Great Metal Albums of 1988: Wrathchild- The Biz Suxx

What seems like a long time ago, I stated that the band Tigertailz were trying to be the British version of Poison. Perhaps I was a bit hasty there because after listening their album, “The Biz Suxx,” it might be Wrathchild who more deserve that title. Although, Wrathchild came out of the new wave of British heavy metal in the early 1980s, they didn’t achieve the success of other bands from that time. Then there’s their image, while not quite the ‘fillies with willys’ which Poison have been called, Wrathchild do try to go heavy on the make up.

The album is pretty fun, a good one to have at parties but I can also hear why they didn’t achieve the success of let me say, Iron Maiden or Judas Priest or even Saxon. What I can say is that there is a sound similar to Poison with many of the songs. What I do like is some of the spoken parts like at the beginning of the title track which states, “What’s wrong? It’s only rock and roll” and the dialogue with an unknown lady on the track, “Hooked.”

Girl: What are you doing, Rocky?

Rocky: Looks like you, babe

Girl: You’re pretty sure of yourself

Rocky: Well, your mother didn’t seem to mind

I know this isn’t too politically correct these days but a cool guitar solo from Lance Rocket follows immediately. The album also features what is possibly Wrathchild’s best known song, “Na Na Nuklear Rokket.” Yes, I am sure the bad spelling on the song titles is one of the band’s selling points but what I like about the song is the fact that it has a real catchy melody and the band aren’t trying to sound like Poison or anyone else for that matter. But if “Na Na Nuklear Rokket” was the single, then “She’z No Angel” is the hidden gem. You get a good vocal performance, cool guitar solo and a steady rhythm section, all in a song about a bad girl.

My realization from the album is that Wratchild use innuendos, some sleazy some not, in the lyrics to attract listeners and not just on the spoken parts. Further along on the title track, there’s the line: “I look like a star but I’m still on the dole” which is a dig at the fact that the band weren’t getting rich from their record sales.

With all that said, the band can play some. Lance puts down a couple of good guitar solos, one on “Hooked” and another on “Ring My Bell.” Furthermore, his opening riffs on “Hooligunz” is quite impressive and a decent guitar solo to boot. Credit where due must be given to the rhythm section as well. While not mind blowing, Marc Angel and Eddie Starr lay down a consistent beat all throughout the album. While I won’t call lead singer Rocky Shades a weak link, he’s not the greatest singer in metal but makes up for it with plenty of charisma.

Track Listing:

1. The Biz Suxx
2. ££ Millionaire $$
3. Hooked
4. Na Na Nuklear Rokket
5. Wild Wild Honey
6. Ring My Bell
7. Hooligunz
8. She’z No Angel
9. OK. UK
10. Noo Sensation
11. Sticky Fingerz

Wrathchild

Rocky Shades- vocals

Lance Rocket- guitar

Marc Angel- bass

Eddie Starr- drums

They say that in 1988, glam and hair metal bands were coming out of the woodwork and I can see truth in that. It could be why Wrathchild never got any real traction. However, this album is a fun listen and oh yes, that’s Bruce Dickinson in the video for “Na Na Nuklear Rokket.”

Next post: Dogs D’Amour- In the Dynamite Jet Saloon

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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: Judas Priest- Ram It Down

There has been much negative talk over the years in regards to Judas Priest’s 1988 album, “Ram It Down.” I agree that it doesn’t reach the heights of colossal albums like “Screaming for Vengeance” and “British Steel” nor does it even come close to two very underrated albums, “Point of Entry” and “Defenders of the Faith.” “However, I must give the album credit where credit is due, I thought it was better than “Turbo.”

