Archive for speed metal

Great Metal Albums of 1985: Slayer- Hell Awaits

Posted in 1980s, Concerts, Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , , , , , , on November 2, 2018 by 80smetalman

As 1985 progressed, I found myself moving away from mainstream music and delving into heavy metal bands who weren’t likely to be played on the radio. It was here where I cut my teeth on bands such as Venom and Slayer. In the case of the latter, it was their second album, “Hell Awaits” which gave me an eye opening experience into more hardcore and thrash metal. Once my eyes were opened, I have never looked back.

The first thing I remember when a friend first spun “Hell Awaits” for me was that it took a while for the album to get started it. The opening title track has a rather long intro, I mean it takes about three minutes before the song truly gets going and on my first listen, I thought it was going to be one of those instrumental intros many albums have before the rest of the album kicks in. However, that is the trick because all of a sudden, Slayer take the tempo way up and the shattering vocals of Tom Araya come through. The title track sets the tone for the rest of the album.

One thing I have found difficult over the years is to pick a favourite track. Every time I think I might have found one, some aspect from another track washes it out. All seven tracks have the in your face vocals from Tom while at the same time, he and Dave Lombardo combine to make a crunching rhythm section further aided by whichever guitarist is not playing the solo at the time. Each track features the guitar solo trade off of Hanneman and King although their best effort is probably on the track, “At Dawn They Sleep.” Saying that, next time I listen to this album, I’ll find that one of the other tracks might have them doing it better. “Hell Awaits” is that kind of album. Seven songs that concuss your brain into jelly but at the same time, feature quality musicianship. If I had to pick a favourite track, it would have to be “Necrophiliac.” Not because of any differential in the music but simply it was one that the religious right in America loved to attack and got all hot and bothered about.  One thing I’ve wondered about was, is “Hardening of the Arteries” a song telling people not to eat too much pork?”

Track Listing:

  1. Hell Awaits
  2. Kill Again
  3. At Dawn They Sleep
  4. Praise of Death
  5. Necrophiliac
  6. Crypts of Eternity
  7. Hardening of the Arteries

Slayer

Tom Araya- lead vocals, bass

Kerry King- guitar

Jeff Hanneman- guitar

Dave Lombardo- drums

It’s common knowledge that Slayer are in the midst of their farewell tour. This coming Monday, it will be my turn to see them as they are coming to Cardiff. I’m going with Teal, my two actual sons and my younger son’s fiance. It’s going to be a great family affair and listening to “Hell Awaits” has definitely got me psyched for it.

Next post: Report from Slayer, Anthrax, Lamb of God and Testament in Cardiff

To download Rock and Roll Children, go to: https://e-pdfwebinar.ml/share/free-ebooks-in-english-rock-and-roll-children-epub-by-michael-d-lefevre.html

 

 

 

 

 

 

 

 

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Bloodstock 2018: The Saturday

Posted in Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , , , , , , , , , , , , on August 21, 2018 by 80smetalman

Saturday at Bloodstock was going to be an open day for me pretty much as the only band on my ‘must see’ list was the evening’s headliners, Gojira. While I was finishing my early morning tasks at a leisurely pace, a gentleman passed by and suggested that I check out Power Trip. His sales pitch was that if I liked Suicidal Tendencies, I would love this band. That was enough to sell me so I headed over to the arena.

Listening to American thrash/punk crossover band Power Trip, I could see what the gentleman meant by the comparison to Suicidal Tendencies. They even dedicated a song to Cannibal Corpse and even though they said some might thought it too early in the morning, orchestrated a wall of death. While I have to say they’re not quite like the band they have been compared to, Power Trip were a good band to have a great mosh to and quite an appropriate way to start the Saturday.

Power Trip- a great start to any day.

At this point of the weekend, I had seen several bands whom I had never heard of who had impressed the hell out of me and I was in the mind to award several bands the honour of “Band Whom I’d Never Heard of Who Impressed Me the Most.” That all went out the window when the next band after Power Trip ascended the Dio Stage. That band was German prog-metallers Orden Ogan. If you like Hammerfall, then you should like this band. They really impressed me a lot. One thing I noticed when they were on stage was the absence of a bass player. Lead singer Sebastian Levermann explained this was because he had broken his thumb and was unable to play guitar. Thus normal bassist Neils Loffler took up the rhythm guitar. Saying that, he did play a couple of solos along with lead guitarist Tobias Kersting who could really jam. Left to just sing, Levermann was good at engaging the crowd and at one point when he would sing, “All we are,” the audience would yell back, “Cold, fucking dead!” When they left, Orden Ogan were secure in the title of band who I’d never heard of who impressed me the most.

