rhythm guitar

Chris Holmes- lead guitar

Johnny Rod- bass, backing vocals

Steve Riley- drums, backing vocals

To answer the original question, I think that the transition of Blackie to rhythm guitar and the adding of Johnny on bass did pay off on “Inside the Electric Circus.” While they stuck to the formula of their previous album, they did it better on this album. I saw the results at Donnington as I was surprised as to how much better they were than when I had seen them the year before. Even though I can’t remember any great solos from Chris Holmes, he definitely plays them on the album.

Next post: The Smiths- Strangeways, Here We Come

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

Great Metal Albums of 1987: Metallica- The $5.98 EP/$9.998 CD- The Garage Days Revisited

Posted in 1980s, Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , on September 18, 2021 by 80smetalman

To mark the occasion of their appearance at the 1987 Donnington Festival, Metallica’s UK label, Vertigo, suggested they release new material. However, initial songwriting attempts with new bassist, Jason Newstead, resulted in one demo and then James Hetfield broke his arm in a skateboarding accident. (I forgot about that incident but I remember while on tour, a roadie played rhythm guitar so the tour could carry on.) Anyway, the band decided that instead of trying to write new material, they recorded covers of some of their favourites. Thus, “The $5.98 EP/$9.98 CD- The Garage Days Revisited” was born.

Up first is a cover of Diamond Head’s “Helpless.” Listening to this, if I hadn’t heard of Diamond Head before, I would have thought that this was a Metallica original. Basically what Metallica do here is increase the song to Metallica level and it’s true to what Metallica were doing at the time. Next comes “The Small Hours” which is a cover of a Holocaust tune. Admittedly, I have no experience of Holocaust, that will be rectified, but there is that Metallica “Thing That Should Not Be” aura to it. It’s just slow crunching guitar at the start before speeding up in the middle and a cool guitar solo from Kirk.

In the middle of the order is the cover of the Killing Joke tune, “The Wait,” which was left off the British pressing in order to comply with UK laws regarding the length of EPs. When I hear this song, I definitely think that it would have been a perfect fit if put on the “Master of Puppets” album as I definitely get that vibe on it. I can bang my head along with it much longer than its four minute and fifty-five second length. That’s a minute and fifteen seconds longer than the Killing Joke’s version!

Jason Newstead gets to show off his bass skills on the penultimate track, “Crash Course in Brain Surgery,” a cover of a Budgie classic. I remember when I saw Metallica and Donnington 87, James introduced Jason as ‘the new mother fucker.’ Was there animosity already? I won’t venture a guess but Jason does lay down a solid bass line here, which compliments Kirk’s guitar solo very well. Metallica took a 70s hippy song and brought it into the late 80s.

Ending this five song Metallica party is my favourite song, “Last Caress/Green Hell,” two Misfits tunes combined together. The reason I like it is that any lyrics which stuck it to the anti- rock establishment was cool in my book and “I killed your baby today” and “I raped your mother today” definitely qualifies. I’m surprised there wasn’t any outcry from the religious zealots in the US over it. Still, the fast thrash pace adds to the fun. At the end, there is some riffs to the Iron Maiden classic, “Run to the Hills,” which I also remember them doing at Donnington. Maybe not necessary but it brought back good memories.

Track Listing:

  1. Helpless
  2. The Small Hours
  3. The Wait
  4. Crash Course in Brain Surgery
  5. Last Caress/Green Hell
Metallica

James Hetfield- lead vocals, rhythm guitar

Kirk Hammett- lead guitar

Jason Newstead- bass, backing vocals

Lars Ulrich- drums

What I didn’t know was that “The $5.98 EP/$9.98 CD- The Garage Days Revisited” was out of print from 1989- 2018 and was considered a collector’s item. Those who had this should consider themselves lucky. While this wasn’t a Metallica album in the proper sense, it was a great bridge between “Master of Puppets” and their next album “And Justice for All.”

