Category Archives: Hard Rock

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

Saxon – BBC in Concert (23rd August 1986 – Album Review)

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Only a year had passed since Saxon’s 1985 Hammersmith show was broadcast on BBC Radio but Saxon invaded the UK’s airwaves yet again as their headlining slot at 1986’s Reading Festival was recorded for broadcast on the BBC Friday Rock Show. The band were touring to promote the imminent release of the Rock the Nations album  and, while that patchy album found them losing their Midas touch in the studio, on BBC in Concert (23rd August 1986) it sounds like they were losing none of their knack as a live act.

Sadly, the BBC didn’t air the whole set and cherry-picked just 9 songs for broadcast. Much of the broadcast has since been available on Saxon’s BBC Sessions album but this album download (available on Amazon/iTunes etc…) now presents the complete 9 song, 51 min broadcast as it was originally aired. It’s fairly heavy on the classic material and if you didn’t know what year it was from you could be forgiven for thinking this was the band in their NWOBHM pomp. Only two new songs give the game away: an excellent version of Rock the Nations that fits right in with the older material and a performance of Waiting for the Night which… doesn’t. It’s actually a pretty good version of the track but its pop rock breaks the spell cast by glorious versions of metal powerhouses like 747 (Strangers in the Night) and Wheels of Steel. On the bonus side it’s the song here that gets played least often so it’s good to hear and own a live version of it.

A bit of a mixed bag then!
A bit of a mixed bag then!

That one hiccup aside, the rest of the performance is impressive. The band is on winning form and the crowd sound like they’re lapping it all right up. While new bassist Paul Johnson didn’t command the stage like Steve Dawson he acquits himself well musically. Never Surrender and 20,000ft give the classic The Eagle Has Landed live album versions a run for their money and an excellent Strong Arm of the Law climaxes with a wailing Graham Oliver solo (with some Sabs and Hendrix thrown in for good measure). The real highlight, though, is a captivating The Eagle Has Landed which puts its studio counterpart firmly in the shade.

The vintage quality of this performance must have been heartening stuff for fans troubled by the recent studio albums but any hopes for a return to form would soon be dashed. The Rock the Nations album proved disappointing and, frustrated by the way the band was being managed, Nigel Glockler would leave the band at the end of the tour to join GTR. And Saxon’s next, and last, studio album for EMI would be a desparate gamble that would test the patience and loyalty of their fans more than any other yet.

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

Saxon – Rock the Nations (Album Review)

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Saxon - Rock the Nations (1986)
Saxon – Rock the Nations (1986)

Saxon had aimed for the big time with the slick, streamlined Innocence Is No Excuse but fell short. The band put on a positive face, pointing to their improved US chart placings and successful tour but the album was basically an expensive flop. So for their follow-up, 1986’s Rock the Nations, Saxon went back to basics and recorded quickly and cheaply with producer Gary Lyons. Minus departed bassist Steve Dawson, vocalist Biff Byford took on the bass-playing duties for the recording of the album.* It would be the first and only Saxon album recorded by a four-piece.

Well, except the songs that have got Elton John playing on them.

I’ll give you a little moment here to let that sink in.

Rock the Nations sees the band return to a harder, grittier sound but there’s still a bit of radio-friendly finesse. It has a strong, muscular production much in the same vein as their classic Power & The Glory album. The opening title-track gets things off to a great start with its bold, blocky riffing and gruff vocals and the next track Battle Cry is even better, a strident true metal belter. Byford’s vocals are astonishingly passionate and gutsy, the arena-ready main riff is absolutely inspired simplicity and the rhythm section is flawless and propulsive. It’s a bloody triumph. But any hopes for a return to the band’s “classic trilogy” heyday are dashed as the band fail to maintain this fighting form for much longer.

