Category Archives: Album Reviews

Capsule reviews of albums

Album Reviews, Classic Rock, Genre, Hard Rock, Heavy Metal, NWOBHM

Holocaust – The Nightcomers (Album Review)

36 Comments
Holocaust – The Nightcomers + 9 Reissue (Metal Nation)

It’s immediately evident from the Chuck Berry double-stops that kick off Holocaust’s 1981 debut album that this isn’t going to be as totally dark and metallic as the spooky cover and jagged band logo suggests. Only four songs on The Nightcomers fully live up to the nefarious promise of the front sleeve. Second track Death Or Glory has a chunky, stomping riff of evil, gurning magnificence. The title-track and Mavrock are excellent sludgy, doomy affairs with creepy, reverb-laden vocals and guitar lines. And the fourth is the album’s standout track, the metal-worshipping anthem Heavy Metal Mania. If you like metal at all then this song is simply impossible to resist.

Excluding those songs and the lively Nuge/UFO-style heavy boogie of opener Smokin’ Valves, what you’re left with isn’t quite as good… but it doesn’t matter. The riffs and solos are excellent throughout and the Edinburgh band has a knack with a catchy chorus so potentially uneventful tracks like Cryin’ Shame and Push It Around just manage to avoid being total filler (even if they are strangely feel-good next to the album’s heavier tracks). Even the often wobbly vocals of Gary Lettice have a naive charm and intriguingly pre-Hetfield tone and phrasing.

If you’re new to these guys you’re in luck as Metal Nation have just reissued the album on CD with the songs from three 12″ singles as bonus tracks. It’s a great package and superb example of the promising talent, youthful energy and total lack of contrivance that keeps people going back to the NWOBHM bands. Even if it’s not quite a top-tier entry from the genre, it’s not far off. An enjoyable and memorable hard rocker with a batch of tracks that are nothing less than stone-cold metal classics.

Album Reviews, Classic Rock, Genre, Hard Rock, Heavy Metal, NWOBHM

Saxon – Forever Free (Album Review)

27 Comments
Saxon - Forever Free (1992)
Saxon – Forever Free (1992)

Saxon had enjoyed a return-to-form with 1991’s Solid Ball of Rock and moved fast to keep the momentum going, releasing the follow-up Forever Free just over one year later. As well as hurrying, the band also skimped on costs, recording in Vienna with unknown, cut-price producer Urwin Hersig. It probably comes as no surprise, then, that Forever Free sounded rushed and cheap.

For the most part, Forever Free comes across like a collection of leftovers from Solid Ball of Rock. It continues that album’s mix of Euro-metal and AC/DC raunch but many of the tracks stray too far into forgettable territory. Songs like Cloud Nine, Get Down and Dirty, Grind and the cyber-metal cover of I Just Want to Make Love to You sound like the band are jamming out ideas: working versions rather than the finished product. This isn’t helped by the sound: much of Forever Free sounds like a demo, a decent demo but a demo all the same.

The alternative UK Games Workshop cover... released on Warhammer Records!
The alternative UK Games Workshop cover… released on Warhammer Records!

On the positive side, these weaknesses give the album a sense of charm. The under-cooked tracks have a playfulness about them and the loose, jamming approach throws up some truly inspired playing from the Quinn/Oliver guitar duo (check out the hot solo on Night Hunter). And, while the bungled production wasn’t going to cut it for casual listeners and airplay, it results in the rawest, most metallic album the band had put out in years.

There are only a couple of real keepers though. The title track is the album’s enduring classic, a “wind in your hair” biker anthem that turns the clock right back to the band’s classic NWOBHM days. Iron Wheels is an enchanting folky strum and, if the lyrics sound familiar, it’s because you already heard them on Destiny’s Calm Before the Storm. The blue-collar imagery works much better here in this rustic setting and makes for one of the albums more affecting and creative tracks. The albums best, and most overlooked, deep cut is the stunning Hole in the Sky, with its spellbinding chorus and Ozzy-ish riffing.

71runam9lol-_sl1200_
Back cover of 2013 reissue

Forever Free is a mixed bag that only committed Saxon fans will enjoy. It’s not a disaster and, unlike previous Saxon missteps, at least it sticks to the band’s core style. But it is still a misstep and did real damage to the band’s regeneration. Coming off the back of its well-received predecessor, Forever Free sold well but this rough and patchy effort ensured that many of those customers wouldn’t be back for more. Saxon had lost a crucial battle in the war to re-establish themselves but, as their next album would prove, these old dogs weren’t about to surrender any time soon.