It was plain from the opening title track that Judas Priest was determined to put their synthesized previous album behind them and get back to basics. “Ram It Down” comes out of the blocks at 500 mph with the determination of pounding your ears into submission. It also host the first of a number of great guitar solo tradeoffs between KK and Glenn. Then with “Heavy Metal,” following an interesting guitar intro, they try to recapture the formula which made those great albums mentioned in the first paragraph what they were. This track sounds a little like the bastard child of “Better By You, Better Than Me” and “Some Heads Are Gonna Roll.” There are many cool guitar riffs, hooks and solos in the song.

Judas Priest continue their all out assault over the next two songs starting with a cool drum solo to start, “Love Zone.” The chorus on the song is quite catchy and does bring back memories of their former glories. While critics said that the album brought nothing new to the table, on this track, it didn’t need to. Instead, they remind you of what they did to get you listening to them in the first place. I can pretty much say the same on “Come and Get It,” although that has a cool guitar intro and great riffs and solos throughout the song instead. Then we come to the hidden gem, “Hard as Iron.” Not only does this track capture the glory days, it does so without sounding like you’ve heard this all before. That chorus blows my mind away and the solo tradeoff is damn cool.

The second half of the album starts off with the more progressive metal sounding “Blood Red Skies.” The way out intro lets you know that this is going to be more than an assault on the ear drums. The acoustic guitars and Rob’s more sombre vocals stamp it as fact. The only problem is that after the intro synths and drum machines reminding you of “Turbo” do threaten to put one off the song. However, the guitars and Rob’s falsetto vocals spear any thoughts of a return to the previous album. Actually, the track is well placed as the change up keeps the interest and thought it’s nearly eight minutes long, it never gets boring.

If you want a song which is pure traditional Judas Priest, then I give you “I’m a Rocker.” While slammed for being nothing new, it is a great reminder of something old and after “Turbo,” I think this was what they needed. Following on is a cool cover of the Chuck Berry classic, “Johnny B. Goode.” This appears on the “Greatest Hits” album and I can see why it would be there. One question I ask about a lot of albums is why least strongest track is used as a penultimate track. AC/DC did this a lot and I have to say it’s the case here. “Love You to Death” isn’t a bad track but is the one which sounds a bit tired. However, “Monsters of Rock” closes the album out superbly. The song may have an impending doom feel but tells you that Judas Priest weren’t finished yet.

Track Listing:

1. Ram It Down
2. Heavy Metal
3. Love Zone
4. Come and Get It
5. Hard as Iron
6. Blood Red Skies
7. I’m a Rocker
8. Johnny B. Goode
9. Love You To Death
10. Monsters of Rock

Judas Priest

Rob Halford- vocals

Glenn Tipton- guitars, synthesizer

KK Downing- guitar

Ian Hill- bass

David Holland- drums, drum machine

Some people were ready to give up on Judas Priest after “Turbo” and even after this one. Fortunately, most of the masses didn’t and they are still out there blowing people away. “Ram It Down,” while no where near those classic from the late 1970s and early 80s, it was a step back in the right direction after what many called a misstep.

Next post: RATT- Reach For the Sky

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

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Great Metal Albums of 1988: Iron Maiden- Seventh Son of a Seventh Son

Having listened to Iron Maiden’s last two studio albums, “The Book of Souls” and “Senjutsu,” recently and then rediscovering the 1988 “Seventh Son of a Seventh Son,” I can’t help noticing some similarities. When I listened to the album for the first time after quite a few years, I thought that it reminded me a lot of those other two albums. Opener “Moonchild” starts with an acoustic intro with soft vocals from Bruce before going into traditional Maiden territory. You know, the rhythmic power chords, Steve’s bass, Bruce’s versatile vocals and a cool guitar solo. It sets things up nicely for the rest of the album.

Follow on track, “Infinite Dreams” is definitely what I loved about Iron Maiden at the time. A lead guitar intro which goes into a more softer rock song, though I like the guitar hooks in the background before things liven up a lot. Nicko’s drumming takes command on the song leading it into a cool change up in the middle and then possibly the best guitar solo on the album. What I didn’t know was that it was released as a single to coincide with the release of the 1989 video “Maiden England.” Still, I will call it the hidden gem on the album.