Orden Ogan come on stage. Too bad those horns got in my way.

Levermann and Kersting leading from the front.

Being wowed by Orden Ogan made me hungry so I headed back to the tent for some lunch. Returning afterwards, I happened to catch the last five minutes of Vola on the Sophie Lancaster Stage. They were a four piece band which included a keyboard. The best way to describe them is to say they’re industrial metal but they sounded all right to me and I might listen to them more.

Vola on the Sophie Stage

Heading back to the Ronnie James Dio Stage, I had no idea what to expect from the next band to take the stage, Combichrist. What I heard and saw took me completely by surprise. I thought that with a name like Combichrist, they would be a thrash or death metal band, especially with all the band’s faces painted white. Instead, their brand of industrial metal would be something that metalheads to dance to at parties. The audience jumped up and down in time with many of the songs, though I had to take it a bit easy with my weak knee. Still, the antics of the band were very entertaining. At one point, lead singer Andy LaPlegua had the audience say “Fuck off!” to each member of the band, which was followed by a song called “Fuck That Shit.” After a few more songs and “Fucks” from LePlegua, the band ended on a great high by bringing out three young ladies twirling flaming batons to the song, “I Don’t Give a Fuck About You.” Great way to end the show and I was very impressed.

Combichrist with no bass and two drummers

A good shot of them

In this shot, the drummer was bouncing his sticks off his drum.

The baton twirlers come out.

The band plays “Fuck That Shit.”

The twirlers in their full glory

After being totally amused by Combichrist, I headed over to the New Blood Stage where I caught the last few minutes of a band called Aeonia. The featured two female lead singers who both possessed operatic style voices. I was sorry I couldn’t have seen more of them.

Aeonia on the New Blood Stage.

Heading back to the Dio Stage, I was in for another surprise. On the recommendation of Teal, I decided to check out Alestorm. I had a feeling that this was going to be different when I saw the huge rubber duck at the back of the stage. This would be my first introduction to the genre known as pirate metal. The songs all sounded like heavy metal sea ditties and I liked it. I found the songs, “Drink,” “Captain Morgan’s Revenge” and “Shipwrecked” among others all to be very amusing. Instead of a mosh pit, lead singer, Christopher Bowes organized a rowing pit where everyone sat on the ground rowing in unison to the song, great fun. Bowes also stated that instead of a wall of death, everyone meet in the middle, take off their clothes and have a big orgy. We all saw the humour in that. Alestorm’s set ended with him leading the crowd in singing:

Fuck you, you’re a fucking wanker

We’re gonna punch you right in the balls.

Fuck you with a fucking anchor

You’re all cunts so fuck you all.” 

A great time was had by all during the forty-five minutes Alestorm was on stage.

The big rubber duck awaits Alestorm

Alestorm on stage with a lot of flying inflatable objects.

An even bigger rowing pit

Alestorm leave with an explosion of confetti

With nearly two hours to go before Gojira, we decided to head back to the tent. The heavens had opened up so we stayed in the tent eating and drinking. That might have been a mistake because we all nodded off. I woke up at one point, heard the rain pelting down and thought, “I’m not going out in this.” Maybe I should have because when I awoke after nodding off again, I discovered it had stopped raining but Gojira had been on stage for 20 minutes! Immediately waking Teal and Joe, we raced like mad back to the arena and to the Dio Stage.

If any band in the history of Bloodstock had paid their dues and earned the right to headline, it was definitely Gojira. I had seen them play second from the top spot in 2010 and just below it in 2016 and both times they were better than the band who went on after them. This time, they were simply better than ever! Being the headliner, they had a really cool light show, just as good as Judas Priest’s light show the night before. I definitely remember them playing “Stranded” and Joe Duplantier was very good at engaging the crowd. Plus there was a cool drum solo from Mario. Overall, Gojira put on a great display of heavy metal and proved they can headline along with the best of them.

Managed to get a good shot of Gojira here.

Another attempt at photographing them.