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Waiting For The Night is a catchy, personable AOR track. It’s one of those coulda-shoulda-been hits but it’s poorly positioned and fares badly coming hot on the heels of the bulging, anthemic Battle Cry. Elsewhere, tracks like Running Hot and You Ain’t No Angel are well-performed but forgettable Sunset Strip rockers (and the spoken word part on the latter is a low point). We Came Here to Rock overcomes its clichéd chorus with lively verses and Empty Promises is a pleasingly sultry slow-burner that gets lost on the album due to being sandwiched between “those” two songs. You know… the ones with him on them.

Yep, in the oddest pairing since Billy Joel guested on Exodus’ Bonded By Blood album**, Elton John was recording nearby and ended up tinkling the ivories on two of Saxon’s new tracks. You can probably guess from the titles that neither of these songs are particularly sophisticated. Party Til You Puke is a loose, fun Rock n’ Roll jam but the jokey lyrics and vocals are painfully unfunny and sink the song. And Northern Lady is uninspired, lazy balladry. If you’re going to write a passionate ode to your great love, you’d like to think you could think of a better way to describe her than just “Northern” surely? Just me?

Ultimately, Rock the Nations is Saxon putting on a brave face at a difficult time but their spirit is weak. The album starts off sublime and loses focus, direction and steam as it progresses. It’s not a bad record, it has some brilliant songs and a loose, fun quality about it, but it is a frustrating one. And, following Crusader and Innocence Is No Excuse, Saxon needed to do better than release another patchy underdog effort. Their next album would need to be much better or their days as a major-label act would be seriously numbered.

*During the recording Saxon would audition and hire Paul Johnson as their new bass player. He would be credited on the album sleeve as the bassist on Rock the Nations but he doesn’t play a note here.

**OK, I made that one up.

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

Saxon – BBC In Concert (18th September 1985 – Album Review)

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“Did you listen to the radio every Friday night?” asked Saxon in their classic track Denim and Leather. If you did back in the 80s you might have heard this excellent live recording of Saxon’s show at the Hammersmith Odeon. Broadcast on Radio 1’s Friday Rock Show, BBC In Concert (18th September 1985) captures a difficult and interesting time in Saxon’s career as they toured to promote their controversial new album Innocence Is No Excuse.

Only a selection of the concert’s songs were broadcast so only four Innocence tracks appear here. Of those, Broken Heroes and Devil Rides Out fare best in the live setting, sitting comfortably alongside the band’s established repertoire. However, the moody Rockin’ Again is badly placed and struggles as the first encore tune. And while the catchy and upbeat Back on the Streets kicks off the broadcast well, its worth is put into question by the absolutely spine-tingling performance of Dallas 1PM that follows it.

On one hand the Innocence era tracks weaken the set but their lesser-heard nature adds to the interest for long-time Saxon fans. The rest of the broadcast is taken up by their radio-friendly classics which, with the possible exception of a tired-sounding Strong Arm of the Law, sound fresh and lively. Some of the performances here are exciting enough to make you feel like you’re hearing these songs for the first time. The versions of Dallas 1PM and Power and the Glory might be the best I’ve heard yet and older material like Wheels of Steel and Princess of the Night serve as strong reminders that this is the same band that recorded The Eagle Has Landed three years previously.

Graham Oliver and Steve Dawson
Graham Oliver and Steve Dawson

But they wouldn’t be for much longer. This would be the band’s last tour with bassist Steve Dawson. Disagreements with the band and management saw him fired before sessions began for their next studio album. It was a risky decision: Steve’s playing, performance and writing had played a crucial role in the band’s career and success.

But the problems behind the scenes are not evident in this live recording. It’s not an essential purchase but Saxon devotees are sure to get a good kick out of this. It’s an exciting and atmospheric time capsule of classic 80s Saxon out to prove their worth at a challenging time in their career. They certainly seem to have won over Hammersmith on 18th September 1985 but, with a key member gone and a couple of spotty studio albums behind them, the challenging times would continue.