Album Reviews, Genre, Heavy Metal

Blaze – Silicon Messiah (Album Review)

60 Comments
Blaze - Silicon Messiah (2000)
Blaze – Silicon Messiah (2000)

I loved Blaze Bayley in Wolfsbane but because I didn’t enjoy his stint in Maiden I never really thought of him as a “metal” guy. To me, he was at this best when he was painting the town red and lighting up the night with a little kiss. That was the Blaze I liked. So when his first post-Maiden outing Silicon Messiah proved to be a dark, very-metal affair I just passed on it. Not his forte.

I was wrong. Sixteen years later, spurred on by reading positive reviews and the return of Wolfsbane, I have added Silicon Messiah to my collection. It’s remarkably good. A proper underdog album if ever there was one. It’s downbeat, dystopian drop-D riffing is definitely of its time (think Brutal Planet, Magica etc…) and the opening tracks raise a worry that it’s all going to be a bit samey. But the album soon lightens up. Born as a Stranger, the galloping The Brave and Man on the Edge-esque The Launch are all extremely enjoyable, anthemic power metal tracks. The album just gets better and better as it rolls on and culminates wonderfully in Stare at the Sun: a gripping, goosebump-inducing epic. And, although tracks like The Hunger are chuggier and samier, their slower pace gives Blaze room to emote. He’s massively likeable throughout, delivering a vocal performance full of character and commitment.

So double dumb-ass on me for writing the man off. Turns out he is very-metal after all. He even manages to show Iron Maiden a thing or two with this anthemic and addictive album. It’s thoughtful and well-executed, topped off with a great vocal performance of considerable charm and charisma. That’s the Blaze I like.

15th Ann. Edition (w/ 3 bonus tracks) from blazebayley.net
15th Anniversary Edition (w/ 3 bonus tracks) from Blaze’s site

Album Reviews, Doom Metal, Genre, Hard Rock, Heavy Metal

Danzig – Skeletons (Album Review)

37 Comments
Glenn sees your "Dad-bod" and raises you a "Danz-bod"
Glenn sees your “Dad-bod” and raises you a “Danz-bod”

The covers albums is almost always a dodgy proposition but I couldn’t help but hold out some hope for Danzig’s Skeletons. Partly because… Glenn F. Danzig! But also cause I knew the Evil Elvis was going to choose some interesting material to put through the metal wringer. And it’s the choice of material that saves Skeletons from being a total stinker. The performances are pretty ropey: flat vocals, lifeless drums and relentless guitar squealies along with a flabby sound that’s devoid of dynamics. There are dicey renditions of Sabbath’s N.I.B, Aerosmith’s Lord of the Thighs and ZZ Top’s Rough Boy, while a surprising choice, sounds like your drunken Dad commandeering the microphone at a wedding. Dad, stop! But Danzig gets bonus points for doing all these tracks his own way and, when you’ve got Glenn M. F. Danzig doing The Everly Brothers’ Crying in the Rain, it’s hard not to get a kick out of that… however much it sounds like the karaoke of your darkest fears. It’s worth having Skeletons just for that and its opening trio of tunes: Dave Allan and the Arrows’ Devil’s Angels is bashed out in delightfully Misfits-y style; the obscure soundtrack curio Satan (Theme from Satan’s Sadists) is brilliant and tailor-made for Glenn – “I was born mean, by the time I was 12 I was killing, killing for Satan”; and his cover of Elvis’ Let Yourself Go is a stomping taster for his planned Elvis EP. It’s definitely for fans-only but, for them, it’s a flawed-but-loveable glimpse into the great Fonzig’s interesting and eclectic influences. And if you’re not singing “I was borrrrn mean…” in the shower every day after hearing this, you’re a better man than me.

Album Reviews, Classic Rock, Genre, Hard Rock, Heavy Metal, NWOBHM

Saxon – Solid Ball of Rock (Album Review)

37 Comments
Saxon - Solid Ball of Rock (1991)
Saxon – Solid Ball of Rock (1991)

The 90s were a challenging time for classic metal acts but, for Saxon, the decade got off to a promising start. The “10 Years of Denim & Leather” back-to-basics tour rejuvenated the band. Aiming to carry the momentum into the studio, the band signed with Virgin Records and headed to Germany to record their comeback album Solid Ball of Rock.

Released in 1991, Solid Ball of Rock finds Saxon returning to a heavier, err… ballsier style. It opens with its title-track and most enduring classic: the band taking Bram Tchaikovsky’s Jerry-Lee Lewis inspired rock n’ roller and giving it an AC/DC-grade kick up the arse (with a cool nod to The Sensational Alex Harvey Band in its Faith Healer-esque intro). It’s followed by the equally thrilling Altar of the Gods. Bolstered by the writing contribution* and forceful playing of new bassist Nibbs Carter, it’s a belter of a track with an aggressive, metallic approach that recalls the classic days of Power & the Glory while also pointing the way forward to the band’s future power metal leanings.

