Great Metal Albums of 1989: Red Hot Chili Peppers- Mother’s Milk

First an 80smetalman announcement: As a result of reading the background behind the Red Hot Chili Peppers’ album, “Mother’s Milk,” after I finish the tour of 1990 and before I go further into the 90s, I am going to go back and post about albums I have missed out on the tour of the golden decade of heavy metal and before.

My introduction to RHCP came from a friend in London who raved about them. Then when I went to the 1990 Doningtion Festival, I was handed a free metal compilation tape which included the song, “Stone Cold Bush,” which appears on the album. Naturally, I followed the band through the next decade as a result of that experience but I remained ignorant of their earlier output before “Mother’s Milk.” That will be rectified as well as other albums I missed like the entire Graham Bonnet era of Rainbow. Somebody shoot me!

Getting on with the album, maybe in my case, “Mother’s Milk” was the best introduction of RHCP for me. The album highlights everything I loved about this band in the years after. They practically singlehandedly introduced the world to a new subgenre called funk metal. In each of the tracks, I hear the funk and I hear the metal. So, why not combine the two? It works absolutely well here. They even bring that to the two covers on the album, the cover of Stevie Wonder’s “Higher Ground” and the Jimi Hendrix classic, “Fire” and give both covers a unique spin.

They bring some humour on a couple of songs as well. I’m not sure how seriously I should take the track “Magic Johnson.” Was the band LA Lakers fans or were they trying to parody the basketball legend? Then again, does it really matter because it’s a fun song. The same can be said for the short but sharp, “Punk Rock Classic.” Were they making fun of punk rock? In any case, it is one to have a good slam dance to. Not a parody that I can hear but “Nobody Weird Like Me” is also way out there. I do like the guitar solo on it but the song is definitely weird, in a good way of course and if I hadn’t heard “Stone Cold Bush” all those years ago, it would have been my choice for hidden gem.

Three singles were released from the album, one was the Stevie Wonder cover and another was “Taste the Pain.” However, of the three, the one I like most is “Knock Me Down.” There is an appeal to be played on radio vibe to the song but there is an element of metal which flows through it that I really like. It depicts the negative stereotype towards rock stars and disavowing of drugs. That could be a result of the loss of founding guitarist Hillel Slovak from a heroin overdose before the album was recorded.

Going back to humour, I don’t think these days the RHCP or any band for that matter, would have gotten away with the track, “Sexy Mexican Maid.” But if you can put your mind in 80s mode, it is a good track. As for the hidden gem, the reason why it goes to “Stone Cold Bush” is not just because I first heard it back in 1990, but also I love how guitarist John Frusciante and bassist Flea come together on it.

Track Listing:

1. Good Time Boys
2. Higher Ground
3. Subway to Venus
4. Magic Johnson
5. Nobody Weird Like Me
6. Knock Me Down
7. Taste the Pain
8. Stone Cold Bush
9. Fire
10. Pretty Little Ditty
11. Punk Rock Classic
12. Sexy Mexican Maid
13. Johnny, Kick a Hole in the Sky

Red Hot Chili Peppers

Anthony Kiedis- lead vocals except tracks 8 and 10

John Frusciante- guitar, backing vocals, co-lead vocal track 6

Flea- bass, backing vocals, trumpet, co-lead vocals track 4

Chad Smith- drums, percussion, tambourine

Hillel Slovak- guitar, backing vocal track 9

Jack Irons- drums track 9

And no sign of Steve Lukather!

While the Red Hot Chili Peppers made albums prior to “Mother’s Milk,” I think it was the best introduction to the band for me. I will go back in time for the other albums.

Next post: Billy Squier- Hear and Now

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Great Rock Albums of 1989: Deborah Harry- Def, Dumb and Blonde

Deborah Harry disappeared off my radar sometime around 1981. When I was posting about that year, I stated that she abdicated the throne as Queen of Rock when her band, Blondie, put out that awful “Auto-American” album. As a result, in 1980, Pat Benatar effortlessly took the throne. Debbie did put out some albums in the 80s but they totally escaped my notice, at least until 1989. For the record, I thought Blondie went disco with that awful album.