This recording is available as part of the EMI Years [1985-1988] box set and also available separately as a download through iTunes, Amazon etc…

[Saxon – Back on the Streets live at Hammermith]

Saxon's Emi Years 1985 - 1988 Box
Saxon’s Emi Years 1985 – 1988 Box
Album Reviews, Classic Rock, Genre, Hard Rock, Heavy Metal

Armored Saint – Win Hands Down (Album Review)

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Armored Saint - Win Hands Down (2015)
Armored Saint – Win Hands Down (2015)

It’s very exciting to have new music from Armored Saint. There’s a great deal of chemistry and talent in the ranks and John Bush’s superior voice is always a draw. I’d like to see them do well and get the credit they deserve and, with their seventh album Win Hands Down, they seem to be getting some long overdue sales and recognition.

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Initial spins were very exciting. There’s a real feeling of Rock history running through the whole thing. There are hints of Thrash, Alternative, burly Classic Rock groove and inventive Prog Rock twists and turns. The variation adding exciting colour to the band’s time-honoured muscular, melodic Metal. It’s the sound of a vintage band aging well. Win Hands Down opens the album with one of their best songs to date, a superb driving Rocker. And Mess is steely, massive and skilfully arranged. Armored Saint sound like they’re giving it their all. John Bush, in particular, is on peak form. No mean feat considering his track record.

But the Saints don’t totally conquer. The album hits a lull in its second half. With A Full Head of Steam and In An Instant are both curiously forgettable and the sultry Dive, although good, isn’t the kind of song to set things back on track. Some of the better songs are hobbled by weak lyrics too. They’re aiming for the raconteur character of lyricists like Lynott or Mogg but they don’t have the same skill or personality and end up hitting out with clumsy, cringe-inducing lines like “I even gave you your own unique rriinngg” and “He never killed anyone but he hurt somebody’s feelings once”. Even Bush’s can-sing-the-phone-book voice can’t save songs from clunkers like that.

Mah copy

Ultimately Win Hands Down is solid and well-performed but forgettable. If you don’t mind the wise-cracking lyrical personality of the album you might find plenty to enjoy here but it fails to connect emotionally with me. With repeat listens I’ve found myself losing interest in the album which is a shame as a few songs find the band at their very best. Plenty of people seem to be enjoying it more than me so I’m pleased for the band and their success. I just wish I had been more won over by it. Hopefully they can deliver something more up my street next time.

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

Saxon – Innocence Is No Excuse (Album Review)

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Saxon - Innocence Is No Excuse (1985)
Saxon – Innocence Is No Excuse (1985)

Innocence Is No Excuse was Saxon’s major-label debut, their first album under EMI/Parlophone. The band had left their indie label Carrere acrimoniously, suing over unpaid royalties. The case took months but meant vocalist Biff Byford and bassist Steve Dawson had plenty of time to prepare new Saxon material. Their last album Crusader had been a patchy, tired effort and, with contemporaries like Iron Maiden and Def Leppard leaving them in the dust, they would have to do better.

Produced by Simon Hanhart, 1985’s Innocence was a more cohesive and consistent album than its predecessor but it was also a controversial reinvention of the band’s style. It has a very commercial sound: smooth chorused guitars, gated drums and extra keyboards. And the band put a pop-metal spin on their material too. The opening track, the moody and windswept Rockin’ Again sets the stall out clearly: this is not going to be your typical Saxon album. With Byford and Dawson hogging the writing chores, the focus is firmly on melodies and anthems with very little guitar-riffing Heavy Metal Thunder. The more radio-friendly side of the band, demonstrated on previous songs like the power ballad Nightmare and simplistic singalong rockers like Just Let Me Rock, dominates here. The lyrics are simpler too. There are no songs about transportation: this band just wants to rock, shout, rock and shout again.

The coulda-shoulda-been hits
The coulda-shoulda-been hits

The focus on hooks and melodic anthems results in impressive coulda-shoulda-been-hits like Back on the Streets and Rock N Roll Gypsy but means there’s a lack of variety in style and dynamics in the album overall. Call of the Wild and Devil Rides Out stand out with some rare money riffs from guitarists Quinn and Oliver. Gonna Shout and Everybody Up are pleasingly dumb energetic crowd-participation numbers. While Saxon’s take on poppier material tended to sound limp on previous albums, here they sound bold and confident in their direction.

