HMO salutes Malcolm Young, AC/DC’s legendary rhythm guitarist, who has passed away aged 64. As the driving force behind the band’s unmistakable sound and phenomenally successful career, it’s impossible to over-estimate the importance and influence of his work. A huge loss.
Here’s some obscure and fantastic 80s thrash for you! A lively and infectious banger from Holy Terror’s 1987 debut album Terror And Submission.
The whole album is superb, a ripping combination of thrash and speed metal. The band already has a unique sound but there are plenty of enjoyable, familiar elements: Megadeth’s fretboard mayhem, Exodus’ violence and the high-speed catchiness of classic Accept and early Helloween.
Terror And Submission has recently been reissued by Dissonance Productions as a standalone vinyl edition or as part of the 4CD/DVD boxset Total Terror which is the version I picked up recently. It’s an essential set that contains every album these overlooked L.A. thrashers ever released (Terror And Submission, 1988’s Mind Wars, 2006’s El Revengo and Live Terror). It also comes with a DVD with the Judas Reward promo vid and live sets from Milwaukee, Chicago and Anaheim. A phenomenally great value set at around £20.
I already had this album and Mind Wars as part of an older double-CD set on Candlelight Records. Unfortunately, that edition had mis-labelled CDs and a mastering glitch on Judas Reward, which put me off spending much time with the albums. So I’m totally delighted with Dissonance Productions’ new, fixed and remastered collection and look forward to finally giving Holy Terror the attention they deserve.
A double-whammy of release news from the excellent Swedish band Tribulation. January 26th 2018 will see the release of a new full-length album entitled Down Below. And, if you just can’t wait that long for new Tribulation music, then they will be releasing a brand new 7” EP on December 22nd 2017 called Lady Death.
The EP, their first release with new drummer Oscar Leander, will include album track Lady Death and also a B-Side track called Skärselden. The artwork is also from Tribulation’s guitarist Jonathan Hultén and is pretty nifty. You can pre-order the usual rainbow varieties of vinyl colours from the label website here or the band’s own merch site here.
The band’s last album TheChildren Of The Night was one of the better, more durable releases of recent years so it’s exciting to have the band back. My only question is… I’ve seen a few bands do this recently… since when did one A-Side track and one B-Side track constitute an EP? Answers in the comments please.
Saxon studio album No. 22 is on its way. The HMO favourites have announced that their new release will be called Thunderbolt and is due out on February 2nd 2018 via their Militia Guard label. The follow-up to 2015’s excellent Battering Ram has been produced once more by Andy Sneap and features original artwork by long time Saxon artist Paul Raymond Gregory.
Some tour dates have also been announced in the UK and Europe but don’t fret if your nearest venue isn’t listed as the band promise a lot more dates to follow in 2018.
The album will be available in the usual variety of versions including a digipack CD with a bonus track “raw” version of the track Nosferatu (The Vampires Waltz). And there will also be the now-obligatory deluxe box set version but I don’t know what’s in that as yet. I do know that the vinyl edition will not include the bonus track. Pre-orders will be available from 1st Dec 2017.
Olympus Rising/Thunderbolt/The Secret Of Flight/Nosferatu (The Vampires Waltz)/They Played Rock And Roll/Predator/Sons Of Odin/Sniper/A Wizard’s Tale/Speed Merchants/Roadie’s Song
When their debut album Breaking The Chains stiffed in the US, Dokken’s record deal with Elektra was on thin ice. Backs against the wall, the band would have to fight Tooth And Nail (see what they did there?) to keep their rokken roll dream alive. But when they should have been forming a united front, the band members were fighting among themselves. Producer Tom Werman decided early on that he’d had enough and the band had to complete the record the only way they could. Separately. Guitars, drums and bass were finished up with Roy Thomas Baker during the day, while frontman Don Dokken recorded alone with Michael Wagener during the night.
Fortunately the struggling, warring band had some top notch material to draw from. Superb L.A. glam meets Ozzy/Scorpions-style Euro metal. A lush and ominous guitar intro leads into the superb thrashabout title track. Just Got Lucky and Into The Fire have humungous raunchy hooks. Alone Again is classy manfeels and When Heaven Comes Down is a heavy, stately centrepiece.
And, amazingly, considering the fractious nature of the album’s creation, it’s the raw, live vibe and delivery that is the real magic on Tooth And Nail. There’s a moment in Heartless Heart where a drum and vocal bridge suddenly explodes into harmonised arena rock heaven. It sounds like a band playing the gig of their lives, having their moment of world-beating peak performance flow. George Lynch firing off godly guitar licks left, right and centre and Don, aloof and weedy on the debut album, now generating massive sparks of excitement with committed and charismatic ease. Tearing it up in the daytime, burning it down at night, straight to the top… Tooth And Nail is the sound of a band fighting for their lives and winning heroically.
I’m shocked and saddened to hear that Martin Eric Ain has passed away at only 50 years old. As a member of Hellhammer and founding member of Celtic Frost he was a key figure in two of the most classic, original and influential metal discographies of all time.
Humble Pie was one of those 70s bands that struggled to capture their magic in the studio before scoring big with a live album. But following the success of the essential Performance: Rockin’ The Fillmore they were then faced with the challenge of coming up with a satisfactory studio follow up. An even more daunting prospect given that the supergroup was now rendered considerably less “super” following the departure of founding member Peter Frampton.
Frampton felt that the audience had decided the heavy blues rock direction that The Pie had to go in and that meant the pastoral acoustic diversity that he contributed to previous albums was no longer required. The accepted narrative is that the band’s first post-Frampton outing, 1972’s Smokin’, is a harder rocking affair but that’s only partly true. The whole album is more consistently rooted in soulful, bluesy rock but there’s still plenty of mellow diversity. So for every hard-riffing track like Fixer you get an Exile On Main Street-style rootsy outing like Old Time Feelin’.
But the standout moments of Smokin’ are undoubtedly the louder tracks. The smouldering boogie of Hot N’ Nasty, a fat riffing cover of C’Mon Everybody and the superbly greasy rocker 30 Days In The Hole are all brilliant showcases for the peerless vocal power of Steve Marriott and the guitar chemistry he forged with new recruit Clem Clempson. The mellow tracks aren’t as exciting or memorable but tracks like the Zep-blues of I Wonder impress and add crucial depth and variety.
Smokin’ lives up to its name. It’s a rockin’, feel-good time with a loose and natural production and delivery that successfully captures the band’s live prowess. A gradual, coke-fuelled decline in quality on subsequent albums makes this Humble Pie’s studio peak and ensured that the band would remain overlooked and under-rated, especially in their native UK. But fans of rootsy rockers like The Stones, The Faces and Cream (as well as more modern acolytes like The Black Crowes) should definitely check out The Pie and Smokin’ is the perfect place to start: a great band and legendary frontman at the top of their game, proving that they could rock in the studio just as well as they could in the Fillmore.