Deb returned to my radar in 1989 when her big hit, “I Want That Man,” from her album, “Def, Dumb and Blonde,” was all over the radio in the UK. From what I remember, I thought “I Want That Man” was an okay song, not one which lingered in my memory until now. Hearing it again after so many years, I like it. There is a enough guitar to make it a commercially viable rock song, which didn’t drive metalheads away.

“Def, Dumb and Blonde” is divided into three parts. While all of the songs on it have a definite 80s punk/new wave vibe, the first four songs lean more towards hard rock. “Lovelight” leans towards rock and so does in less of a way, “Kiss It Better.” However, I am glad I am posting about version of the album which was released on CD, otherwise, I would have missed out on a really good rocking tune, “Bike Boys.” This song takes me back to the very early days of Blondie, I’m talking the iconic “Parallel Lines” album. It’s great hearing that Deb can still rock!

While on the subject, when the album was released, all three formats, vinyl, cassette and CD were all different. Some had more tracks like the CD release which had 15. The rocking “Bike Boys” doesn’t appear on the vinyl version. In any case, the album heads into more synth pop territory with “Get Your Own Way.” There is some still rocking moments on the song but it is where things go down the pop road. Another point from this song is that I’m not sure if I should take Debbie’s rapping part seriously.

While the album goes down the synth pop road, it’s not as bad as I might be insinuating. The track, “Maybe for Sure,” does have a little power chord and although most of it sounds like a synthed out version of “Sunday Girl,” guitarist, Christ Stein, plays his best solo. I think Chris has never been let off the lead to show what he could do on his guitar. I’m not saying he’s a Malmesteen, Blackmore or Nugent but his solos are good. That was the case when he was in Blondie and the case on this album. He should have been allowed to play more guitar solos.

The next few songs are definitely more 80s pop and while they’re not that terrible, they don’t hold my interest much. “I’ll Never Fall in Love,” on the other hand, is pretty bad and “Calmarie” isn’t much better. Fortunately, the album rebounds with “He Is So.” This one is more of a rock tune, however, if they let Chris play a guitar solo, it would have been better. He does play a cool guitar hook in the intro of “Bugeye” and that is the best part of the song.

“Comic Books” is a fast and furious punk song and builds things up and “Forced to Live” is even better. It is great to see Debbie going back to her roots. But what surprised me most about “Def, Dumb and Blonde,” is the closer, “End of the Run.” Deborah goes progressive rock here and it’s done very nicely. When I heard it, I had to say, “Well done Debbie!” This track really is quite something, a great way to end the album.

Track Listing:

1. I Want That Man
2. Lovelight
3. Kiss It Better
4. Bike Boy
5. Get Your Way
6. Maybe For Sure
7. I’ll Never Fall in Love
8. Calmarie
9. Sweet and Low
10. He Is So
11. Bugeye
12. Comic Books
13. Forced to Live
14. Brite Side
15. End of the Run

Deborah Harry

Deborah Harry- vocals

Chris Stein- guitar

Steve Goldstein, David Bravo, Toni C, Johann Brundquist, Phil Ashley, Bobby Khozouri, Mac Quayle- keyboards

Leigh Foxx- bass

Terry Bozio, Thommy Price, Geoff Dugmore, Arthur Baker- drums

Paulinho DeCasta- percussion

Ian Astbury, Mike Chapman- Gary Valentine, Adele Bertei, Arif St. Michael, Biti Strauchn, Dennis Christopher, Keith Primi- backing vocals

It was great to see that Deborah Harry hadn’t disappeared from the face of the Earth. While I won’t say that “Def, Dumb and Blonde” was a classic rocker but there are some good tunes on it, especially the closer.

Next post: Don Henley- The End of Innocence

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

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

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

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

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

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

Track Listing:

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

Dayglo Abortions

Spud- bass, vocals

Cretin- guitar, vocals

Nev (The Impaler)- guitar, vocals

Mike Anus- guitar, backing vocals

Jesus Bonehead- drums, backing vocals

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

Next post: Acid Reign- Moshkinstein

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Two Nights of Great Metal in Edinburgh, Scotland

It’s been nearly a week since my weekend in Edinburgh, Scotland but this is the first chance I had to fully write about it. I had a great time but I will leave out all the touristy stuff, you can read all about that on my Peaceful Rampage blog. Here, I want to focus on the musical part of the weekend and there is a lot to focus on. When I Googled rock and metal bars in Edinburgh, one of the hits was a pub called The Banshee Labyrinth. The name alone made me want to check it out and the fact that they featured some great live music on both nights was a big bonus.

