I was listening to Cirith Ungol’s King Of The Dead today and reading through the liner notes. In the booklet their guitarist Greg Lindstrom said they got the idea for their song Finger Of Scorn from a line in a Trapeze song called Jury. It’s a cool bit of trivia for any keen Ungolians out there but it also shows those Cirith Ungol guys have great taste because Jury is an awesome track. It’s taken from Trapeze’s second album Medusa and it’s one of those gripping light/shade tracks in the vein of what Budgie, UFO, Priest and the like were also up to in the early/mid 70s. Peaceful pastoral acoustics are disturbed by a riff of monster proportions. And HMO-favourite Glenn Hughes is on spine-chilling vocal form, especially in the heavier parts where his delivery of lines like “the writing’s on the wall” will give you pure metal goosebumps.
HMO Rating: 5 Out Of 5
(And just to add to all the Trapeze excitement, I’ve now noticed that Cherry Red/Purple Records are putting out deluxe 3CD reissues of the band’s first three albums in September. Medusa included.)
They would go on to enjoy insane, enormo-success and an inflated reputation as the One Band To Rule Them All but Led Zeppelin’s first flight was a rickety, low budget affair. Their S/T 1969 debut album was knocked out in just 36 hours for less than two grand, which is not bad going considering it became a seminal work in the early history of “heavy”. Before Black Sabbath and before In Rock, Led Zep dished out dark, powerful riff-based rock on tracks like the bewitching Dazed And Confused. But there are both good times and bad times to be had on Led Zeppelin. Communication Breakdown is a superb proto-Paranoid metal chug but Good Times, Bad Times‘ powerful rhythm section and Your Time Is Gonna Come‘s dreamy mix of acoustic guitar and organ can’t disguise the band’s dated, hippy songcraft. Elsewhere, the famously sticky-fingered Brits resort to mining other artists’ material. This approach works well on tracks like How Many More Times, where Zep supercharge the blues with swingingly heavy results. But it also results in stodgy workouts like I Can’t Quit You Baby and Black Mountain Side, a folk arrangement that shows good taste but lacks imagination. The album’s thudding rock power makes Led Zeppelin a notably heavy debut but it’s also heavy in mood: a monochrome moroseness that, mixed with some weak and old-fashioned material, makes repeat listens an increasingly dreary experience. Better would come when Zep’s creativity and vision caught up with the power of their delivery.
Deep Purple have been a huge part of my musical life. For years I would have said they were my favourite band. But I’ve not been a big fan of their current MkVIII lineup and I’ve been fairly certain that I wasn’t going to even bother with their upcoming album Whoosh! But now I’ve heard their new song Throw My Bones and… just when I thought I was out, they pull me back in. On one hand it’s still MkVIII doing what they do: mild funky rock, smug vamping and Steve Morse’s interchangeable guitar solos. But on the other hand, its joyful, playful feel and catchy chorus has got me wanting to hear more. I’ve been listening to their last album inFinite again and whoosh! I’m looking forward to the new Deep Purple album.
HMO Rating: 3.5 Out Of 5
(Throw My Bones is available on the free CD that comes with the latest issue of Classic Rock Magazine along with two live bonus tracks from 2017)
HMO salutes Peter Green, who has died aged 73. There are many superb tunes I could pick as a tribute to the gifted guitarist, vocalist and founder of Fleetwood Mac. I toyed with Sandy Mary, Oh Well, Jumping At Shadows, Man Of The World and I Loved Another Woman: all personal faves. But given this is a metal site I’m going to go with The Green Manalishi (With The Two-Pronged Crown). Even if you’re not familiar with Fleetwood Mac, I’m sure you all know this song from Judas Priest’s cover versions on Hell Bent For Leather and Unleashed In The East. They turned it into a great souped-up rocker and their interpretation is very enjoyable. But I don’t think this song was really intended to be enjoyable. It was written during a period of LSD-induced mental health struggles and was inspired by a particularly vivid nightmare which Green interpreted as being about the evil of money and success. The Mac version is as dark, ominous and anguished as its subject matter. Doubly so on this extended live take recorded in Boston in 1970. It’s a musical dark night of the soul. Enjoy!
“His spawn lay in the freezer, the killers that bore his name”
The Breeding House is one of a number of recorded and abandoned tracks that Bruce Dickinson worked on in the years preceding his 1994 album Balls To Picasso: his first solo album since leaving Iron Maiden. The pressure of making his first post-Maiden statement resulted in a number of rethinks and reshuffles and a right mixed bag of music. Ranging from tried-and-trusted Tattooed Millionaire style rock to totally daft experimentation.
The Breeding House was one of the earliest of these unused tracks to get a release when it appeared as a B-Side on the Tears Of The Dragon single. Of his output at the time, this was the closest in style to his previous band: with chord progressions and harmony guitars straight out of the Maiden playbook. Jagged Edge/Skin guitarist Myke Gray zips around the fretboard in style and the Air Raid Siren soars throughout, especially in the thrilling bridge, and contributes a layer of intrigue with some dark and cryptic lyrics.
I had lost interest in Maiden and Bruce in the early 90s but The Breeding House had a sense of freshness and commitment that got me excited to hear what Dickinson had to offer as a solo artist.
