Category Archives: Genre

Death Metal, Genre, Hard Rock, Heavy Metal, Reviews

Carcass – Swansong (Review)

August 25, 2013 Heavy Metal Overload 34 Comments

Swansong was released in 1996 after Extreme Metal pioneers Carcass had an unlikely stint as a major-label act in the US. With Columbia unwilling to release the album it was given back to the band and their UK indie label Earache to release, by which time the band had already split up (hence the title). The album met with a muted reception. While the diehard Metal underground felt it was too watered-down it was also way too extreme for mainstream acceptance.

This is Carcass’ “Rot n’ Roll” album. The groovy, stripped-down feel of the performance gives the album a Classic Rock vibe but the up-front delivery is defiantly Metallic with speaker-rattling production from Colin Richardson. Meaty and sophisticated guitar riffs are topped with deft, melodic solos and underpinned with a powerful bass sound. Ken Owen’s drumming is sublime and Jeff Walker’s exasperated snarl and nihilistic lyrics offer the album’s most extreme components. In many ways, the qualities Carcass exhibits on Swansong are very similar to those of Megadeth’s 90s output, albeit a Death Metal equivalent.

Carcass - (on left panel) Jeff Walker (v,b), Carlo Regads (g), Ken Owens (d), Bill Steer (g) — Carcass – (on left panel) Jeff Walker (v,b), Carlo Regadas (g), Ken Owens (d), Bill Steer (g)

Opener Keep on Rotting in the Free World’s rumination on the Western economy still sounds relevant and, as the seriously weighty guitars open up into the harmonised chorus riff, it’s a truly exciting way to kick off an album. Tomorrow Belongs to Nobody’s opening riff salvo is just about the best HM riffing you’ll ever hear and the arpeggios of Child’s Play offer the album’s uplifting lighter-waving moment.

However, Swansong suffers from a mid-album lull that it struggles to recover from, largely due to the lack of variation in tempo. The album regains its footing in the second half with Generation Hexed, Firm Hand and the Thin Lizzy-esque R**k the Vote standing out as album highlights.

Although flawed, Swansong’s enthralling blend of power and flair has a strong appeal. The combination of Classic Metal sensibility and grinding delivery make this an ideal starting point for anyone interested in exploring heavier terrain and there is enough depth to reward repeated listens. On the eve of their comeback album Surgical Steel there is no better time to revisit their great underdog album.

HMO Rating: 4 out of 5

[Carcass – Tomorrow Belongs to Nobody]

The Swansong DualDisc edition. With Part 5 of "The Pathologist's Report" on DVD and stickers! — The Swansong DualDisc edition. With Part 5 of “The Pathologist’s Report” on DVD and stickers!

Genre, Heavy Metal, NWOBHM, Reviews, Thrash Metal

Metallica – Creeping Death (12″ Single – Review)

August 17, 2013 Heavy Metal Overload 52 Comments

Oh look! There's a wee skull in it. Metal. — Oh look! There’s a wee skull in it. Metal.

(Single taken from The Good, the Bad & the Live: (6½ Year Anniversary EP Collection) that I bought back in January 2013)

Metallica’s second European single was released after its parent album Ride the Lightning to promote the band’s European tour. The A-Side song Creeping Death is a stone-cold Metalliclassic, a nuclear biblical epic. The B-Side Garage Days Revisited consists of two faithful covers of NWOBHM tracks (Diamond Head’s Am I Evil? and Blitzkreig’s Blitzkreig). Everyone would have already been familiar with the title-track when this was released but, especially outside the UK, fewer listeners would have known the B-Sides.

It seems that the classic Metal bands of the 70s weren’t doing many covers and the few exceptions were songs lifted from outside the genre and given “heavy” treatment. But in the 80s bands like Metallica and Iron Maiden seemed keen to indulge in a bit of “Record Collection Rock”: recording many covers and, crucially, covers of other heavy and hard rocking bands. Both Maiden and Metallica proved vital in my musical education, pointing me towards other great artists (as well as some great films, books and TV shows).

Were Metallica simply self-serving in making these powerful, but largely unheard, songs their own? Or were they benevolently offering a helping hand (and some welcome royalties) to some great bands that hadn’t found an audience, for the greater good of Metal? I’d say there were elements of both but I would also credit Metallica for having the confidence to put an astounding song like Am I Evil? alongside their own, especially when Metallica’s sound and style was so clearly indebted to Diamond Head. But Metallica’s own compositions had more than enough firepower of their own and enough credit was given to their beloved NWOBHM heroes in interviews and on their T-Shirts to avoid accusations of exploitation.