As for singles, there are three. The most notable of this is “Can I Play With Madness” which went to number three in the UK charts. The other two singles, “The Evil That Men Do” and “The Clairvoyant,” peaked at five and six respectively. Back then, I always counted it as a victory for metal when a metal song breached the top ten in the charts. For me it was sticking a middle finger up at the establishment, which was great. With that said, all three songs deserved their places there. None of them were altered to meet accepted musical trends at the time but simply was Iron Maiden doing what they do best. On the other hand, and I hope American readers will correct me if I’m wrong, none of these songs made much of an impact on the Billboard charts most likely down to the lack of play on American radio. I don’t blame the band one bit for being pissed off at American radio at the time.

If there is any track which gives weight to the links I have drawn between “Seventh Son of a Seventh Son” and the last two albums, it has to be the title track. First of all, the song is over nine minutes long. It starts out in a progressive metal style with some high vocals before the guitars crunch in. Similarities with “Rime of the Ancient Mariner” can be drawn here, especially in the middle of the song with the light guitar and bass instrumental and then Bruce’s spoken word telling us about the seventh son of the seventh son. One difference is the choir sounding vocals accompanied by synthesizers which almost lull you to sleep before hitting you over the head with a guitar solo trade off which goes on for the final few minutes of the song.

Not the hidden gem, “The Prophecy” is still a great song. The intro is in line with the concept of the album and Bruce’s vocals take command. You got an almost hypnotic guitar solo at first before it explodes into a mega one. Still, it’s Bruce that makes this song tick. Following “The Clairvoyant” and closing out the album is “Only the Good Die Young.” No, it’s not a Billy Joel cover! Instead, it’s a fast paced metal rocker which takes the album out in a fine frenzy.

Track Listing:

1. Moonchild
2. Infinite Dreams
3. Can I Play With Madness
4. The Evil That Men Do
5. Seventh Son of a Seventh Son
6. The Prophecy
7. The Clairvoyant
8. Only the Good Die Young

Iron Maiden

Bruce Dickinson- vocals

Steve Harris- bass, synthesizers

Adrian Smith- guitar, synthesizer

Dave Murray- guitar

Nicko McBrain- drums

Iron Maiden were sitting on top of the metal world in 1988, although they’re pretty much still doing that today. They could do no wrong in 88 and “Seventh Son of a Seventh Son” is a reason why. Even if American radio (fools they are) didn’t take notice.

Next post: For the next couple of weeks, I will be cutting my album reviews to one a week. This is because I am writing a joint post with another blogger ranking albums. Unlike the joint post I wrote with 2Loud, this band has a few more albums I need to listen to. So next week’s post will be: Judas Priest- Ram It Down

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

With respect to this album, Bruce Dickinson and arguably the rest of Iron Maiden deserve a knighthood. To make this happen, 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: Saxon- Destiny

Writing the 80smetalman blog for nearly 12 years, (God, has it been that long?), I have come to this conclusion about British NWOBHM band Saxon. While they never achieved the commercial success of their contemporaries Iron Maiden or Judas Priest, (should I include Def Leppard here?), Saxon was a band who was well known throughout heavy metal circles on both sides of the Atlantic. Ask any metalhead around at the time and they would be able to tell you that Saxon was a great band. So, today’s question is: Does there 1988 album, “Destiny,” measure up to what I have just written?

My quick answer is, “Yes.” First, I will freely admit that listening to “Destiny” doesn’t want me to put more noted albums like “Denim and Leather” or “Wheels of Steel” on the shelf, it’s still a good album where Saxon does what they have always done. And no, this isn’t simply the case of an established band using the same old tired formula, they sound as fresh as they always have. The irony is that the album starts off with a cover of the Christopher Cross classic, “Ride Like the Wind.” Naturally, Saxon put their own spin on it and their version sounds really good. While I won’t waste typing fingers comparing the two versions here, I will say that it’s definitely worth an “Original vs. Cover” post, if 2Loud is willing to do so. If not, I could always do it.