I was thumbing through the booklet that came with Venom’s MMV box set today and a quote from their frontman Cronos jumped out. “In Venom we wanted to be the devil, we wanted to be the vampires!” Well, it doesn’t get more vampiric than their essential non-album single Bloodlust. In fact, the singer refers to himself in the song as “Count Cronos, vampire supreme”. Guitarist Mantas gets a shout out too (this time simply as “Mantas”). That leaves poor drummer Abaddon as the only Venom bloodsucker to not get a mention which is probably why he tries to get everyone’s attention by playing as many of his drums as he possibly can. As often as he can. It’s a chaotic, slightly-out-of-tune mess but it is glorious! Pure punk metal battery, deranged and in your face. Come on, turn it up!
HMO Rating: 5 Out Of 5
(And because one Venom box set simply isn’t enough here’s the Bloodlust picture disc that came with their 2019 box set In Nomine Satanas)
Try as they might, Jersey’s Legend just couldn’t rise above the myriads of NWOBHM bands all competing for attention during the early 80s. It didn’t help that they were stuck out in the Channel Islands, removed from the scene’s industry hotspots and gigging circuit. But their proggy brand of metal was also intropspective, dark and dour. Great stuff for fans of gloomier fare; not the kind of music that was going to stand out alongside anthems like Angel Witch, Let It Loose, and Blitzkrieg.
Legend eventually gave up the ghost but on their final release, 1982’s Frontline EP, they went out in style: taking a more direct and melodic approach. The title track and Open Up The Skies are on the slight side in terms of song structure but are packed with catchy melodies and Peter Howarth’s masterful guitar work. The latter song in particular features the kind of axe heroics that would have gone down a storm if the band had been based in LA rather than Jersey. The ballad Sabra & Chatila gets back to the darkness of their previous work but its dreamy quality and lush Bill Nelson-esque textures make it a highlight.
But best of all is the awesome Stormers Of Heaven. It’s the kind of anthemic, hook-laden rock song that would have graced any compilation of the genre. If it had appeared on any. But sadly, it remains criminally overlooked. Legend might just have been in the wrong place at the wrong time all along.
Having made a promising studio comeback with 1994’s From Now On… the newly-sober Glenn Hughes then set out to prove his reliability and viability as a live performer. Burning Japan Live, recorded in 1994 over two nights in Kawasaki, captures Hughes and his band (now including three members of Europe) in spectacular form. The album kicks off with a red-hot version of the Deep Purple classic Burn and continues with a revelatory run of non-Purple tracks. There’s a swaggering take on the Hughes/Thrall classic Muscle And Blood and the new solo tracks like From Now On… and The Liar sound magnificent. A cluster of mellow tunes causes a mid-set lull but the versions of Coast To Coast and This Time Around are classy examples of Hughes’ versatility. The chilled interlude also provides a nice breather before the show switches gears for a hard rocking climax that’s loaded with Purple anthems from Glenn’s MkIII and IV days. Burning Japan Live proved Hughes was back at the peak of his powers and also celebrated his long and storied career. It’s a vibrant, dynamic and sophisticated live album that cemented his reputation as the “Voice Of Rock”.
HMO salutes Paul ‘Tonka’ Chapman who recently passed away aged 66. The Welsh guitarist had played with the Irish Skid Row, Lone Star, Waysted and others but he was most famous as the guitarist that replaced Michael Schenker in UFO. An unforgivable task that Tonka proved more than equal to: recording albums like The Wild, The Willing And The Innocent that remain fan favourites.
I was tempted to pick one of that album’s songs as a tribute but I decided to go for an older, and geekier, recording. After Schenker debuted with UFO on 1974’s Phenomenon the band decided to draft in a second guitarist for live duties and, for a brief period that year, the band featured both Schenker and Tonka on lead guitar! This fascinating and short-lived lineup can be heard on this BBC live recording from London. Rock Bottom was always a live centrepiece due to its extended soloing and here you get to hear both Schenker and Tonka trading wonderful solos. Chapman kicks his off at the 4:25min mark. It’s a cool, wah-tinged solo that makes jazzy use of the passage’s Dorian tonality and there’s a real chemistry between the two guitarists. Chapman was nicknamed ‘Tonka’ because, like the steel toys, he was thought to be indestructible, and he certainly sounded it here.
Congratulations to My Dying Bride as they celebrate 30 years of innovative, influential and thoroughly miserable metal. It’s an especially pleasing achievement given that the last five years have been particularly trying for the British band. When vocalist Aaron Stainthorpe’s young daughter was diagnosed with cancer in 2017, he was forced to take leave from the band. And when a further two band members decided to quit during this hiatus, the band’s future looked extremely doubtful.
Thankfully Aaron’s daughter was given the all clear and the band not only survives, but thrives. On their latest album The Ghost Of Orion they sound as vital, relevant and glum as ever. With its glacial pace, less obvious song structure and Andrew Craighan’s mournful riffs, The Long Black Land is definitely one of the album’s less instant and accessible tracks. But its also one of its most powerful: a black void right at the heart of the record. Like all the best doom, it’s laden with feeling and at the 6:25min mark, when a mellow breather bursts into a lumbering, seismic riff, it’s exquisitely powerful.
You wouldn’t know it from the music but, three decades in and at the top of their game, My Dying Bride and their fans have many reasons to be cheerful.