None of the songs are bolder or more confident than the Side 2 opener Broken Heroes. An elegiac ode to history’s war fallen, it’s the only true Saxon classic here, combining tragic sadness with fist-clenching pomp to sublime effect. It’s a triumph and, like Crusader on the album before, the best song on here by a mile. That both Crusader and Innocence… are most successful in their lone epic boy’s-own moments indicates that Saxon were losing sight of the blokey grit, depth and heart that were important parts of their charm.

With their major label behind the album, Saxon enjoyed their highest US chart placing yet and bagged some MTV exposure but found themselves falling out of favour in the UK. A narrative took hold that they were trying too hard to crack America. Ultimately, on both sides of the Atlantic, the glossy sheen and perceived lack of integrity would make Innocence Is No Excuse a forbidden fruit in the Saxon catalogue. But if you fancy some cheese with your apple, it’s worth taking a bite out of this one. It’s an underdog pleasure. Saxon were too talented to put out a total dud and their talent is still very much in evidence here, if misdirected. By the time the next record arrived, there would be one less talent in the band.

Mah copy - never quite sure if she was eating the apple or just dribbling on it
Mah copy – never quite sure if she was eating the apple or just dribbling on it
Album Reviews, Classic Rock, Genre, Hard Rock, Heavy Metal, Progressive Rock

Faith No More – Sol Invictus (Album Review)

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Faith No More - Sol Invictus (2015)
Faith No More – Sol Invictus (2015)

My favourite Faith No More albums, Angel Dust and King for a Day… Fool for a Lifetime, took time to grow on me. Big chunks of the albums would go over my head but there were always enough instantly accessible songs to keep me coming back for more. And with each listen their darker, more challenging material would start to work on me until I was completely won over. Continuing this tradition, their reunion album Sol Invictus has taken repeat listens to reveal itself too… but in a slightly different way. 2015-05-28 17.37.18-1 The news that the reunited Faith No More would be releasing their first new music since 1997’s Album of the Year was hugely exciting but the early singles Motherfucker and Superhero seemed disappointing. And on initial spins it seemed like Faith No More were playing it too safe. The material and delivery seemed lazy and half-baked. But, strangely, the album was more instantly satisfying in its darker, denser moments. Songs like Separation Anxiety, Matador and the fantastic Cone of Shame all reminders of the band at their very best and it was these tense and claustrophobic tracks that brought me back for repeat listens. And on those repeat listens songs like Sunny Side Up and Rise of the Fall began to exert a magnetic, hooky pull. Turns out that there’s a lot going on in the album’s short running time. I found hidden depths, enigmatic lyrics and moments of joy in songs I’d previously deemed throwaway. Even the singles started to grow on me, working better within the context of the album.

Mah copy

The things that struck me as weaknesses in early listens (the safe approach, restrained guitars, empty catchiness) are all objectively still there but now they just don’t seem to matter. Mike Patton’s remarkable vocals and Roddy Bottum’s keyboards prove to be the star turns here but mostly the band foregoes grandstanding in favour of serving the music’s expression and theatricality. Fans of the band’s more Caffeine-ated explosiveness might be disappointed but that was only ever one part of their style. This is still recognisably a Faith No More album, reminiscent of their past work but also a step forward and a new start. It’s a hugely rewarding listen and it’s also very much a grower. In other words, classic Faith No More. Welcome back.