“Ride Like the Wind” was released as a single and if you believe Wikipedia, it’s the only single from the album. This is not the case. What caught my attention in regards to the “Destiny” album was while watching “The Chart Show” on British television, during the show’s “Rock Week,” was the video for the song “I Can’t Wait Anymore.” For me, this track was better single material than the Christopher Cross cover anyway. It’s a mid tempo ballad and I love the lead guitar intro. Biff puts his soul into the vocals and the rest of the band provide the ground support. “Where the Lightning Strikes” makes a good bridge between the two singles.

The middle of the album is what distinguishes it as another great Saxon album. No nonsense power riffs launch “Calm Before the Storm” This is a pure cooker, guaranteed to get your head banging along to it. The keyboards at the chorus do nothing to change that fact as the power chords rule. I don’t know which guitarist cranks out the solo here but it’s damn cool. Next, they go a bit prog-metal, before it was a thing, on “S.O.S.” It begins with ocean sound effects before some heavy riffs kick in. I can’t be sure but I think it’s about a distressed ship but the backing vocals and bass line stands out particularly. It ends with a foghorn so I hope the ship was rescued.

Saxon change it up again on “Song for Emma.” The title and the mellow keyboard intro and soft first verse makes you think that this is going to be another ballad but the guitars kick in and the track takes off. Even though the second verse slows down, it can no longer be thought of as a ballad, it just kicks too much ass. It gets my vote for hidden gem, especially with that guitar solo. We can say that “Song for Emma” is definitely a climax but not a conclusion as the remaining tracks are quick to remind you. No, “For Whom the Bell Tolls” is not a cover of the Metallica classic but it’s a good song in its own right. However, I am reluctant to have the two songs in a “Songs with the Same Title” competition because as much as I like this Saxon number, it doesn’t quite measure up to Metallica. Then again, I could let you all decide.

Things go more 1980s with “We Are Strong” with the keyboards in the song. Maybe they needed one song which sounded contemporary and it’s a good song, if unspectacular. Biff’s unmistakable voice and the guitar hooks let you know that it’s definitely a Saxon song. However, they return to more mainstream metal with “Jericho Siren.” A straightforward metal tune and a cool penultimate track to set up the closer. With that, “Red Alert,” I wonder if Saxon were in the CND movement. This isn’t the only nuclear war song they’ve made. “Fire in the Sky” off the “Denim and Leather” album is another one. Still, it’s a great way to end the album.

Track Listing:

1. Ride Like the Wind
2. Where the Lightning Strikes
3. I Can’t Wait Anymore
4. Calm Before the Storm
5. S.O.S.
6. Song for Emma
7. For Whom the Bell Tolls
8. We Are Strong
9. Jericho Siren
10. Red Alert

Saxon

Biff Byford- vocals

Graham Oliver- guitar

Paul Quinn- guitar

Paul Johnson- bass

Nigel Durham- drums

Additional Musicians:

Steven Laws Clifford- keyboards

Dave Taggart, George Lamb, Phil Caffery, Steve Mann- backing vocals

Throughout the 1980s, Saxon kept cranking out great albums, it’s just a shame they weren’t more commercially successful. They definitely are a great band as “Destiny” proves.

Next post: Anthrax- State of Euphoria

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

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

Rest in Peace: Steve Grimmett

Man, it keeps coming! Once again, we have to say farewell and rest in peace to yet another from the music world. Former Grim Reaper singer, Steve Grimmett, has passed away, aged 62. FFI: Click the link: https://www.metalsucks.net/2022/08/15/grim-reaper-singer-steve-grimmett-dead-at-62/

Grim Reaper

Grim Reaper rode in on the New Wave of British Heavy Metal in the early 80s. They gave us three albums, one I will be posting about very shortly. After the disbandment of the band, Steve went onto sing with other bands such as Onslaught and Lionheart. Messages of condolence have been coming out. My sympathies go to his family and friends.