While Metallica’s cover versions of Am I Evil? and Blitzkrieg might not quite have the charm or impact of the originals, Metallica admirably put their own crunchy, barky stamp on both tunes. The realisation that there were older bands capable of penning tunes that could hold their own against a classic Thrasher like Creeping Death had many a fan, myself included, scurrying off to their nearest record store. The Metal genre, and my music collection, are much better off thanks to Metallica, one of the greatest gateway bands of all-time.

HMO Rating: 4.5 out of 5

Ozzy Osbourne – Blizzard of Ozz (Review)

July 31, 2013 Heavy Metal Overload 37 Comments

2011 Edition - The one to buy — 2011 Edition – The one to buy

I imagine few people expected Ozzy’s first musical venture after his expulsion from Sabbath to be this good. In fact, I imagine few people expected any musical ventures at all (including Ozzy, who would have probably just continued wallowing in a last hurrah of beer and pizza deliveries if a pep talk/kick up the arse from his management hadn’t sent him out looking for new bandmates). But then, who knew about Ozzy’s talent for assembling shit-hot bands? Ex-Rainbow bassist Bob Daisley and ex-Heep drummer Lee Kerslake were joined by US guitarist Randy Rhoads whose astonishing playing had the flash and glamour of Van Halen and the Blues-free, hard-edged style that fit in with the burgeoning NWOBHM scene.

2002 Edition - The one to avoid — 2002 Edition – The one to avoid

The band’s performance is top notch. Joyous, bouncy tunes like I Don’t Know, Crazy Train and No Bone Movies are topped with deft, choppy guitar riffs and euphoric soloing. Dramatic, epic compositions Mr. Crowley and Revelation (Mother Earth) are the album’s centrepieces, Rhoads’ neo-classical runs and phrasing reaching almost unassailable heights on these tracks. Buoyed by his band’s energy, support and creativity, Ozzy came into his own as a vocalist and performer, establishing his now-famous persona in crazy tales of booze and sex, with a hint of the diabolic in Mr. Crowley and in the sinister cover art. And, while his delivery is warm and upbeat, there are hints of doubt and desperation. These endearing chinks in Ozzy’s wild-man armour are a large part of the album’s emotional power (and the power of much of Ozzy’s solo work).

1995 Edition - The one with the shitey cover — 1995 Edition – The one with the shitey cover

It could be argued that subsequent Ozzy albums improved on this but, as a statement of intent, Blizzard of Ozz is hard to beat, and provided many of the classics that remain at the core of Ozzy’s live setlists. It’s an absolute comfort-blanket of a record and a genuine Metal classic. Ozzy might not remember much of the 80s but this album remains unforgettable.

HMO Rating: 5 out of 5

Thanks to Mike! His review of The Ultimate Sin put me in a right old Ozzy mood.

Genre, Hard Rock, Heavy Metal, Reviews

KISS – Lick it Up (Review)

July 20, 2013 Heavy Metal Overload 33 Comments

I discovered KISS in the late 80s. Up until Crazy Nights, they had never made much of a splash in the UK, so without much info on the band or their history I generally just ordered the cassettes that had the coolest titles and, subsequently, Lick it Up was an early acquisition. I didn’t know or care that it was their first album sans make-up so let’s not get into that too much. Suffice to say KISS had been floundering around for a few years, not quite sure what they wanted to do or who they wanted to do it with. A thrilling moment of discovery came with the stunning Creatures of the Night album. KISS were a full-blooded Metal band. Unfortunately, the sales were less than stunning so KISS played their trump card, removing the make-up for publicity and also signifying their new found musical confidence.

Lick it Up is the sound of that confidence. Not quite as dynamic and anthemic as Creatures… but the solid sound of a band that means business. And business was good! Lick it Up became their first album to go Gold in 3 years.

There’s a real sense of danger and threat in these songs. Tracks like Exciter and Million to One cut and thrust with emotively strained and dynamic vocals from HMO man-crush, Paul Stanley. Gene Simmons’ songs mostly rumble and lurch menacingly with little of the Blues/Rock N’ Roll licks he would rely on for the rest of the decade. Gimmie More and Fits Like a Glove are filthy raunch and All Hell’s Breaking Loose and the title track (it’s basically sex music) provide the anthemic relief. Drummer Eric Carr hits hard and reins in the tempo which adds to the muscular vibe but the whole album is tied together by its star player, lead guitarist and songwriter on 8 of the 10 tracks: Vinnie Vincent. Curbing (or forced to curb) his widdlier tendencies, his classy riffs, licks and solos are the most remarkable and creative contributions to the album.