Patrons of the Banshee Labyrinth

Some cool decoration

Friday:

After making my way through the labyrinth, trust me, it’s literal with all the rooms and corridors, I found where the live music was. The band on stage on my arrival was Portable Head, a four piece outfit from Dundee. Unfortunately, I only caught the last ten minutes of their set so I really can’t say much about them except I liked what I saw and heard.

Portable Head opening the evening festivities

Unfortunately, my mobile stopped recording when I turned it sideways

A horror theme greeted the audience when Gravelle, (pronounced Gravel), took the stage. They might have only been a duet but they had the stage presence of a much larger band. Furthermore, their appearance, especially the male member dressed as female are not for the narrow minded. However, their brand of horror-gothic rock and subsequent stage show provided some great entertainment. I thoroughly enjoyed watching this band.

Gravelle frightening the crowd

They are a very versatile band

Friday headliners, Unreal, were definitely not for the weak of heart. Another duet, this time it was guitarist and singer, backed up by a recorded drum and bass, obliterated the room with their screamo- thrash metal. I’m surprised no mosh pit opened up while they were on stage as it would have been appropriate. Nevertheless, Unreal’s assault on the eardrums was an excellent way to end the evening.

Unreal were unreal

Saturday

Saturday day time was very manic as my stepdaughter and tour guide, Loretta, dragged us all around the city centre. We had a very busy day seeing the sights and when we returned to the hotel, Mrs. 80smetalman was exhausted. So, while she had an early night, I returned to the Banshee Labyrinth. Unfortunately, for the second straight evening, I got there late and only caught about five minutes of the opening band, RMVR. They were another duet, this time with guitar and drums. Again, for the brief time I saw and heard them, I liked what I did see and hear.

RMVR

Now, I’m angry with my Swiss cheese memory but I think the second band of the night was called Dreaming of Dead Flowers. While, I apologize to the band if I got the name wrong, I can say that this trio totally kicked ass! They played some straight up neo- speed metal and it was a joy to see them perform.

Dreaming of Dead Flowers, I hope that’s their name.

Headliners, Voodoo Twins, were not about to be outdone. Even though three quarters of the band were closer to my age than many in the audience, they had an energy of people much younger. They brought a very cool punk/metal sound to the evening which was very warmly received. A small mosh pit opened at the front towards the end of the set. Vocal duties were shared between the guitarist and bassist which added a further dimension to the band as did the keyboards. Hell, on one intro, I thought they were going to play a cover of “Mr. Crawley.” Still, they ended a second great night of live music.

Voodoo Twins take control

Some cool work on the keys

Voodoo Twins going for glory

I don’t know why these videos are sideways.

So, if you ever go to Edinburgh, definitely call into the Banshee Labyrinth. You can get great beer, other drinks and fantastic live music. Mrs. 80smetalman is already planning next year’s trip so I will be heading back for sure. Especially because they have The Trooper on draught.

Next post: KISS- Smashes, Thrashes and Hits

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Great Metal Albums of 1988: D.A.D.- Special

I’m beginning to wonder if Denmark is an untapped vein for heavy metal. Of course, we know of the famous Danish band, Mercyful Fate and the solo career of lead singer, King Diamond. The other day, I was listening to another Danish metal band, Fate, and their 2006 “V” album, which is an excellent album. Recently, I have been delving into today’s offering from Denmark, D.A.D. For those who might not know, the initials stand for Disneyland After Dark but the band had to change its name after the threat of a lawsuit from the Walt Disney corporation.

“Special” is a compilation album with songs from their first two albums, “Draw a Circle” and “Call of the Wild.” Now my only experience of this band was their best known song, “Sleeping My Day Away,” which will appear when I post about their next album. Therefore, this was another learning experience for me and what I now know is that there is a bit of humour to these songs and a new genre called cowpunk.