Rest in peace Steve Grimmett

Great Metal Albums of 1987: Shy- Excess All Areas

Back in the 1980s, Kerrang had section in the magazine called “Wimpwire,” where they would feature a “softer” metal band. It is here that I discovered the band Shy. Upon hearing their album, “Excess All Areas,” I tended to agree with Kerrang placing them in the section. There is a heavy keyboard sound on most of the songs but at the same time, there are power chords to be heard. Unlike some metal bands who tried to incorporate keyboards and synthesizers at the time, Shy does it very well.

Let’s start with the not so positive, it’s not really a negative. “Excess All Areas” is definitely a product of it time. There was the let’s turn up the keyboards a little more in the misguided belief that it would be more commercial successful. However, with the benefit of historical hindsight, we know that the idea didn’t work well with a lot of bands. Metalheads thought such bands were trying to go synth pop while the trendies heard the power chords and thought it was too metal. That is my conclusion as to why Shy didn’t get the recognition it deserved.

What I like about Shy was that they were really good musicians. I know I mentioned the keyboards but keyboardist Paddy McKenna plays them very well. His keyboard intros on the tracks “Emergency,” “Talk to Me” and the power ballad, “Just Love Me” are absolutely phenomenal. Furthermore, his work on the other tracks are no less such. The same can be said for guitarist Steve Harris, (no it’s not the bassist from another band playing guitar here). He plays a blinder of a solo on “Can’t Fight the Nights,” most notably but he too shows what he can do elsewhere on the album. Lead singer Tony Mills has the pipes for sure. He doesn’t have to go falsetto or anything like that but he just gets down to business on the songs. Roy Stephen Davis is more than capable on bass and the same for drummer Alan Kelly. The pair of them do form a formidable rhythm section.

Don’t get me wrong, while I said that the album has that, ‘dated effect” and while most don’t stand out, the songs are all decent. One song which really does is “Break Down the Walls.” Everything I said about the band counts double on the track. You get good, dependable vocals, a steady rhythm section, cool keyboard fills and some power chords and a brilliant guitar solo. That’s definitely the track and the fact Don Dokken co-wrote it with the band might have helped. Other good tracks is their cover of the only Cliff Richard song I like, “Devil Woman,” “Young Heart” and “Under Fire,” which is the hardest rocking track on the album. My conclusion that Shy had it in them to really rock out but bowed to the commercial pressure of the time because there was the potential for this album to have been colossal.

Track Listing:

1. Emergency
2. Can’t Fight the Night
3. Young Heart
4. Just Love Me
5. Break Down the Walls
6. Under Fire
7. Devil Woman
8. Talk to Me
9. When the Love is Over
10. Telephone

Shy

Tony Mills- vocals

Steve Harris- guitar

Paddy McKenna- keyboards

Roy Stephen Davis- bass

Alan Kelly- drums

Another band that seemed to have vanished into obscurity after the 1980s but there must have been something about Shy for me to remember them after all these years. They definitely had the tools to make it bigger but “Excess All Areas” made them a product of the time.

Next post: Montrose- Mean

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

Great Metal Albums of 1986: Tygers of Pan Tang- First Kill

Here is one band that totally passed me by back in the 1980s. While I had heard of Tygers of Pan Tang throughout the years, I never got around to listening to any of their material. That all changed about a year ago when a colleague I know from officiating (American) football gave me a bag full of CDs, three of which were from this band. None of those albums was their 1986 compilation album, “First Kill,” but the other albums I did listen to gave me more than enough reason to include them here.