Different lights made this shot possible

Bright lights

More bright lights

Having had that nap, I wasn’t tired so I headed to the Sophie Lancaster Stage to check out that headliner, Orphaned Land. This turned out to be another great decision because Orphaned Land where nothing short of absolutely brilliant! They blend folk and death metal together to make one great but unique sound. Coming from Israel, they also blend Middle Eastern and Western influences and again, it sounds just great. I loved the use of the Bouzouki in place of guitar solos in some of the songs. Plus they do go ultra heavy at times. Before, they got on stage, the announcer told the crowd to listen to the message of this band. Lead singer, Kobi Farhi, explained how fucked up things in the Middle East are with everyone trying to kill each other be it Jews, Arabs or homosexuals. However, he stated that everybody hates heavy metal because it’s considered Satanic. This got me thinking but I won’t talk about that now, I just want to say how great a band Orphaned Land are.

Orphaned Land come out under the lights.

A great shot of them.

A great show!

Still not tired, I went to the metal disco at the Sophie tent after the show. They played a good variety of songs which included some 1970s rock and even a Michael Jackson and a Coolio song. Eventually, I went back to the tent and had one last beer before bedtime. Sometime later, Teal came in and woke me up, I had fallen asleep in the chair with the beer in my hand. At least I didn’t spill any. Still it was a great second day.

Next post: Sunday

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Bloodstock 2018: The Friday

Posted in 1980s, Concerts, Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , , , , , , , , , , , , , , , , , on August 17, 2018 by 80smetalman

Even having a crap night’s sleep the previous evening didn’t dent my enthusiasm for the first full day at Bloodstock. We started with a hardy bbq breakfast because we couldn’t have one the evening before on account of the waiting to get in and the brief rain. Therefore, we had it in the morning. After a breakfast of champions like that, which was washed down with beer, we decided to head for the arena.

Keeping with my established tradition, I made it a point to be present for the very first band out on the Ronnie James Dio Stage. That band happened be British punk band Feed The Rhino. If there is a textbook on how the opening band of a festival should act, then Feed The Rhino followed it to the letter. They exploded on stage at 300 mph with a song that grabs you by the throat and makes you listen to it nor did any of that energy dissipate after the first song. However, some purists may argue that the band broke protocol by organizing a mosh pit and then a wall of death. Whoever said opening bands weren’t allowed to do that? Especially when the lead singer, Lee Tobin, did a little crowd surf towards the wall. It was amazing and when they left, which was too soon, Feed The Rhino had set the mood not just for the day but for the entire weekend!

Feed The Rhino welcome everybody to Bloodstock

Lee Tobin carried by the crowd

In spite of the fact that I had seen and heard three bands I had never heard of previously who totally blew me away, I still went to the New Blood Stage to seek out more. Playing at my arrival was the band Garshkott. While they weren’t bad, their sound was in the vein of Feed The Rhino and Bloodshot Dawn, and I wouldn’t be surprised if they were ever signed, in my mind, they didn’t measure up to the two bands I have just mentioned. Then again, those two bands set the bar astronomically high.

Garshkott giving it their all

Heading back to the RJD Stage, I thought I should see Onslaught. I had seen them at my first Bloodstock in 2010 but I didn’t remember anything about them. Seeing them again, I remember why I didn’t remember them, there’s really nothing about them to remember. While their music was okay and I have since discovered from Youtube that their recorded material sounds pretty good, they just didn’t do anything for me when I’ve seen them live.

Onslaught coming out to play

Another shot of them

The uneventfulness of Onslaught meant that when the rains came down in the final minutes of their set, I fled for cover. The closest was the New Blood Stage. Providing the entertainment in my new found refuge was Democratus. They weren’t thrash but good solid metal. The singer did a great job in getting those in the tent to sing along. He would sing out, “Is this what you call?” and the audience, me included, would shout back, “Democracy!” Very relevant at the moment and I thought they were pretty good. If I was a scout, I would have signed them before the previous unsigned band on the day.

Democratus

Still raining down in buckets outside, I decided to stay in the New Blood Tent to remain dry. It turned out to be the will of the metal gods because coming on stage next was Vulgore. Of the three unsigned bands I had seen so far, these guys were the best. Their music was loud and brash but the guitarist could shred a little too. Still, their music is not for the faint hearted. They announced they have an EP coming out titled “Bliss.” I might have to hunt this one down.

The guitarist from Vulgore

More Vulgore

Vulgore made the rain stop, so after their departure, I headed outside. On the Dio Stage at the time was Memoriam. I only caught the last two songs from their set but they sounded all right. Plus, I noticed that the lead singer’s hair probably made many ladies jealous.