Album opener, “Isn’t That Wild” is done in the style of the Dead Kennedys. I can picture DK singing this tune but D.A.D. do a grand job. If I hear the lyrics correctly, I think the song is about satellite television, which was gaining in popularity at the time. Next comes “Marlboro Man,” which is about cigarettes. It’s done in a neo punk/blues fashion making it a fun song to listen to. Again, I’m not totally clear here but I think it’s an anti- smoking song. Then again, it could be having a dig at the anti- smoking brigade.

If I had heard “I Won’t Cut My Hair” in 1984, it would have been my theme song. It’s what it says in the title, about someone who won’t cut his hair. It’s done in a hard rock/blues fashion and the guitar is brilliant. Best song on the album. I don’t know which of the Binzer boys plays the guitar solo on this one but it’s fantastic!

“Jonnie” and “Trucker” could be almost country songs. There is a twang to both of the songs but with a more harder guitar sound. Maybe that’s what cowpunk is. Furthermore, both songs are derived from traditional country music themes, trucks and going to shoot someone who’s done them wrong. Then again, “Call of the Wild” could have been used in a western movie. When I listen to the beginning, I picture Clint Eastwood walking across the street in an old western town.

Entwined between those three songs is a more commercial track called, “It’s After Dark.” I speculate this was where the band got its original name from. I like the chorus lyrics stating Disneyland is closed, so let’s go out and get drunk. Then we get a very amusing song which proves humour can be effectively used in metal called, “Mighty Mighty High.” Is this song glorifying smoking weed? More likely, it’s taking a poke at being high. Then again, who cares, I love the punk tone the song is done in. This one is the hidden gem for this album.

The humour carries on with the short but hilarious “Counting the Cattle” and the longer but no less funny, “God’s Favourite.” The former is a total piss take of country music. The latter is more punk/metal and there is a good bassline in it and it could be the forerunner to the big hit which would come a year later. There are definitely similarities with those two songs.

Everyone remind me come December when I write a Christmas post to include “Sad Sad Christmas.” While the theme is meant to be sad, a father and son spending Christmas own their on after mother left. It even has a Christmas themed intro and goes more country. In spite of all that, I can stop laughing when I hear the song.

The western theme returns with “Never Never (Indian Love).” Actually, it could have been a good country western song. It’s about a man who is lamenting his love with a Native American girl. Closing the album is a cowpunk song for sure, “Up Up Over the Mountain Top.” Trust me, it’s the best way to end this album.

Track Listing:

1. Isn’t That Wild
2. Marlboro Man
3. I Won’t Cut My Hair
4. Trucker
5. Jonnie
6. It’s After Dark
7. Call of the Wild
8. Mighty Mighty High
9. Counting the Cattle
10. God’s Favourite
11. Black Crickets
12. Sad Sad Christmas
13. Never Never (Indian Love)
14. Up Up Over the Mountain Top

Jesper Binzer- vocals, guitar, banjo

Stig Pederson- vocals, bass

Jacob Binzer- guitar, tap steel, piano, keyboards, backing vocals

Peter L. Jensen- drums, percussion, backing vocals

I learned something, I learned how that Disneyland After Dark, stuff Walt Disney, are a really good band who write some very amusing songs.

Next post: Hurricane- Over the Edge

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Rest in Peace DH Peligro

DH Peligro

I have just learned of the passing of Dead Kennedys drummer DH Peligro. Reports say that he died from a head trauma caused by a fall at home. He was 63, My thoughts go out to his family and the band, which he was a member of from 1981-6 and then 2001-8 and from 2009 to the present day. For me, the Dead Kennedys defined punk in America and put out some great albums in the 1980s which I have covered here. Join me in saying Rest in Peace DH.