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

Saxon – Crusader (Album Review)

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Saxon - Crusader (1984)
Saxon – Crusader (1984)

The bold Sir Knight on the excellent cover of 1984’s Crusader looks like he’s expecting some sort of bother. And, by reviewing the album that he adorns, I’m expecting a bit of it too. This is the kind of album you could easily get into a fight about. You could scrap about metal genres and styles: epic metal or hard rock; British or American; 70s glam rock or 80s glam metal; rockers vs ballads. They’re all here. There could be pistols at dawn over notions of integrity about Saxon’s leap to major label status with EMI and their search for a big break in the States. But, as a fan of all kinds of rock and metal I could just focus on the only thing that really matters: is Crusader any good?

As bugles and horses’ hooves herald the arrival of the title-track, the answer is yes. Better than good. It’s astounding. The epic Crusader tells of 12th Century warriors riding into battle. Biff Byford is on exceptional form lyrically and vocally. The grandeur of the song harkens back to tracks like Frozen Rainbow and Militia Guard from their overlooked debut. The climatic guitar solo and impassioned final choruses are Saxon at their most spine-chilling.

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The rest of Crusader continues the polishing of Saxon’s sound that began with their previous album, the chrome-plated barnstormer Power & the Glory. Recorded in LA with REO Speedwagon producer Kevin Beamish, Crusader introduces a much more easy-going sun-kissed sound with the guitars quieter and the vocals the main focus. There are some attempts at commercial appeal. Do It All for You is Saxon’s first straight-up love ballad. Similar in mood to Journey’s Lights it’s got a nice sensuous feel and a regal intro but it’s let down by the lyrics as Saxon climb the highest mountains and search the deepest seas in search of clichés. Sailing to America is also in firm AOR territory and is an album highlight, a carefree cruiser with some expressive and colourful guitar.

The remaining tracks are predominantly straight-up rock. Just Let Me Rock, released as a single, is instantly memorable and has cool moody verses but it doesn’t dig in enough to fully engage. A Little Bit of What You Fancy and Rock City push more air but their choruses are a bit too naff for comfort. Run for Your Lives is better with its rousing football-chant coda while Bad Boys (Like to Rock N’ Roll) and the cover of Sweet’s Set Me Free are both tough enough to recall the street-fighting Brit grit of old.

The Yorkshiremen were still fighting the good fight but, with Crusader, Saxon’s standard dropped. It’s an enjoyable album overall but it needed more sonic heft (some songs fared better at the demo stage) and more consistent song-writing to match the quality and vitality of their past efforts. Only the album’s title-track truly belongs in the same rarefied air as past glories like 747 (Strangers in the Night). Crusader remains one of Saxon’s most beloved songs and the rest of the album basks in the goodwill generated by it.

In the UK Crusader turned out to be Saxon’s lowest charting album since their debut and a big US breakthrough continued to elude them. But their US sales were still improving and the album was a hit throughout mainland Europe. It eventually sold 2 million copies, making it Saxon’s bestselling album to date. But as Biff Byford said “we have had albums that have been more popular [than others]. That doesn’t necessarily mean I like them more.” And I think we should keep that in mind with Crusader. It’s a solid, successful and important album in Saxon’s career but better albums came before and after it.

My copy!
My copy!
Album Reviews, Classic Rock, Genre, Hard Rock, Heavy Metal, Progressive Rock

Saxon – Power & The Glory (Album Review)

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Saxon - Power & The Glory (1983)
Saxon – Power & The Glory (1983)

In 1982 it was time for a rethink in the Saxon camp. They had been turning their attention to America and while they slogged in support slots and club gigs Iron Maiden and Judas Priest were enjoying impressive Stateside commercial breakthroughs. Saxon’s management and label set their sights squarely on American success and the Yorkshiremen were packed off to Atlanta to record their next album, 1983’s Power & The Glory, with hopes of finessing their sound and upping their game.