Memoriam, but this photo doesn’t show the singer’s hair properly.

Still looking for the music, I headed for the Sophie Lancaster Stage where I was treated to the doom metal sounds of Godthrymm. This trio was doom metal in the true sense of the word, even more than Black Sabbath. Most of the songs were about death. I remember one lyric, “Oh God, you lost your only son,” I think that explains a lot. Guitarist hammered out some good solos and he shared the lead vocal duties with the bassist. Godthrymm proved a great change of pace on the day.

Godthrymm playing doom

I’m not sure what this picture was. I think it was this person dressed up going through the crowd during Godthrymm

After a brief but necessary break, I returned to the Ronnie James Dio Stage for the first band I truly wanted to see. Before that band came out, I caught the last few minutes of Swedish death metal band Bloodbath. They sounded okay and I was amused at the shirtless guitar player whose torso was covered in fake blood.

Bloodbath, not sure if you can see the guitarist covered in blood

Then came the big bombshell. It was announced that Suicidal Tendencies were running late and wouldn’t be up next. They were re-scheduled to play at the Sophie Lancaster Stage two hours later. I had caught up with Teal and Joe and we decided to get some dinner. I kind of regret this in hindsight because swapping places with ST was the all female death metal Japanese band Love Bites. I heard they were really good and I’m liking what I’m hearing thus far. Oh well, I’ll put a song of theirs in tribute.

Returning from our late afternoon bbq, I followed Teal’s suggestion that I go with him to check out prog metal band, Kamelot. Full marks to his wisdom here because I thoroughly enjoyed them. I was duly impressed with the guitar work of Thomas Youngblood but I won’t take anything away from the rest of this band, they’re that good. They brought a female singer on for a few songs as well which made them more diverse. Let’s say I was very impressed.

Kamelot

A better shot of them

Thomas Youngblood jamming

I tried to get the female singer in this one

Instead of Kamelot following Suicidal Tendencies, we had Suicidal Tendencies following Kamelot. Which way around didn’t matter as we joined the throng heading for the Sophie Lancaster Stage. There was talk that the sheer weight of numbers in ST fans would knock the Sophie Tent off its foundations. Suicidal Tendencies exploded onto the stage with “Don’t Bring Me Down.” Almost immediately, Mike Muir had the crowd in his hand with everyone singing the chorus. The band darted around stage and Mike did his little dance. It seemed that the opening song might go for the entire set because every time it sounded like it would end, the band would pick it up again. When the song did end, the audience was screaming their appreciation. Afterwards, they played songs “I Shot the Devil,” The War in My Head” and “Subliminal.” When they played the “Skater’s Song,” Mike announced that the band had been inducted into the Skater’s Hall of Fame. A young boy was brought up to play drums along side of Dave Lombardo for one song and they also let a man in a wheelchair onto the stage. ST are definitely a class act! In between songs, Mike talked about not letting things get you down. His advice was to “Get up, stand up for yourself and you will be the person you want to be.” Great words of wisdom. When they left, the crowd was on a major high and it was also announced that it had been the largest crowd the Sophie Lancaster Stage ever had. They were phenomenal and like Teal converting me to Kamelot, I converted him to ST. It didn’t even matter that they didn’t play my two favourite songs again nor the fact that they pretty much played the same set they had at Download last year.

The crowd heading to the Sophie Stage to see Suicidal Tendencies

ST comes on stage

Guitarist Dean Pleasants can still jam.

Another shot of Dean

Mike leading the charge

After feeding my face some more, we all headed back to the Ronnie James Dio Stage for the main even, Judas Priest. They had a massive stage set up with what looked like cacti which lit up on the wall behind. When the band came out, Rob Halford looked like a bent over old man but he quickly straightened up when they started playing. They opened with “Fire Power” and played two more songs from the album. It was the fourth song that was the big thrill for me when they revealed their all time hidden gem, “The Ripper.” I think I was the only one in the crowd who went absolutely nuts at it. Both Teal and some young lady in front of me both stated, “You’re excited about this song.” Next, they revealed that it was the 40th anniversary of their “Stained Glass” album where they played “Saints in Hell” as a tribute. Other Priest greats included “Turbo Lover” and “Freewheel Burning.” While Rob was the great show man he has always been for more than four decades, I was impressed with guitarists Richie Faulkner. He seems to have learned from his mentors and if the band was to continue, he is more than capable to carry them on. Scott Travis was pretty cool too and I loved how he and Richie traded solos. Things seemed to end with an extended version of “You Got Another Thing Comin'” and “Painkiller,” both drawing large cheers from the crowd. But Judas Priest weren’t done. Obviously, there would be an encore and that’s when they sprung a surprise. Glenn Tipton came out to play with them for the four encore songs. He did look a little frail and Rob kept coming over to him but he stayed the course. He even played a solo on the closing song, “Living After Midnight” which followed on from “Breaking the Law.” When the mighty Priest did leave, it was to much adulation and a brief but cool fireworks display.