FFI: https://www.metalsucks.net/2022/10/30/dead-kennedys-drummer-d-h-peligro-passes-away-at-63/

Great Rock/Metal Albums of 1988: Transvision Vamp- Pop Art

One final thought from my short story on Mike’s blog. I’m surprised that Fundamentalist Christians or fanatical Muslims haven’t called for my head. After all, I did write that Jesus and Mohammed come to Rock Heaven and jam with the musicians there, sacrilege! However, I stick by my assertion that both religious figures are pretty sick of humans who twist their teachings in order to denounce rock music. Well, that’s my last mention of my story, at least until I think of something else.

Like “Rock and Roll Heaven,” which has stuck in my mind for nearly fifty years, the first song on English pop rock band, Transvision Vamp’s debut album, “Pop Art,” has stuck in my head for thirty-four years. That song is “Tell That Girl to Shut Up.” The rocking guitar chords get my attention first but really stuck in my mind was lyrics, “Tell that girl to shut up, you better tell that girl I’m gonna beat her up,” completely amused me. From then on, the song has stuck in my mind. I’m a little surprised that it wasn’t on any right winger’s hit list. After all, it does promote girl on girl violence with lyrics like “Maybe if I hit her, maybe if I pull her hair.”

Let me clarify, it’s Wikipedia who calls this album pop rock. For me, it’s definitely more rock than pop. In fact, there are elements of new wave, punk, progressive rock and even metal. The great thing is that Transvision Vamp mix all of these things and make a really great album with it. There is a progressive style intro on the opener, “Trash City” but the guitar kicks in and you get a cool rock jam. Even their top ten single, “I Want Your Love,” is a pure hard rock anthem. In fact, I was a little surprised that it was released as a single, let alone did better than the next track, “Sister Moon,” which is ballad like in some places and I would have thought more radio friendly. But that’s what is so good about this band, it’s their hard rock songs which really make it here.

In the vein of “Tell That Girl to Shut Up” is the hidden gem of the album, “Psyochosonic Cindy.” This is more of a punk, new wave type of track and the band really goes for it and even Google can’t give a definition for ‘psychosonic” but who cares, it’s a great tune. This brings me to my next point, while the band is really tight, it’s the vocals of firecracker Wendy James which really takes things to another level. Yes, I admit she tingled my male hormones back then and still does now but it’s her sheer energy and vocal talent which needs to be praised. I don’t think the band would have been so successful without her.

Maybe it’s because the latter half of the album veers a little from heavy rock is why it was called pop rock. I don’t hear anything pop about any of these songs. They are well done in a new wave type of style. “Wild Star” starts out like it’s going to be a cowboy song. Though I don’t know who Halo Jones is but the song makes me kind of want to hang out with him and what a way to find out that “Andy Warhol’s Dead.” Like the opener, the album closes in a more progressive rock style with “Sex Kick.” This song is way out there with a more prog sound and Wendy’s moans of passion add a cool dimension but it’s a great way to close the album.

Track Listing:

1. Trash City
2. I Want Your Love
3. Sister Moon
4. Psychosonic Cindy
5. Revolution Baby
6. Tell That Girl to Shut Up
7. Wild Star
8. Hanging Out With Halo Jones
9. Andy Warhol’s Dead
10. Sex Kick

Transvision Vamp

Wendy James- lead vocals

Nick Christian Sayer- guitar

Dave Parsons- bass, backing vocals

Tex Axile- keyboards

Pol Burton- drums

Additional Musicians:

Matthew Seligman- bass

Phil Smith- saxophone

D. Manic B’Man- keyboards

Adam Peters- electric and acoustic cello

Nick Marsh, China Blue, Carol and Karen- backing vocals

It still amazes me how one song from decades ago can still stick in the mind after decades. “Tell That Girl to Shut Up” is such a song but it did lead me to a great album in “Pop Art.”

Next Post: Blue Oyster Cult- Imaginos

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Great Metal Albums of 1987: Agnostic Front- Liberty and Justice For…

One year after their controversial “Cause for Alarm” album, Agnostic Front were back with “Liberty and Justice For….” Like with the previous album, the band went through various line up changes and by the time the new album was recorded, the only remaining member from that previous album was rhythm guitarist Vinnie Stigma.