All the tracks, except for the closer, were all from the band’s early days and were recorded live. Having a quick look back through the discography, the only songs which appear on other albums are “Euthanasia” and “Slaves to Freedom,” which appear on the debut, “Wild Cat,” although “Bad Times” and my personal favourite,”Straight as a Die,” appear on the 1997 re-issue. With all of that said, it doesn’t make that much difference because all of the songs appeal to me.

What impresses me the most about the band is the strings section. Guitarist Robb Weir hammers out some great guitar solos on the album, especially on my favourite track. Then again, his best solo is on “Slave to Freedom.” Mr. Weir really goes nuts on that one and because it’s live, I regret not being in the audience. On the downside and why “Slaves to Freedom” is not my favourite song, is because the vocals of Jess Cox sound strained on it. Anyway, I was talking about the strings section and I must point out that the bass playing of Richard ‘Rocky’ Laws is some of the best bass playing I’ve heard. I’m now going to make a bold declaration by saying he belongs in the same category as Billy Sheehan, Michael Anthony, Lemmy and so many others.

It’s not just Weir’s solos that I like. Many of the songs on “First Kill” open with some ear grabbing riffs. “The Final Answer,” “Euthanasia” and “Shakespeare Road” all open with great riffs and establish the songs right from the start. The latter of the three has some another noteworthy guitar solo and not to leave him out, it’s the track which best showcases the drumming of Brian Dick. Putting all of these elements together and listening to the result, I fail to see why Tygers of Pan Tang don’t get more recognition in mentions of new wave of British heavy metal, which they were part of. I guess they were to NWOBHM what the Johnny Van Zant band was to Southern Rock in the very early 80s, a great band that didn’t get the recognition it should have gotten.

Track Listing:

1. Slaves to Freedom
2. Angel
3. Straight as a Die
4. The Final Answer
5. Euthanasia
6. Shakespeare Road
7. Don’t Take Nothing
8. All Right on the Night
9. Bad Times
10. Small Town Flirt

*”Small Town Flirt” was recorded just prior to the release of the album and done with a different bass player and drummer. This band was officially known as Tyger Tyger and it was the only song they released.

Tygers of Pan Tang

Jess Cox- vocals

Robb Weir- guitars

Richard ‘Rocky’ Laws- bass

Brian Dick- drums

On “Small Town Flirt”

Brian Emerson- bass

Mr. Roland- drums

Better late than never they say. It’s definitely true in my case in regards to Tygers of Pan Tang. This was a great band, actually, they’re back together and touring so after listening to “First Kill” and some of their other albums, I will have to see them if they come around.

Next post: Agnostic Front- Cause for Alarm

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

Great Metal Albums of 1984: Tank- Honour and Blood

A term that has been batted around quite a lot here on 80smetalman is ‘hidden gem.’ In most cases, I use it to describe a song I really like on an album that has a well known single or two on it. On occasion, I have also used the term to describe albums from bands who have more well known albums than the one I am posting about at the time. Now, I’m going to use it to describe a band or two. Whenever the new wave of British heavy metal, (NWOBHM), is mentioned, the first bands that come to mind, even mine, are Iron Maiden, Judas Priest, Def Leppard and maybe Saxon. All of them great bands who have given us more than three and a half decades of great music. However as I tour through the years, I have discovered two hidden gems from the NWOBHM age. One I posted about a couple of months ago, Grimm Reaper. The other is brought to you now, Tank. I knew of both bands back in the day and loved them and often wonder why neither of them were as big as the others.

Back in those days, I had become quite diligent in scouring the heavy metal import section at my local record store and that’s where I came across what I think is their best album, “Honour & Blood.” The problem is that I didn’t appreciate it enough back then, so I’m making up for it now. What you get with this album is seven songs of pure metal magic. The shortest song is a mere four minutes and thirty-seven seconds long and there is only one other song less than five. Tank go off on crazy long metal jams which are just superb. There is not one song, even the two that are eight minutes long, where I am thinking that the song has gone on for too long. BTW, those eight minuters are the opening and closing tracks on the album and a good way to do it. Especially so on the closer because it features the very amusing lyrics, “Kill, the poor bastard’s dying.” What a fun way to the close the album, of course the cool guitar solo kind of punctuates it too.