Next post: WASP- Inside the Electric Circus

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

Great Metal Albums of 1987: Anthrax- Among the Living

Posted in 1980s, Concerts, Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , , on September 15, 2021 by 80smetalman

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: Vyper- Afraid of the Dark

Posted in 1980s, Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , on January 3, 2021 by 80smetalman

First, I hope all of you had a good new year. While most years, I say I hope people didn’t get too wrecked on New Year’s Day, this year, I have to say I hope no one got caught violating the Covid restrictions in their area. At least this year, the UK’s top metal hating newspaper, The Sun, didn’t splash pictures of young women being falling down drunk on its pages. Instead, it reported on all the lockdown violations. Anyway, let’s get to the subject at hand.

Still using the Metal Sisters’ compilation tape they sent me for Christmas in 1986, there was a song called, “Afraid of the Dark,” by a band I’d never heard of, Vyper. At the time, because there were so many good songs from other artists on the tape, it just sorted of blended in with them. Now that I’ve had a chance to listen to their 1986 EP of the same name, I realize just how good that song is. It starts with a cool guitar riff which if it didn’t totally grab my attention then, it certainly does now. This track highlights the talents of the entire band with some great guitar riffs and a cool solo in the middle, great vocals and a good bass line. Definitely the best song on this four track EP and it leaves you in hope that the others will be just as good.

“Afraid of the Dark” might have been the showcase tune for the album but “Diamonds” is the hard pounding heavy metal song on the album. No frills, just straight forward powerful metal, which is played very well by the band. The vocals remain clean and backed by some good background vocals. Then speed increases more with “Time Flies.” Definitely the fastest song on the album and though it’s not as tight as “Diamonds,” it is still a great song to headbang along to. The innuendos in the lyrics such as, “I like to sit you down, let you ride my rocket” and “Bring your girlfriend along, I like her too,” are quite amusing.

Controversial lyrics don’t end with “Time Flies.” On the closer, “Daddy’s Girl,” Vyper venture into very controversial territory. The song is about a father, who because he and mother work separate hours, uses his daughter to get his pleasure. Actually, I’m surprised there was no outcry from the fundamentalists in the US over this one. It could be why the band didn’t put out an album for an album for twenty more years. Shame though, because there is a really good guitar solo trade off on this track. This EP showed that the band had the potential to hit the big time.

Track Listing:

  1. Afraid of the Dark
  2. Diamonds
  3. Time Flies
  4. Daddy’s Girl
Vyper

Christy Black- lead vocals

Jacky Foxx- guitars

Michael Scott- drums, backing vocals

Rik Brock- bass, backing vocals

Robbie Saint- guitars

Because the EP is only 14 minutes long, I thought I’d share it in its entirety.

It’s easy to say that with so many metal bands around in 1986, that one can see why Vyper might have been overlooked. Still, it’s a shame because if more people listened to “Afraid of the Dark,” then Vyper could have risen to their full potential.

Next post: Jack Starr- Out of the Darkness

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

An Early Happy New Year

Posted in Heavy Metal, Music, Rock, Uncategorized with tags , , , , , , , , , , , , , , , , on December 30, 2020 by 80smetalman
Not a bad haul. I must have been a good boy this year.

I hope everyone had a good Christmas! As you can see, Santa was good to me this year. Not only did I get the new AC/DC album, I got a few albums I wasn’t expecting. The Metallica, Ozzy and Thin Lizzy, which for some reason isn’t in the photo, were upgrades as I had all of these on either cassette or vinyl. FTR, the Thin Lizzy was “Live and Dangerous.” Anyway, I hope all of you had good hauls as well.

Repeating what many other people have said, 2020 was a bust. Fortunately, I had my music and a lot of music which many of you have shared on your blogs. We all seemed to pull together and help each other get through, which was good to see and although there is still more shit ahead, the end might be insight. This past year was the first year since 2014 where I didn’t go to any live gigs. The lockdown meant that Hells Bells couldn’t come to town and my plan to go to Bloodstock for the Sunday was also put on hiatus. However, the good news about Bloodstock is that most of the line up planned for 2020 will be there for 2021. That means Judas Priest will still headline on the Sunday with Saxon on right before them! Additionally, and this has me considering coming out of retirement and going to Bloodstock for the full three days, Mercyful Fate is now headlining on the Saturday. Devin Townsend headlining the Friday makes it even more tempting.

Since, I will be working over the New Year’s period, I would like now to wish all of you an Happy New Year and may your 2021 be a joyous one.