While the UK fans and critics might have suspected the band would soften their edges, Power & The Glory turned out to be Saxon’s most Metallic release yet: former Kansas producer Jeff Glixman helped them achieve their best sound to date with layers of massive guitars and a charged rhythm section put straight in your face. A combination of hot-rodded British steel and radio-friendly sheen in a similar vein to Judas Priest’s hit Screaming for Vengeance album. The steelier moments are the most impressive: as Power and the Glory’s tense album-opening riff breaks into the verse it’s like you’ve been launched into battle. Biff Byford gives a rousing vocal and the lyrics are an alluring combo of proud valour and anti-war sentiment. It’s another classic jewel in Saxon’s crown. Redline’s pneumatic shuffle breaks into a classy open-road chorus and Warrior is a scything speed-metaller. The Quinn/Oliver guitar duo are in peak form throughout the album but Warrior’s berserk, slurry guitar solo from Paul Quinn is one of the band’s best.

Can you feel the power? Can you read the lyrics?
Can you feel the power? Can you read the lyrics?

The album is less sure-footed when it aims for airplay. Watching the Sky is enjoyable but stock and Nightmare is not quite the star single it wants to be (despite its coruscating guitar solo and cool harmony vocals). But even at Power & The Glory’s weakest the band thunders with conviction, enlivened by the hurricane energy of new drummer Nigel Glockler. Nowhere is this more apparent than on Side 2 opener This Town Rocks which, although it works better live, is a veritable showcase for Glockler’s combustible drumming. The icing on the album’s cake though, is the return of the debut’s prog rock elements to the band’s style. Midas Touch overcomes its daft lyrics by combining a weighty Sabbath-grade riff with Frozen Rainbow-style mellow verses for satisfying light and shade and The Eagle Has Landed closes the album with another Saxon classic: an interstellar journey with lush, spacey guitars and a hefty riff so dramatic you can almost overlook its similarity to Priest’s Victim of Changes. But despite the familiar riff it’s still one of Saxon’s more creative tracks and a great album closer.

My copy (straight from the HMO Vault)

Power & The Glory was Saxon’s purest heavy metal release to date: there’s little of the older Saxon’s blues and boogie here. While fans might miss the knockabout, rowdy style of albums like Wheels of Steel the progression is understandable following the slight diminishing returns of previous album Denim and Leather. It’s a more fully-realised and consistent album with less Rough and Ready-style throwaway filler but it doesn’t quite rack up the same quota of classics as previous records. Sadly, as far as their invasion of the US went: Saxon came, Saxon saw, but Saxon failed to conquer. Even in the UK they found their commercial grip loosening. But metal fans whose taste runs to the epic and the martial (and don’t mind a bit of drivetime pomp) will find that this album is an absolute blast. The title-track alone makes it worth the price of entry and no metal collection can be complete without it. While often overlooked in favour of the preceding “classic trilogy” it truthfully forms the last in a quadrilogy. This is a lively and exciting record that fulfils the promise of its title. You can feel the power and, even though Saxon probably weren’t getting as much of it as they’d like, you can definitely feel the glory. What more do you want from a metal album?

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

Ian Gillan – Toolbox (Album Review)

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Ian Gillan - Toolbox (1991)
Ian Gillan – Toolbox (1991)

‘Everywhere I go there’s bad news on the radio’.

In 1989 the bad news was that Ian Gillan* had been given the heave-ho from the (formerly) reunited Deep Purple. He wasted no time getting his career back on track, releasing the smooth AOR-styled Naked Thunder in 1990 just before Deep Purple returned with their own Slaves and Masters (with Joe Lynn Turner in place of the ousted Ian). Perhaps their return brought out Gillan’s competitive spirit because with his next release, 1991’s Toolbox, he got hard and dirty, dirty, dirty, dirty, dirty…