As for the songs in between, they are all great! “When All Hell Freezes Over” is a typical but well done pure metal jam and I’m hooked by the way they sing the chorus. Blistering guitars adorn the title track. “W.M.L.A. (Wasting My Life Away)” and “Too Tired to Wait For Love” are also great metal anthems and more than just amusing titles. However, my favourite track is the cover of the Aretha Franklin hit, “Chain of Fools.” I admit, the rhythm reminds me a little of the Rolling Stones classic, “Satisfaction,” but the song just kicks it.

Track Listing:

1. The War Drags Ever On
2. When All Hell Freezes Over
3. Honour and Blood
4. Chain of Fools
5. W.M.L.A. (Wasting My Life Away)
6. Too Tired To Wait For Love
7. Kill

Tank

Algy Ward- bass, vocals

Cliff Evans- guitar

Mick Tucker- guitar

Graeme Crallan- drums

The more I reflect back to those years, the more convinced I am that Tank were a hidden gem in the new wave of British heavy metal. They may not have hit it as big as the others, constant personnel changes didn’t help them there, but they left behind several albums, including “Honour and Blood” for us to enjoy.

Next Post: TNT- Knights of New Thunder

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Great Metal Albums of 1984: Iron Maiden- Powerslave

Having had a glance back at posts about previous Iron Maiden, I mentioned when I posted about the “Piece of Mind” album, that the first Iron Maiden album I actually bought was “Live After Death,” which wouldn’t come out for another year after, “Powerslave.” But it was buying that great live album that got me to get off my ass and check out their earlier albums, including this great 1984 offering, “Powerslave.”

When you hear a song on a live album and then hear the studio version or vice versa, it’s hard not to compare and contrast the two versions. It is even more of the case when listening to “Powerslave” because four songs from it are played on “Live After Death.” There are some interesting comparisons both ways here. Take the opener. “Aces High” is a great song to open the album with. However, the live version is an even better song to open a concert on. It seems that the live version is played with much more intensity. That’s just my opinion. Thinking about it more, one thing that pisses me off is the fact that whenever there is talk about the Battle of Britain, “Aces High,” which is a great song to commemorate the battle, is never mentioned. This song is not only a great metal tune, it should be used as a teaching tool in schools.

On the other hand, the title track, sounds just average on “Live After Death.” It’s played well and all that but it just sort of blends in along with all the great songs from the other studio albums that are played live. However, it does stand out more on the studio album that bears its name and as a result, I get into it more. In regards to the other two songs from this album that appear on the live album, “Two Minutes to Midnight” and “Rime of the Ancient Mariner sound just as good played either way.

Now before stones start getting hurled at me, when I say that the title track stands out more, I am no way implying that the other songs on the album are sub par. I enjoy listening to all the songs on “Powerslave.” “The Duellists” is a great song where guitarists Smith and Murray trade off solos very well. I also find the instrumental, “Losfer Words” very enjoyable as well. I think that like the previously mentioned song, Adrian and Dave were given more liberty to shine on their six strings and with fantastic results! “Back in the Village” is a more powerful Maiden track that gets more in your face. So you have a little bit of everything Iron Maiden can do at their best here and that makes a fine album.

Track Listing:

1. Aces High
2. Two Minutes to Midnight
3. Losfer Words
4. Flash of the Blade
5. The Duellists
6. Back in the Village
7. Powerslave
8. Rime of the Ancient Mariner

Iron Maiden

Bruce Dickinson- vocals

Steve Harris- bass

Dave Murray- guitar

Adrian Smith- guitar

Nicko McBrain- drums

Heavy metal was exploding across the world in 1984. Great bands from all around the world were making their mark but it was still great that all the great NWOBHM bands like Iron Maiden were leading the charge and still proving they were a force to be reckoned with. “Powerslave” stamps that point emphatically.