Next post: Vyper- Afraid of the Dark

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

Merry Christmas to All!

Posted in Death, Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , on December 24, 2020 by 80smetalman

I would like to wish all of you a very Merry Christmas and Happy New Year. 2020 has been a terrible year in a lot of ways and things aren’t looking to get better anytime soon. We’ve had the pandemic and the passing of many great rock stars. Now, it’s my sad duty to add one more to this sad list. Leslie West, guitarist in the band Mountain passed away yesterday. This means the year is going out in the same sucky way it came in.

Leslie West
Mountain

But enough gloom for now! Reading your posts and having you read and comment on mine has made a big difference this year. I hope everyone enjoys their Christmas. May those who indulge get plenty drunk and eat lots of turkey and sweets. I leave you now with Mountain’s best known song, “Mississippi Queen” and three alternative versions of the carol “Deck the Halls.”

Merry Christmas to all!

Great Metal Albums of 1986: Chastain- Ruler of the Wastelands

Posted in 1980s, Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , on December 21, 2020 by 80smetalman

Here’s a perfect reason why I should have bought the album. My experience of Chastain, actually it was guitarist David Chastain, was through the two songs which appeared on the compilation tape the Metal Sisters sent me. Those songs were “No Man’s Land” and a cover of Led Zeppelin’s “Communication Breakdown.” Both songs were superbly played and for years I simply assumed they were on Chastain’s 1986 album, “Ruler Wasteland.” Unfortunately, they are not. I have tried to find the album these songs appear on but my search has been fruitless. Therefore, I thought the only thing left to do was to listen the album through Youtube and post about it. This turned out to be a wise decision.

In 1986, guitarists who wanted to emulate one Yngwie J. Malmesteen seemed to be coming out of the woodwork. Reflecting back, I think Vinnie Vincent was trying to be such and so was David Chastain. While he is backed up by a very good band, especially lead singer, Leather Leone, “Ruler of the Wasteland” leaves no doubt that its objective was to showcase the guitar skills of David T. Chastain. Something the album does very well here from beginning to end as David solos his way through.

David T. Chastain

It’s not just David’s guitar skills that should be noted here as there are some very well crafted tracks on the album. “One Day to Live” has Leather’s best vocal performance, although she’s quite good on the other tracks. One song where it all comes together and highlights the album and shows the talents of the individual members is “Fighting to Stay Alive.” This song proves that David is a capable song writer as well as a great guitarist. Yes, he does hammer out a cool guitar solo on the track but the vocals are good as is the rhythm section. While all of those things are present on every track, it’s done the best on this one.

One very pleasant and eye opening surprise is “Angel of Mercy.” I have heard this song before, covered by Axel Rudi Pell, who does a great job on it. However, the original version here on the album is simply mind blowing and now I am in a quandary as to which song is better between “Angels of Mercy” and “Fighting to Stay Alive.” While the former is straight ahead full blown metal, Angels has a more blues feel to it and it too has all the band pulling together to make it great. I guess I’ll call it a tie.

The fastest song on the album is “There Will be Justice.” Imagine Yngwie playing a guitar solo on a speed metal song and you’ll get the picture of what I’m trying to say. Then right after, you get a progressive metal sounding fantasy track with “The Battle of Nevermore.” Every time I hear this track, I like it more. Therefore, maybe I should stop listening to it as I will have great difficulty in choosing which songs to feature. Then again, isn’t that a trait of a very good album?

Track Listing:

  1. Ruler of the Wasteland
  2. One Day to Live
  3. The King Has the Power
  4. Fighting to Stay Alive
  5. Angel of Mercy
  6. There Will be Justice
  7. The Battle of Nevermore
  8. Living in a Dreamworld
  9. Children of Eden
Chastain

David T. Chastain- guitar

Leather Leone- vocals

Mike Skimmerhorn- bass

Ken Mary- drums

Moral of the story: Get the album! I didn’t and for years I have missed out on the fine album which is “Ruler of the Wasteland.” As for the songs I have mentioned, I have plans for them in a future post.