Unfortunately, Vinnie would soon be gone and, although KISS would continue to release superb albums for the rest of the decade, they were never quite this good or this assured again. Lick it Up is not only a strong contender for the greatest KISS album of all-time but a strong contender for my favourite album of all-time. Don’t agree? Well, listen bitch! I’ve got news…

HMO Rating: 10 out of 5

[KISS – Exciter]

Genre, Heavy Metal, Reviews, Thrash Metal

Metallica – Jump in the Fire (12” Single – Review)

May 15, 2013 Heavy Metal Overload 38 Comments

(Single taken from The Good, the Bad & the Live: (6½ Year Anniversary EP Collection) that I bought back in January 2013)

Can I be honest here and admit one of my main reasons for wanting this was the incredible cover? I love the orange demon dude. He looks so pleased with himself. And so he should! He is adorning the first (if you’re British, anyway) Metallica single!

Jump in the Fire is taken from Metallica’s seminal debut, Kill ‘Em All. It’s one of the more old-school Metal tracks on the debut with its mid-tempo rhythm, bluesy soloing and a sing-along chorus (which always reminds me of Deep Purple’s Space Truckin’). It’s a fun track but not one of the debut’s more promising efforts. Hammett’s soloing and Hetfield’s hoarse vocals sell the song and, thankfully, the band replaced the shagging lyrics from the No Life ‘til Leather demo version with something more orange demon dude friendly. Besides, no-one should have to imagine James Hetfield moving his hips in a circular way. Ever.

The Back Cover with the Studio and "Live" Sides — The Back Cover with the Studio and “Live” Sides

Apart from the orange demon dude, the main attraction of this single is its live B-Sides. Unfortunately, these “live” versions of Seek and Destroy and Phantom Lord were actually recorded in a studio. Reverb was added (most audibly on Hetfield’s voice) to replicate the acoustics of a larger venue and crowd noises were added on. I’m sure I can remember reading that the crowd noise was taken from a classic live album but I’m not sure if that’s true or not (answers on a postcard please) but the crowd noise does give the impression that the band had amassed a pretty large following at this early stage in their career!

Like, Hetfield's hips, this record moves in a circular way — Like Hetfield’s hips, this record moves in a circular way

If you can get over the naïve fakery involved, these lively alternate versions are still well worth hearing. Both of the B-Side tracks are more representative of the band’s early, influential Thrash style than the A-Side. While these versions are missing the breakneck intensity of Metallica’s actual live performances, Cliff Burton’s fabulous bass playing is clear as a bell, Kirk’s soloing is free of bum notes and the performance as a whole is pretty tight. Pleasingly, Hetfield’s voice is starting to sound more like it would on future albums but his exhortations to the imaginary crowd (“let’s go, c’mon”) during Seek and Destroy are embarrassing.

Sans the fakery these are still excellent performances. If they had been radio sessions instead they would have been more appreciated and it’s probably preferable to think of them along those lines. For future releases, Metallica would lose the naiveté… and the orange demon dude.

HMO Rating: 4 out of 5

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

Blue Öyster Cult – Imaginos (Review)

March 15, 2013 Heavy Metal Overload 17 Comments

[Unused Stephen King intro to the album]

BÖC ended their tenure on Columbia with the ambitious concept album, Imaginos. It’s easily one of BÖC’s heaviest efforts in all senses but there were still enough keyboards, reverbed drums and glassy clean guitars to ensure it fit in with the musical trends of the mid-80s. In typical BÖC fashion, however, they added their own eerie and psychedelic quality to the mix. If you ever have a nightmare about the 80s it could easily sound like this!

The album had a long gestation and is really a combination of two projects. It started out in 1981 as the solo project of fired original member, Albert Bouchard. This project was rejected and later reworked as a Blue Öyster Cult project. Even though some of the original BÖC members were no longer in the band, the convoluted saga of the album’s making meant that all original members appear on it, giving the album the illusion of being a reunion effort. There are also many guest musicians and vocalists as a result of its long gestation.

It’s perhaps surprising, then, that the album sounds so focussed. Del Rio’s Song has hooks to die for and serves as light relief amidst all the mystery and darkness. The Siege and Investiture of Baron Von Frankenstein’s Castle at Wisseria is explosively dramatic with superb guest vocalist Joey Cerisano channeling Chris Cornell. The album’s concept comes from poems written in the 60s by the band’s mentor and manager Sandy Pearlman. These ideas have featured in many songs throughout BÖC albums and some of this older material appears here in reworked form (including an upbeat, galloping take on the classic Astronomy).