Blasted light show kept me from getting decent pictures of Priest

See again!

A little better

Even taking a photo of the big screen didn’t work.

I kept trying though

Teal and Joe called it a night but I had one more act to watch. As soon as Judas Priest was finished, I high tailed it over to the Sophie Lancaster Stage to catch Doro. My timing was perfect because as I entered the tent, she was performing one of my favourites, “I Rule the Ruins.” That wasn’t the only one she treated me to, a few songs later, I got to hear “East Meets West,” where she brought out a former guitarist Tommy Bowen. Therefore, for the rest of her show, she had a three guitar attack behind her. Sounded real good when she played “Burning the Witches.” Doro engaged the audience really well throughout and while her light show was nothing like Priest, it was still pretty cool. “All We Are” got the crowd really going and it carried on until she left the stage. When she came back out, Doro asked the audience what song they would like. I was too far away so she couldn’t hear me calling out for “I’ll Make It On My Own,” so she said, since nobody came forth with a song, she’d pick one, which she did. A second song was asked for and she picked one from a young lady in the front and that’s how the night ended, with loads of bows and “thank yous” before leaving. It was a great way to end the first day!

Doro on the Sophie Stage

Better pics with Doro

Tommy Bowen on guitar

Doro mesmerizes the crowd

Note: You may have noticed that I haven’t posted songs from every band I saw. I thought to do it with the ones I had never heard of before and now you have.

Next post: Saturday

To download Rock and Roll Children, go to: http://mediahubb.net/14510967/rock-and-roll-children.html

 

 

 

Great Metal Albums of 1985: Warlock- Hellbound

Posted in 1980s, Concerts, Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , , , on August 8, 2018 by 80smetalman

Keeping with 80smetalman tradition, I am posting an album from an artist I’m about to see live in the imminent future. Tomorrow, I shall be heading to Bloodstock and on Friday, I fully intend to see Doro Pesch headlining the Sophie Lancaster Stage that night. Now, some might call this cheating but Doro didn’t have an album out in 1985. Back then, she was with her band Warlock and it’s their second album, “Hellbound,” that gets the posting this time.

This was another album I listened to following the event. My first experience of Warlock came when I saw them open the Donington Festival in 1986. Even then, I thought there was something about this band and more so about the lead singer. Therefore, it was a no brainer that I check out the works of this band and for me, their output on vinyl, (actually it was cassette,) matched what they had shown me on stage on that historic day in August of 1986.

“Hellbound” starts very fast paced, in fact, I was convinced they were more speed metal when I first heard the opening and third tracks on the album. Both of those songs just get stuck into ripping your eardrums to pieces and the track in between, “All Night,” while not as fast is still a ferocious tune to head bang away to. I’ve always thought it surprising that it was released as a single because it trendies would consider it too metal for mainstream radio. Still, I like the song.

With the fourth track, “Wrathchild,” the pace is set for the rest of the album. It’s more like the second track beginning with a great guitar solo. It’s killer, not losing any of the edge set by the first three tracks. It definitely gets a vote for hidden gem on the album and if I had anything to say, that one would have been the single, especially with the cool guitar soloing throughout the song. “Down and Out” is ideal for heavy metal purists because it is pure metal. Some more great soloing begins “Out of Control” and that grabs you by the ears and makes you enjoy the rest of the song, which is why it too can be called a hidden gem. “Time to Die” goes more back in the speed direction but with this song, that’s only natural. Normally, a song called “Shout It Out” opens an album and it could have on “Hellbound,” but it sounds just as good in the eighth position. That leads to the closer which lures you into a false security by pretending it’s a power ballad but not long in, the mask comes off and it blows you away. Still a great song to end the album on.