Next post: Merry Christmas

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

Great Albums of 1986: Tobruk- Wild On the Run

Posted in 1980s, Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , on December 17, 2020 by 80smetalman

During my first Christmas in Britain in 1986, my sister Dawn and her friend Stacy, (together known as ‘The Metal Sisters’), sent me a cassette full of metal songs. This tape will comprise the next several posts but I’m getting ahead of myself. Maybe they thought I was missing some good heavy metal, this couldn’t have been farther from the truth. The first two songs on the tape were from the band Tobruk and from the album, “Wild On the Run.” However, I had already heard of the band because a few weeks earlier, Kerrang Magazine, (long before it became Kerrap in the mid 90s), ran an article on them in their “Wimpwire” feature.

Wimps? Well quite possibly because there are spots on the album where they sound like they want to be the next Bon Jovi. The intro and the short keyboard solo on the second track, “Falling” definitely gives that impression. However, even on that track, there are some good hard rock portions to be heard. What Tobruk do successfully on this album is to blend the heavy metal with just the right amount of keyboards. The keys enhance the songs. One good example of this blend is “Running From the Night.” It’s basically a great hard rockin’ track with a cool guitar solo and I love the guitars at the intro. The keyboards can be heard but they compliment the song. Thinking about it, that particular track reminds me of Autograph.

Since I would only be repeating myself if I dissected each song individually, not that the songs all sound the same because they don’t, I will look at three songs. First, there is the opening title track which was also released as a single. It didn’t do anything as far as the singles charts but it doesn’t stop it from being a good song. On the other hand, I can see why this song would have been considered for single release, it has that commercial vibe and the keyboards are just a little more noticeable but the guitars still rule. Then comes the two tracks which were recorded on the tape sent by The Metal Sisters. “She’s Nobody’s Angel” is yet another song which gives the impression that musicians have a thing about writing songs about prostitutes. However, when I heard the song, it made me question why Kerrang would consider this wimp metal. Sure, it opens with a fantastic keyboard intro, I think it might have even influenced the likes of bands like Stratovarius. Maybe because of the keyboards or possibly because whoever wrote the article only heard the single.

Lyrics from “She’s Nobody’s Angel:”

She’s a streetwalker, got to make her living pay

He’s just a normal guy looking to get his evil way

Then with one kiss, he gets what he’s wishing for

She’ll do special things if pays a little more.

The second song on the tape is the hidden gem and that is “Going Down for the Third Time.” Again, some great keyboards work around the edges. I think that Jem Davis deserves more recognition for his mastery of the craft but the song simply kicks ass. While everything comes together on the songs on “Wild on the Run,” they come together a little more on this one. It’s also the closer for the album and it does that job magnificently.

Track Listing:

  1. Wild on the Run
  2. Falling
  3. Running From the Night
  4. Hotline
  5. Rebound
  6. Poor Girl
  7. She’s Nobody’s Angel
  8. Breakdown
  9. Going Down for the Third Time
  10. The Show Must Go On (Not on the album but appeared as a B-side on the single “Wild On the Run”
Tobruk

Snake- lead vocals

Mike Brown- bass, backing vocals

Nigel Evans- guitar, backing vocals

Mick Newman- guitar

Jem Davis- keyboards

Eddie Fincher- drums

I have a sneaking suspicion that this album might have passed a lot of people by. This could be on account of people like me were on the hunt for more and more power chords and that is not Tobruk. Still, if you like good melodic heavy metal, then I can recommend “Wild On the Run.”

Next post: Chastain- Rulers of the Wasteland

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

Great Metal Albums of 1986: Slayer- Reign in Blood

Posted in 1980s, Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , , , , , , on December 13, 2020 by 80smetalman

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

Great Metal Albums of 1986: Billy Squier- Enough if Enough

Posted in 1980s, Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , , , , on December 10, 2020 by 80smetalman

Music media and even a few metal stars and metalheads should hang their heads in shame. After Billy Squier’s rather embarrassing video for his hit “Rock Me Tonight,” from his previous album, “Signs of Life,” it seemed that there was a collective ‘abandon ship’ in the music world in regards to Billy. Personally, that video never bothered me, so I think it was wrong for everyone to walk away from him on account of one misjudged video. Hell, even Rudy Schenker of the Scorpions said he couldn’t take Billy seriously after that video. Come on, it was one video! My point of all this is has been said that it was on account of that video as to why his next album, “Enough is Enough” didn’t do as well and that was a shame because I think the world missed out on a really good album.