Next post: Mercyful Fate- Don’t Break the Oath

To buy Rock and Roll Children, go to: https://book-fm.cf/print/free-download-rock-and-roll-children-by-michael-d-lefevre-pdf.html

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Great Metal Albums of 1984: Saxon- Crusader

My trip through all the great albums of 1984 has led me to make many conclusions about the year, the music and certain bands. Here’s another one. It is my belief that Saxon were the best band from the new wave of British heavy metal, (NWOBHM), age not to have made a major impact in America. Sure, I had heard of them and even heard a couple of their songs back when I was in the marines stationed on Okinawa and liked them, but I never got around to listening to them properly until early 1985 when I heard their classic “Princess of the Night” from the outstanding “Denim and Leather” album on a metal compilation album. While I did make up for that mistake afterwards, I still think that Saxon never really got the recognition in America they truly deserved.

Onto Saxon’s 1984 album “Crusader.” The problem is that when any band puts out the album one calls their favourite by that band, all other albums are held in comparison to that one. In my case, all Saxon albums are held up to the light shone from “Denim and Leather” and that’s not particularly fair to “Crusader.” What Saxon did on this album is to take all the great things from the one album and recreate it on this album while at the same time not making it a total clone of the former. I think the objective was achieved on “Crusader.”

I love the way “Crusader” opens. It starts with medieval fanfare with galloping horses and all before going into the big title track. For me, it’s history coming to life through music as the story of crusaders is told in the song. It also helps that that period of history is one of my favourite eras. You know, knights on horses hacking down their enemies with swords, damsels in distress and catapults reducing castles to rubble, I love all that. I do think that if teachers play this song while teaching about it in school, more metalheads would wake up and pay attention and learn about all about the Crusades.

Tired cliche alert: One song doesn’t make or break an entire album. The rest of “Crusader” holds up very well and I do hear all the good things done on “Denim and Leather” on it. It’s just that one track, “Just Let Me Rock” seems to take all of those good things and incorporate them all into one song, although the title track of “Denim and Leather” seems to be the biggest influence here and that’s not a bad thing because Saxon definitely did not simply clone that song. On that thought, “Bad Boys Like to Rock and Roll” sounds like a fusion of the “Denim and Leather” tracks “Rough and Ready” and “Midnight Rider” and again, it’s done very uniquely and played outstandingly. The one song where there is no influence from my favourite Saxon album is the power ballad, “Do It All For You.” Power is the key word in the song and it does belt your eardrums even though it’s a ballad. However, the big clincher on the track is the Biff’s vocals. His best effort definitely shines through here.

I usually view covers of songs with a hint of cynicism and I did so with the cover of The Sweet classic, “Set Me Free.” Another cliche alert: Saxon put their own stamp on it and make the song their own, believe me they do. It’s not often that I like a cover as much, possibly more than the original, but I can’t fault Saxon’s efforts here. The answer, I think to why I like this song and all the other songs so much, is the guitar work of Oliver and Quinn. Both guitarists are simply exemplary on the album.

Track Listing:

1.  The Crusader Prelude
2. Crusader
3. A Little Bit of What You Fancy
4. Sailing to America
5. Set Me Free
6. Just Let Me Rock
7. (Bad Boys) Like to Rock and Roll
8. Do It All For You
9. Rock City
10. Run For Your Loves

Saxon

Biff Byford- vocals

Graham Oliver- guitar

Paul Quinn- guitar

Steve Dawson- bass

Nigel Glockler- drums

While I might have only highlighted a few songs on “Crusader,” let me just say that all the songs make this album great.

Next post: Motorhead- No Remorse

To buy Rock and Roll Children, go to: https://book-fm.cf/print/free-download-rock-and-roll-children-by-michael-d-lefevre-pdf.html