2016-09-18-15-59-28

It’s an encouraging opening but doubt sets in with Requiem (We Will Remember). The album’s only single, it maintains the feel-good vibe but its sentimentality, U2 jangle and “whoa-ohs” don’t sit well with me. But it proves to be the album’s only real wobble: the remaining tracks alternating between straightforward, open-chord rock n’ roll like I Just Can’t Get Enough and I’m On Fire and top-notch galloping Priest-y metal like Lights in the Sky and Baptism of Fire. The rock n’ roll tracks are a bit disposable by Saxon standards but have an enjoyably bouncy vitality while the metal tracks add crucial depth and grit with the epic, enigmatic Refugee adding class to the album’s late stages. It’s a strong combination of styles and a cohesive collection.

Back Cover - Demon reissue with bonus tracks
Back Cover – Demon reissue with bonus tracks

The overall sense with Solid Ball of Rock is of a band rediscovering their spark and spirit. Sticking to the basics but simultaneously mapping out new directions. The album did great business for the band and, although there were still challenging times ahead, Solid Ball of Rock is a pivotal Saxon album: a joyous, rocking reboot.

*Nibbs’ remarkable dominance of the writing credits here turns out to be an exaggeration. With litigious former managers breathing down Saxon’s neck they protected their royalties by crediting most of the songs to Nibbs: the only member of the band with no links to their past contracts. Crafty buggers.

Mah copy
Mah copy
Album Reviews, Classic Rock, Genre, Hard Rock, Progressive Rock

The Sensational Alex Harvey Band – The Impossible Dream (Album Review)

56 Comments
R-1390266-1429385431-8770.jpeg
A superb album cover too!

Alex Harvey was not only one of Scotland’s most legendary rockers, he was also steeped in showbiz. This album, his third with SAHB, came out in ’74 but Alex had been around in music and theatre since the late 50s. He formed his “Sensational” band, with members of prog rockers Tear Gas, in the early 70s and often referred to them in terms of movies and the stage: he was their director. And The Impossible Dream is their most theatrical and cinematic album, the culmination of Harvey’s decades of experience.  It’s comparable to Alice Cooper’s School’s Out: an adventurous extravaganza. From the tribal, comic book stomp of Vambo and Man in the Jar‘s gonzo noir to the dancehall Sergeant Fury, the skittery blues of Weights Made of Lead and the riffing pirate yarn Tomahawk Kid this album is a total romp. Yo ho ho! And as Anthem closes the album out, it’s extremely moving too. It’ll make ye greet.

R-596217-1400184725-1422.jpeg
… unless you were in the US, in which case you got this shiter.

Album Reviews, Classic Rock, Genre, Hard Rock

Magnum – Wings of Heaven (Album Review)

27 Comments
Magnum - Wings of Heaven (1988)
Magnum – Wings of Heaven (1988)

Chase the Dragon and On a Storyteller’s Night are the sturdier, rockier picks of the Magnum back catalogue but they reached their peak of life-affirming, pop rock joy with Wings of Heaven: one of the most feelgood albums ever created. Tony Clarkin writing simple, catchy AOR rockers par excellence delivered with winning passion and panache by the ever-lovable Bob Catley. Boaby sings like he would take bullets for Magnum. “It’s a flame that keeps burning… everLASTing torrrchhhh!”, “Too old to die young, too big to cry… MAMA!” The guy’s a total hero. As soon as he chimes in on genius opener Days of No Trust (“Pray to the future…”) you are on your feet. The album continues with the vista of Wild Swan and the sublime power pop of Start Talking Love. Classics all. Different Worlds is a mid-album lull but Pray for the Day and the WWI epic Don’t Wake the Lion (Too Old to Die Young) end the album with weight and compassion: breathtaking, heartrending but still triumphant, mighty and melodic. It’s a colossal climax to an excellent album. File this in your collection alongside your Jovi, Lep and Whitesnake and it won’t be long before it steals your heart. A heavenly magnum opus.

[Magnum – Days of No Trust]

Album Reviews, Classic Rock, Genre, Hard Rock, Heavy Metal, NWOBHM

Saxon – Greatest Hits Live! (Album Review)

28 Comments
Saxon - Greatest Hits Live! (1990)
Saxon – Greatest Hits Live! (1990)

Greatest Hits Live! captures Saxon on the upswing following the doldrums of their disappointing Destiny album and tour. Frontman Biff Byford had taken over their management, securing a well-received support slot with Manowar that galvanised the group. Saxon then launched a European headlining tour in 1990 to celebrate 10 Years of Denim & Leather* and the UK leg was such a success that the band added another run of UK gigs later in the year. They played more than 40 shows in the UK alone, winning much-needed acclaim and credibility in their homeland. The Nottingham show was recorded and released as Saxon’s third live album.