There is absolutely no argument in my mind that the main reason for why this album is so good is the vocal talents of Doro. She has always had a great singing voice and here’s where it started. However, I must also sing the praises of her guitarists who both play very well on the album. They go a long way in making her sound that much better and makes this album great.

Track Listing:

  1. Hellbound
  2. All Night
  3. Earthshaker Rock
  4. Wrathchild
  5. Down and Out
  6. Out of Control
  7. Time to Die
  8. Shout it Out
  9. Catch My Heart

Warlock

Doro Pesch- lead vocals

Rudy Graf- guitar

Peter Szigeti- guitar

Frank Rittel- bass

Michael Eurich- drums

The big question is, Will Doro play any songs from “Hellbound” when she ascends the stage at Bloodstock? I hope so and I’ll be particularly over the moon if she plays “Wrathchild.” But if she doesn’t, this is still a great album to headbang away to.

Next post: Bloodstock- The Thursday

To buy Rock and Roll Children, go to: https://www.amazon.co.uk/Rock-Roll-Children-Michael-Lefevre/dp/1609763556/ref=sr_1_11?s=books&ie=UTF8&qid=1533755796&sr=1-11&keywords=rock+and+roll+children

 

 

 

 

 

 

Great Metal Albums of 1985: Kreator- Endless Pain

Posted in 1980s, Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , , on June 7, 2018 by 80smetalman

Maybe I should do a list of bands whose second albums I bought before their first one. It would be a long list, that’s for sure. This hold true for German thrashers, Kreator. My first experience of them was their better known second album, “Pleasure To Kill.” I really loved it and played it to one of my friends who first introduced me to thrash. It was good to tell him about a cool album for a change. He was so impressed with that album that he bought the debut album, “Endless Pain.”

I know I shouldn’t compare an album to one I haven’t reviewed yet but I’m going to anyway. The only contrast is that “Pleasure to Kill” is more polished than its predecessor, that’s it. What both albums have in common is the intense ferocity of all the songs on them. “Endless Pain” is one total thrash fest from beginning to end. Each and every song pounds your head in every way. Only some brief melodic moments, actually I should say seconds, in “Storm of the Beast” and “Flag of Hate” give you any rest from the onslaught on your ears and it’s always been hard to pick a favourite track. After listening to it again, maybe “Flag of Hate” just edges it out.

Early Kreator was never a band for those with sensitive ears. Those are the people who say that thrash metallers can’t really play or sing. Yes, sometimes it’s difficult to tell Mille and Ventor apart on the vocals but that’s part of the fun. Definitely not the most tuneful voices in music but their guttural barks fit very well with the frenzy of the music. Someone also once remarked that all the members could only play three chords fast. He reckoned that guitarist Mille Petrozza had only been playing six months. I thought he was brilliant on the closing track, “Dying Victim.” Having never seen any Kreator music sheets, I can’t debate it. However, if that is the case, then it’s certainly the right three chords because the album sounds fantastic.

Track Listing:

  1. Endless Pain
  2. Total Death
  3. Storm of the Beast
  4. Tormentor
  5. Son of Evil
  6. Flag of Hate
  7. Cry War
  8. Bonebreaker
  9. Living in Fear
  10. Dying Victim

Kreator

Mille Petrozza- guitars, vocals on even numbered tracks

Rob Fioretti- bass

Jurgen ‘Ventor’ Reill- drums, vocals on odd numbered tracks

Thrash metal was in its early infancy in 1985 although it would grow astronomically over the year. There were many great bands just waiting to burst out onto the thrash scene, grab the world by the throat and shout, “We are here!” Kreator was one of those bands as “Endless Pain” shows. I am frothing at the mouth at seeing them at Download on Sunday.

Next post: Download, the Sunday

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

 

 

 

 

 

 

Great Metal Albums of 1984: Venom- At War With Satan

Posted in 1980s, Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , , , , on April 29, 2018 by 80smetalman

Everybody probably all knows the stereotypes of all heavy metal bands. They can only play four chords, they scream because they can’t sing, etc. Well, when I came upon the third album from British death metalers, Venom, I thought that they had a point. My first thoughts of “At War With Satan” was that it was loud, it was brash and it sounded like the whole album was recorded in somebody’s basement. Yes, the album ticked all the boxes of the opinions many non-metal people have about heavy metal. But guess what? I couldn’t have cared a monkey’s about what they thought. I liked this album on account of all that.