Although the production does seem over-produced compared to the sparser sound of their classic albums, the lavish sound does suit the theatrical concept and feels like an updated version of the band’s dark, arcane style to me. The use of lyrics and music from previous eras also creates the sense of this album as the definitive statement of BÖC’s career and mythology. Unfortunately, it turned out to be the band’s worst seller for the label and would be their swansong as a Columbia act. They wouldn’t release another studio album for 10 years. It’s a real shame because this album is creative, bold and uncompromising: a secret treat for anyone wanting to check out overlooked gems from the 80s.

Imaginos LP Inner – The “Explanation”

Imaginos – The “Explanation”

HMO Rating: 4.5 out of 5

[Blue Öyster Cult – The Siege and Investiture of Baron Von Frankenstein’s Castle at Wisseria]

Black Metal, Genre, Heavy Metal, Reviews, Thrash Metal

Sabbat – History of a Time to Come (Review)

February 26, 2013 Heavy Metal Overload 23 Comments

Sabbat - History of a Time to Come CD Reissue — Sabbat – History of a Time to Come CD Reissue

If you were in a successful Thrash Metal band in the 1980s, you were probably American or German. While the UK was a massive influence on the genre via bands such Venom and Motorhead, the UK Thrash Metal scene is generally a footnote in any history of the genre. However, in England’s green and pleasant land there was one band that was more than a match for any of the more successful Thrash exponents from overseas.

They were Nottingham’s Sabbat and their debut album History of a Time to Come had the pace, aggression and technicality of Slayer and Megadeth and the filthy Black Metal tinge of Germany’s Destruction and Kreator. But, in addition to being able to thrash with the best of them, Sabbat had a pagan and medieval quality to their music which sounded uniquely British.

The whole album is expertly paced. For the most part the band thrashes like maniacs but the album is interspersed with enough memorable horn-raising riffs to appeal to fans of Maiden and Priest. There are also occasional clean passages, river sounds and tweeting birds offering pastoral respite from the musical sword-waving elsewhere.

Songs like Hosanna in Excelsis and Behind the Crooked Cross are satisfyingly direct and savage with Andy Sneap’s deft guitar riffs and snaky legato fills. Vocalist Martin Walkyier impresses too: his crazed screeches, growls and exaggerated pronunciation (“The poison-ah! infil-ah! trates-ah!”) coming across like a possessed Dark Ages preacher or prophet. His startling vocal performance here would prove influential in the Black Metal genre both in the UK and abroad.

Walkyier’s wild delivery is especially useful in songs like A Cautionary Tale and I For An Eye where the songs take the form of Dante-inspired short plays. His varied vocal delivery is great for carrying the multitude of dramatic parts and his voice is often harmonised and doubled over to create a mysterious, occult atmosphere. One of the finest examples of this comes in A Cautionary Tale where Walkyier’s voice is weaved together with a backwards vocal for spellbinding effect (“Bell, book and candle. Candle, book, bell. Forwards and backwards to damn me to hell. Jehovah, I beg thee. Have mercy on my soul”).

Narratives are also expressed musically by the skilful changes in pace and mood. The greatest example occurs in the shift to a classic mid-tempo riff during I For An Eye to illustrate Lucifer’s malevolent intent. An uplifting, cleaner version of the same riff is introduced later beneath the melodic solo which closes the song (“I burn”). This is one of the album’s most awe-inspiring moments and a great example of the Andy Sneap’s skill as a composer, arranger and player.

The lyrics on History of a Time to Come deserve praise too. Many of the era’s bands were moving away from horror-themed lyrics and towards the real world horror of politics and nuclear destruction. Sabbat managed to use elements of both, filtered through the lens of a distinctively pagan and spiritual worldview. Horned is the Hunter (the album’s centrepiece) is suitably apocalyptic but the story of man’s downfall (the “history of a time to come” referred to in the album’s title) is told through the eyes of our forgotten Gods of nature. The topic of Nazism is cloaked by a focus on their occult obsessions in Behind the Crooked Cross and the greed of TV evangelists (always a popular target for 80s metallers) is turned into a medieval carnival in The Church Bizarre.

Sabbat would only release one more album, Dreamweaver (Reflections of Our Yesterdays), before the classic line-up split. Walkyier would go on to form Skyclad (one of the greatest bands of the 90s) and Andy Sneap would build a very successful production career. He would later use this success to help reactivate Hell, an obscure UK Metal band that was a massive influence on Sabbat.

This edition of History of a Time to Come has been superbly remastered by Andy Sneap himself and also includes 5 gruff live tracks from East Berlin (taken from the End of the Beginning VHS) with the standout track being a blistering version of For Those Who Died. There isn’t a weak track on this CD. It’s a superb record, superb reissue and a must-have for fans of Thrash and Black Metal. Charge!