2016-07-09 13.52.24

Unlike its two predecessors, The Eagle Has Landed and Rock N’ Roll Gypsies, Greatest Hits Live! offers a full** Saxon live set, living up to its title. It’s bulging with classics (Wheels of Steel, (747) Strangers in the Night, Princess of the Night, And the Bands Played On), hard-hitting metal bangers from the early days (Motorcycle Man, 20,000ft and Heavy Metal Thunder) and well-chosen newer material (a bouncy Rock N’ Roll Gypsy and a tougher take on Ride Like the Wind). There are some mid-set surprises too with a captivating Frozen Rainbow and an absolutely phenomenal version of See the Light Shining. And just to put the icing on the cake: the classic tracks Denim and Leather and Crusader finally make their live album debuts.

The Tracklist
The Tracklist

Greatest Hits Live! is an honest and energetic live album that drives home the quality of Saxon’s material and the celebratory vibe of the tour. On the evidence here, it’s no surprise that they won over audiences up and down the country. However, through all their ups-and-downs, Saxon’s live prowess was never in doubt. If they were going to have a future they’d have to produce new material that lived up to the glorious past celebrated here. Buoyed by the enthusiastic reception from their UK fans, Saxon rushed back into the studio. The comeback was on.

*Biff announces “we’ve been together for 10 years” but their debut album was released in 1979 so in 1990 they were a year out. Instead, the liner notes proclaim that the 10 years refer to the anniversary of their 1980 breakthrough with Wheels of Steel. But then they called it “10 Years of Denim & Leather” after an album that was nine years old.

**One song is missing. The show was also released on VHS and the set included Strong Arm of the Law. I’ll let them off though.

Mah copy
Mah copy

[Saxon – See the Light Shining]

Album Reviews, Classic Rock, Genre, Hard Rock, Heavy Metal

Virgin Steele – The Black Light Bacchanalia (Album Review)

17 Comments
Ruff!
Ruff!

Wrrrow! Look out! Eeee eeee… From the top of the mountain, yeah! Yow! Fire! Owww. Ruff. Oooh… Look out! Rowf! Yeah! Oooh yeah!

And so David DeFeis kicks off Virgin Steele’s 13th album The Black Light Bacchanalia with every vocal exclamation known to man.

He sounds excited and so he should: the opening track By the Hammer of Zeus (and the Wrecking Ball of Thor) is pure awesomeness. It delivers on the promise of its ridiculously mighty title. I’ve become obsessed with this song and have been listening to it thrice daily for many moons now. Ruff!

From the top of the mountain, yeah!
From the top of the mountain, yeah!

Unfortunately, the rest of the album isn’t as instantly appealing . Exclamations aside, DeFeis spends most of The Black Light Bacchanalia singing in an oddly soft voice. It’s an interesting experiment, making it seem like he’s whispering sweet nothings into your ear or he’s inside your head. Look out! But it doesn’t do much for the album’s dynamics, especially when many of the songs are meandering and forgettable.

But my hopeless addiction to that opening track keeps me coming back for more and moments of greatness keeping popping out with each listen. Weirdly, considering the laid-back vocals on the heavier tracks, DeFeis sings the excellent piano-ballad The Tortures of the Damned with raging passion. Fire! And the softer vocal approach works dreamily on To Crown Them With Halos (Parts 1 & 2) and Necropolis (He Answers Them With Death), bringing out all the drama and the melody. I’m finding that there’s nothing in my collection quite like this so I’m seduced into giving it another spin. It’s flawed but fascinating. And even if it doesn’t quite live up to its exclamatory opening there’s still plenty to get excited about here. Ooohh yeah!

Look out!
Look out!
Album Reviews, Black Metal, Genre

Ulver – Bergtatt (Et Eeventyr i 5 Capitler) (Album Review)

23 Comments
Warning: Trolls

Bergtatt, the title of Ulver’s 1995 debut, doesn’t seem to have an exact translation to English. In the album’s liner notes it’s translated as both “Spellbound” and “Mountain-taken” which is the literal translation*. It’s a Norwegian term for people (usually maidens I imagine) that have been lured into the hills by particularly alluring trolls and other assorted faerie folk, never to return! The music is appropriately seductive, alluring and magical: the album is laden with dreamy acoustic guitars, flutes and soothing Gregorian chant singing. There’s excellent, raw black metal throughout as well but, even then, the orchestrated layers of guitar don’t shatter the dreamy allure: Ulver aiming for a panoramic, classical vibe rather than the usual evil aggression. It’s a debut so fully realised that the band immediately moved on from the style but Bergtatt has proven to be inescapably influential. In 1995 this was a unique album but so many bands have followed in its dreamy, progressive footsteps since that, if it was released today, it would be more relevant than ever. It’s ageless rock n troll.

*In English the full album title is Mountain-taken: A Fairy Tale in 5 Chapters