Another offered reason for why “Enough is Enough” didn’t do as well was because of the changing tides of music in 1986. As I said in previous posts, in 1986, music was diverging in different directions, either towards plastic synth pop or hardcore thrash. For many, Billy was now becoming either too pop or too metal for people on the extremes. And here’s another amusing point with me. I have always considered Mr. Squier to be the best American artist not to have cracked Great Britain but I saw this album on sale at a record shop called “Shades” in Central London. Side note: the blogger “Every Record Tells a Story” once wrote a post on what I call in “Rock and Roll Children,” “an Aladdin’s cave of heavy metal records and accessories.”

From the very first song on the album, “Shot o’ Love,” it is easy to hear that Billy is at his usual best. This song is a clear reminder that he hasn’t lost any of the chops he did so well on albums like “Don’t Say No” and “Emotions in Motion.” The song sets the tone for the rest of the album. Following that up is the only single from the album, which was a minor hit for Billy, “Love is the Hero.” Freddie Mercury provides the backing vocals on it. It’s too bad that his career as a singles artist was practically over because it’s not a bad song. Freddie also gets a song writing credit on “Lady With a Tenor Sax.” This is a good jazz-rocker and again proves that Billy hadn’t lost anything in musical ability. It’s a second hidden gem on the album.

The first ballad on the album, “All We Have To Give” is okay but there is a better one further along. He then rocks out with “Come Home.” This is the best power rocker on the album, some great power chords and some of the best guitar soloing I’ve heard on any Billy Squier album. However, the rock doesn’t go away with “Break the Silence.” Again, some great power chords but there’s a more melodic soft part in the song. It’s creative but at the same time very catchy. Another cool guitar solo helps too. On “Powerhouse,” I get the impression that either Billy or the record company were going for a second single. There is some 80s style synthesizer work on it as well as some really hard power chords. The reason why it was never a single was the fact that people were going into different camps and a song that encompasses both, even when it was done as superbly as this one, isn’t going to attract attention. “Lonely One” starts out as if it’s going to be a ballad and then sounds like it’s going to be a pop single before some power chords and heavy drumming from guest drummer Steve Ferrone (Average White Band and Tom Petty and the Heartbreakers). It also has what could be Billy’s best guitar solo for the album.

“Til It’s Over” is not only the second power ballad on the album but my choice for hidden gem. If I had ever gotten the chance to have seen him live, you can bet my cigarette lighter would have been held high in the air for this one. This is one of those ballads which make you want to bang your head while at the same time, cry in you beer. The acoustic parts on the intro and throughout the song give me goosebumps whenever I listen to it and the power chords are just mind blowing. Of course, it has a cool guitar solo. If it was the closer, then I would say that “Enough is Enough” would have ended on a great high. However, as for closers go, “Wink of an Eye” might not be as magnificent as the penultimate track but it is still a good way to end the album. It has that melodic, catchy feel to it that good closer should have but without losing the hard rock. It deserves to end the album.

Track Listing:

  1. Shot O’ Love
  2. Love is the Hero
  3. Lady With a Tenor Sax
  4. All We Have to Give
  5. Come Home
  6. Break the Silence
  7. Powerhouse
  8. Lonely One
  9. Til It’s Over
  10. Wink of an Eye
Billy Squier

Billy Squier- vocals, guitars, synthesizers

Jeff Golub- guitar

Robin Jeffrey- guitar

Jeff Bova- keyboards

David Frank- keyboards, synthesizers

Andy Richards- keyboards

Alan St John- keyboards, synthesizers, backing vocals

T.M. Stevens- bass

Jimmy Bralower- drums

Bobby Chouinard- drums

Steve Ferrone- drums on track 8

Jody Linscott- percussion

Freddie Mercury- backing vocals on track 2

Mitch Weissman- backing vocals

I’ll scream it again and again, I think the music world owes Billy Squier a big apology. Shunning him on account of one video was rather narrow-minded because the album, “Enough is Enough” is a very good one. Maybe you can help make amends by giving it a listen.

Next post: Slayer- Reign in Blood

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