A Man Shaped Woman
A Dancing Nylon Shirt

The lush keyboards of Naked Thunder were gone. Gillan’s new band was a guitar-driven power trio with a sturdy American rhythm section of Brett Bloomfield on bass and Y&T’s Leonard Haze on the drums. Producer Chris Tsangarides did an excellent job with the crisp and warm reverb-heavy sound. Only guitarist Steve Morris remained from Naked Thunder but in a more starring role with his Van Halen riffs and colourful solos all over the new album. While the musical backing is generic it’s also vibrant and lively, inspiring a fantastic Gillan vocal performance full of personality, echoing octave-defying screams, lusty exhortations and witty, playful lyrics. Mostly about shagging. Deep Purple never got this party-hearty but there is still some familiar Purple-esque heft in the bluesy Hang Me Out to Dry and Dirty Dog. The two-part Dancing Nylon Shirt saga is more oddball with its groovy, churning riff although the second part edges a bit on the silly side. And although Toolbox is a light-hearted album overall, there are serious moments like the up-tempo Candy Horizon and Pictures of Hell which are topped with catchy Maiden-esque guitar melodies and maniacal singing. Even the ballad Don’t Hold Me Back has a sense of macho defiance, an album highlight with its lush, surf mood and building chorus. But the album is absolutely priceless when it’s just straight up rock n’ rolling fun: the title-track, Bed of Nails and Everything I Need invoke giddy, breathless joy, blasting your worries away.

A car shaped fanny
A Dong Shaped Bell
A Power Shaped Nap

When it was released, Rock journalist Chris Welch said that if Toolbox wasn’t ‘a huge hit then maybe Rock really is dead’. Alas, Toolbox wasn’t a hit and Gillan was soon back in Purple, the battle raging on. Despite Welch’s dire prognostications Rock managed to live on and so did Toolbox. I always had it down as competent but entertaining but, over the years, I’ve enjoyed it more and more. It’s aged well. It’s the sound of a band that are loving what they do, and one of Rock’s greatest singers on brilliant form. It’s become one of my reset buttons any time my music listening feels uninspired, the kind of life-affirming fun that never dies.

*Worth pointing out that, although the ‘Gillan’ band logo is used on the cover, this release is considered and billed as an Ian Gillan solo album.

Black Metal, Doom Metal, Genre, Hard Rock, Heavy Metal, Misc. Reviews

Death SS – Zombie/Terror (7″ Single – Review)

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It's fun to slay at the YMCA
It’s fun to slay at the Y.M.C.A.

Considering the huge impact Italy has had on the world of horror movies since the 60s, it’s hardly surprising that the first Italian Heavy Metal band was steeped in the sepulchral atmosphere of the graveyard. Death SS were formed in 1977 by guitarist Paul Chain (the “Death”) and vocalist Steve Sylvester (The “Vampire” whose initials also provided the “SS” of the band name). The band was rounded out by guitarist Claud Galley (The “Zombie”), bassist Danny Hughes (the “Mummy”) and the superbly-monikered Thomas Hand Chaste (the “Werewolf”) on drums. If the Village People ever went Hammer Horror they would probably end up looking something like Death SS.

Although they toiled in obscurity, Death SS still managed to release demos and some privately pressed singles. The Zombie/Terror 7” is the earliest of those singles, an extremely rare release that has now been exhumed and reissued by Svart Records. A-Side Zombie is a 1979 demo version recorded at a rehearsal and B-Side Terror is a rough live take from 1980. Both are horrible, crudely performed and even more crudely recorded. But an inspired and creative magick cuts through the sonic fog. Naively simple but ominous riffs are topped with chiming, ethereally spooky guitar melodies and the vocal hooks in both songs are immediate and melodic enough to endure Sylvester’s cheese-grater vocals. The ugly rawness of the production and singing also strengthens the dark, occult atmosphere: a method that many Black Metal bands would make a virtue of years later.

My copy

You could draw style connections via the Italians from Killer-era Alice Cooper through to the Black Metal genre but Death SS don’t really sound like anyone else. Their otherworldly eeriness, melodic nous and the murky, macabre shroud of sound makes for a darkly seductive listen that I’d strongly recommend to fans of occult/horror-themed Metal. Superior versions of both these songs can be found on the essential The Story of Death SS 1977 – 1984 compilation so newcomers should start there. But for existing fans this single is a great opportunity to own more of this obscure band’s rare and early work and to hear their first lumbering steps from beyond the grave.