For those who have or listened to “At War With Satan” on either cassette or vinyl will know that the entire first side is comprised by the title track. Therefore, you get nineteen minutes of Venom viciousness in one song. The song itself is meant to tell the story of how Hell revolts against Heaven and God is thrown into hell, all centered around the keeper of the gates of Hell who shares his name with Venom’s drummer. While a very long concept song, it does keep you on your toes with the various changes throughout so you don’t get bored with it. Plus there’s some interesting guitar soloing from Mantas. Back in the day, if I had listened to the track on CD, I might have thought it was different songs as opposed to one long one.

Side two consists of the remaining six songs whose combined length equal that of the title track on the previous side. If anyone had problems with Venom stretching out like they did on side one, then they’d be rest assured that Venom return to their more traditional roots of short, sharp headbangers. “Rip Ride” starts things off well enough but is quickly superseded by “Genocide.” That is a cool track. “Cry Wolf” actually is slower than what was considered traditional Venom but the band pull it off. The joke at the time was that you could actually make out what Cronus was singing here. Maybe it was meant to be a single. Following, “Stand Up (And Be Counted),” another song whose lyrics you can understand after the initial growls, comes my all time favourite Venom song, “Women, Leather and Hell.” This song typifies what I have always liked about Venom. It’s loud, ferocious and about some of my favourite subjects. I was rather disappointed when they didn’t play it at Bloodstock, 2016. That leads to the very amusing closer, “Aaaaarrrghh.”

Track Listing:

  1. At War With Satan
  2. Rip Ride
  3. Genocide
  4. Cry Wolf
  5. Stand Up (And Be Counted)
  6. Women, Leather and Hell
  7. Aaaaaarrrghh

Venom

Cronus- bass, lead vocals

Mantas- guitar

Abaddon- drums

Critics back in 1984 mostly agreed that “At War With Satan” catapulted Venom into the world of mainstream metal. Maybe it did but those of us who liked this album didn’t care about that. What was good was the fact that the band was able to write more mature songs without losing any of their edge.

Next post: Loudness- Disillusion

It is also my displeasure to announce that due to the events of the past month and a half, I will not be going to the full Download Festival. The good news is that I will attend the Sunday where I intend to see, Kreator, Marilyn Manson and headlining will be Ozzy.

To get Rock and Roll Children, go to: https://crreadac.cf/current/ebooks-free-download-rock-and-roll-children-fb2-by-michael-d-lefevre.html

 

 

 

 

 

 

 

 

 

 

A New Metal Discovery- Slave to Sirens

Posted in 1980s, Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , , , on April 10, 2018 by 80smetalman

“Oh my God,” you’re all probably thinking. Is 80smetalman on speed or has he lost one of his jobs? Neither, hwile I admit it is a rarity that I make three posts in as many days. Actually it will be four in four as I intend to write my Whitesnake post tomorrow but this is something I must post about. While originally created to take readers through the history of 1980’s heavy metal and sell “Rock and Roll Children,” I have expanded to reporting on festivals, concerts and to alert people of new metal acts that people might be interested in hearing about. Cue Black Emerald and Hannah Wicklund and the Steppin Stones but this morning I have, thanks to Google Alerts, been led to another cool metal band, Slave to Sirens.

                                                Slave to Sirens

As you can see from the photo, Slave to Sirens are and all female band and that’s important in light of yesterday’s post. I am on a campaign to stamp out sexism in metal, there’s no need for it. However, being all female isn’t the most interesting part about this band, what is more interesting is the fact that they hail from Lebanon. This is a country that has been experiencing its an East-West clash for several decades and has had problems with Islamic Extremists. So, for these girls to play metal and even daring to wear Western style clothing is a testament to the guts these ladies possess. Furthermore, I think that they display these guts in their music. I’ve listened to their four song demo, which I will share at the bottom of the page.

Slave to Sirens is:

Shery Bachara- lead guitar

Tatyana Boughara- drums

Alma Douhmani- bass

Maya Khairallah- lead vocals

Lilas Mayassi- rhythm guitar

Don’t expect any love songs here, just straight forward fast, speed metal. They cement my belief that heavy metal is for all people regardless of race, gender or culture. I think these five ladies would agree with that.

Track Listing:

Terminal Leeches

Humanesticide

Slave to Sirens

Congenital Evil

 

Listen and enjoy!