With “Liberty and Justice For…” Agnostic Front continued their crossover from hardcore punk into thrash metal. While I can’t say for 100%, it also seems that they also steered themselves away from right wing lyrics. The album kicks off with “Liberty and Justice” and begins with a classroom full of school children reciting the pledge of allegiance. However, the pledge stops right after “One nation under God” and goes into a massive thrash-out. The children say the final line at the end of the song, “With liberty and justice for all.” Lyrically, the song isn’t right wing but laments how the US is destroying itself while politicians don’t seem to care. Doesn’t sound right wing to me, just a fact.

Like the Stormtroopers of Death and Napalm Death, Agnostic Front launch a short but fatal attack on delicate eardrums with eleven songs in just over twenty-five minutes with no quarter asked for or given. Each and every song is just one massive thrash frenzy. The slowest song on the album is “Another Side,” at least it starts at 1990s Metallica speed before jettisoning into normal Agnostic Front speed. It does slow down in the middle before lead guitarist Steve Martin, no not the comedy actor, plays his best solo on the album. There is a similar vibe on the next track, “Happened Yesterday,” though that doesn’t slow down as much. But like with everything about this album, it’s short and to the point. The only possible exception might be the penultimate track, which is slow enough to hear the lyrics. There’s a definite Suicidal Tendencies vibe on this one. In this case, it works perfectly.

Track Listing:

1. Liberty and Justice
2. Crucial Moment
3. Strength
4. Genesis
5. Anthem
6. Another Side
7. Happened Yesterday
8. Lost
9. Hypocrisy
10. Crucified
11. Censored

Agnostic Front

Roger Miret- vocals

Steve Martin- lead guitar

Vinnie Stigma- rhythm guitar

Alan Peters- bass

Will Shepler- drums

Thrash bands came and went in the late 1980s but Agnostic Front kept going. I must warn people, “Liberty and Justice For…” is not for the feint hearted. It’s one speed frenzy almost from start to finish but it’s one thrash party I will attend every time.

Next post: Glass Tiger- The Thin Red Line

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Great Metal Albums of 1987: Napalm Death- Scum

When listening to the debut album, “Scum,” from British metal band, Napalm Death, the first question which arises is: Is Napalm Death the British version of the Stormtroopers of Death? Like the S.0.D., whose album “Speak English or Die” had twenty-one tracks in under thirty minutes, “Scum” has twenty-eight tracks in little over thirty-five minutes. Also like their American predecessor, the album is full of ear-bashing short, sharp, in your face tracks. Many of the tracks on “Scum” are under one minute in length but when you listen to them, the interesting thing is that it feels like a full three minute song crammed into that little amount of time.

What is just as interesting is that the band had a complete lineup change while making the album. The first half of the album has a different singer, guitar and bass than the second half with drummer Mick Harris being the only permanent fixture. However, I don’t hear any real change when I listen to the album. It’s still an all speed ahead assault on your eardrums. Some will even raise the criticism that you can’t understand the lyrics being sung but guess what? I don’t really care. This is just a great album to thrash out and create lots of mayhem to. My only regret resulting from listening to the album is that I have never seen them live. I think that would be an experience.

One challenge I had when listening to “Scum” was identifying stand out tracks. It is a challenge when songs are over just as you are getting into them. Although, there are tracks like “Born On Your Knees” which has a cool intro as well an instrumental portion to mosh along to. Another song which I think stands out is “Polluted Minds.” While only a minute long, it packs a very powerful punch. “Prison Without Walls” is another memorable one, not that any of these songs aren’t. However, what you do get here is twenty-eight tracks to have a great mosh to.

Tracks Listing:

1. Multinational Corporations
2. Instinct for Survival
3. The Kill
4. Scum
5. Caught…in a Dream
6. Polluted Minds
7. Sacrificed
8. Siege of Power
9. Control
10. Born On Your Knees
11. Human Garbage
12. You Suffer
13. Life?
14. Prison Without Walls
15. Point of No Return
16. Negative Approach
17. Success
18. Deceiver
19. C.S.
20. Parasites
21. Pseudo Youth
22. Devine Death
23. As the Machine Rolls On
24. Common Enemy
25. Moral Crusade
26. Stigmatized
27. M.A.D.
28. Dragnet

Napalm Death

Tracks 1-12

Nik Napalm- vocals, bass

Justin Broaderick- guitar, vocals

Mick Harris- drums

Tracks 13-28

Lee Dorrian- vocals

Jim Whitely- bass

Bill Steer- guitar

Mick Harris- drums, vocals

History has determined that “Scum” marked the official initiation of the sub-genre now known as grindcore and Napalm Death have been attributed as its pioneers. I won’t debate that fact but all I know is that I have come to love having my ears cleaned out by the album.

Next post: Testament- Live at Eindhoven

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

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Great Punk Albums of 1987: Gaye Bykers on Acid- Drill Your Own Hole

Everyone’s question when they see the name of this band is: Is it just a clever name? Originally, I thought the answer was ‘yes’ because two people I know saw them live opening for such greats as Motorhead and both said that Gaye Bykers on Acid were rubbish. Therefore, for many years I ignored them. However, since I began blogging, I realized that I shouldn’t just let someone else’s opinion deter me from checking out a band on my own. Whether people like it or not, Gaye Bykers on Acid were a part, albeit a small part, of music history in 1987 and that’s why they are getting their spot here on 80smetalman.

What I like about their debut album, “Drill Your Own Hole” is that it doesn’t fit nicely into any preconceived pigeon holes. Wikipedia attempts to define the album as ‘noise rock’ or ‘neo psychedelic rock’ and I see small arguments in both cases. The opening track, “Motorvate,” gives weight to the argument as is sounds like The Doors going post punk. On the other hand, although there is no mention of it in what I’ve read about the band and this album and it could prove my insanity, I detect a strong Dead Kennedys influence on many of the tracks. Tony Byker’s guitar licks sound very much like East Bay Ray’s from the Dead Kennedy’s “Frankenchrist” album.

One track which is way out there is “Zen Express.” The intro sounds very similar to that of the theme song to “Friends” but goes more like a punked up version of The Monkees after. Another comment from a critic way back then is that the Gaye Bykers on Acid sound is the collision of punk and hippy psychedelic rock. That collision is abundantly clear on this track. The track which follows it, “Git Down,” is more like the Kennedys sound but with some wild soloing from Tony. But the track also has a bit of a swagger to it as well.

“World War 7 Blues” would be a great song for a cover from a heavy metal band. There is a definite metal vibe which you can surely bang along to. Just add some power chords. Saying that, Tony’s riffs are good on this one as well and this brings me to my next point. The glue which holds the album together is the strong bass lines from Robber Byker. You have probably already guessed that the band is all surnamed Byker but anyway, Robber does a fine job on the album.

It’s Jim Morrison meets Madness on the track “After Suck There’s Blow.” That’s the only way I can describe this track except unlike Madness, there’s no horns on the song. The remainder of the album goes out on pretty much the same vein with lead singer Mary Byker sounding like a punk Jim Morrison, interesting guitar riffs from Tommy and Robber and Kev Byker laying down a strong rhythm section. On top of that, they take the piss out of TV evangelists on “Drive-In Salvation.” I always tip my hat to anyone who does that. So, while they might have sucked live, “Drill Your Own Hole” is a decent album in its own right.

Track Listing:

1. Motorvate
2. Call Me a Liar
3. All Hung Up
4. Zen Express
5. World War 7 Blues
6. Git Down (Shake Your Thang)
7. After Suck There’s Blow
8. So Far Out
9. Drive-In Salvation
10. TV Cabbage

Gaye Bykers on Acid

Mary Byker (Ian Garfield Hoxley)- vocals

Tony Byker/Phlegm Lubricant/Tony Shuttleburger/Sven Eleven (Tony Horsfall)- guitar

Robber Byker (Ian Reynolds)- bass

Kev Byker/Cubehead Buffalo Hyde/Gavina Hyde/Kenny Pride (Kevin Hyde)- drums

Another amusing point in regards to the “Drill Your Own Hole” album is that the first 1,000 pressings came without the hole in the centre. So, in order to listen to the album, you had to do what the album title said. After much thought and several listens to the album, I have come to the conclusion that this is a good album but you need an open mind and a sense of humour to fully appreciate it.

Next post: Motorhead- Rock and Roll

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

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