Tag Archives: Classic Albums

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

KISS – Hotter Than Hell (Review)

36 Comments
KISS – Hotter Than Hell (1974 – with German logo variant!)

The meanest and heaviest album of KISS’ classic era. When their self-titled debut LP wasted no time in sliding out of the charts, KISS headed back into the studio to rush out a replacement, 1974’s Hotter Than Hell. This time ramping up the layers and distortion in an attempt to replicate the power of their live sound. The sludgy, messy end result is oft-criticised but I think the album has a dark, underground edge and the more metallic material here works really well. Songs like the genius riff-fest Parasite and the predatory Watchin’ You sound gritty and nasty. My main gripe is the stupidly slow tempos. Top tunes like Got To Choose, the title-track and Let Me Go Rock N’ Roll just sound like they need a good kick up the arse. But they’re still enjoyable versions if you just get into that blockier, doomier mindset and, best of all, there are no real clunkers here. They won’t show up on greatest hits sets but tracks like Comin’ Home, Goin’ Blind and Strange Ways are all choice deep cuts for the KISS connoisseur. Especially Strange Ways for its phenomenal whacked-out Ace Frehley guitar solo. Total attitude. Not their hottest album then but definitely one of their coolest, a rewarding evocation of KISS’ hungry years.

HMO Rating: 4 Out Of 5

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

Judas Priest – Sad Wings Of Destiny (Review)

21 Comments
Judas Priest – Sad Wings Of Destiny (1976)

The modern idea of “heavy metal” starts here. Judas Priest’s seminal sophomore album Sad Wings Of Destiny laid down the template for countless others to follow with its evil, slashing riffs, demonic guitar duels and the screaming, theatrical vocals of the one-and-only Rob Halford. This 1976 album contains four peerless classics in the humungous Victim Of Changes, the thrashing Genocide, Tyrant and the malevolent The Ripper. And, while less innovative, the deep cuts like the orchestral Prelude, psychedelic Dreamer Deceiver and the funereal Epitaph give the album a mournful, gothic construction that makes this the Priest to hear if you’re a crucifix-necklaced, flare-wearing, doom metal type. Supposedly the album’s A and B sides were accidentally reversed on initial release so we’ve all been listening to it in the wrong order. But it doesn’t matter. Listen to this any way you like: forwards, backwards, up, down, shuffle. Either way it’s a masterpiece. Actually… maybe avoid listening to it backwards. Just in case.

HMO Rating: 5 Out 5

[Judas Priest – Genocide]

Album Reviews, Death Metal, Genre, Reviews, Thrash Metal

Pestilence – Malleus Maleficarum (Review)

12 Comments

Pestilence are now known as death metal masters but on their 1988 debut album the Dutchmen were still in the process of pushing the Kreator-style thrash of their demos to increasingly aggressive extremes. The crunchy riffs, violent tempos, moshing breakdowns and vocal phrasing are pure thrash but the sickening bludgeon of the delivery and the Schuldiner-esque bark of Martin Van Drunen put the band on a collision course with the emergent death metal of the era. The lyrics aren’t much of a read but obsessions with science, atrocity and surgery also push things deathward (“bifurcation of the tumour”) and provide great vocal hooks for Van Drunen’s authoritative vocals in tracks like Parricide and Chemotherapy. Although they had yet to mature stylistically, Pestilence’s formidable songwriting and precision brutality makes this a must for fans of death and thrash. It’s named after the infamous “Hammer Of The Witches” treatise, yet Malleus Maleficarum is so magical from front to back that you could well suspect this band of sorcery.

HMO Rating: 4.5 Out Of 5

Bonus-filled Hammerheart Records Edition

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

KISS – KISS (Review)

39 Comments
Can you guess which of these guys got someone else to do their makeup?

KISS, the band’s self-titled debut album from 1974, is loaded with more classics than any other studio album they would ever put out. The masked New York rockers were already making a reputation as an explosive live act and when you look at the tracks featured here, Strutter, Firehouse, Cold Gin, Deuce, Black Diamond and 100,000 Years, it’s no wonder few bands dared take them out as support act.

But it’s not all cut from that timeless cloth. The gimmicky single Kissin’ Time and the aimless instrumental Love Theme From KISS detract from the album. And the band were unable to capture the power and excitement of their live shows in the studio. KISS at their best put a spring in your step like no other band but the production and performance here is too tentative to quite achieve that.

KISS would eventually deliver definitive renditions of these songs on their mega-selling 1975 album Alive! But there’s a reason so many of that live album’s songs were drawn from their debut. KISS is a must-hear for fans of street-level, meat and potatoes hard rock. A flawed classic that planted the seeds of success with its pop-savvy mix of Humble Pie boogie, tasty heavy riffs and an array of songs that would become the stuff of legend.

HMO Rating: 4 Out Of 5

Album Reviews, Classic Rock, Genre, Hard Rock, Reviews

Ted Nugent – Ted Nugent (Review)

37 Comments
Ted Nugent – Ted Nugent (1975)

He’s a phenomenally exciting guitar player and intense live performer but there are a disconcerting number of patchy studio albums to wade through in “Terrible Ted” Nugent’s discography. This 1975 album, his solo debut after ditching the Amboy Dukes band moniker, is as close to filler-free studio greatness as he ever got. Outside of a compilation or live album, this is the most classic Nuge songs that you’re going to find in one place.

And what classics! Stranglehold is an audacious and timeless opener: a moody, psychedelic workout that brilliantly showcases the excellent band, Nugent’s guitar chops and that superbly raunchy Gibson Byrdland tone. Motor City Madhouse is a gonzo rager and the stunning hard rockers Just What The Doctor Ordered and Stormtroopin’ are two of my all-time faves. The lesser-known Hey Baby and Snakeskin Cowboys are catchy, swaggering rock n’ rollers that hold their own among the hits.

But the patchy criticism still applies and Ted doesn’t always hit the target here, running out of steam with a brace of comparatively forgettable closing tracks. But this is still the most consistently brilliant studio album of his career and a great place for newbies to start. Like the “murder capital of the world” referenced in Motor City Madhouse, Ted Nugent is loaded with killers.

HMO Rating: 4.5 out of 5

Great reissue with quality bonus tracks

Album Reviews, Genre, Heavy Metal, Reviews

Manowar – Sign Of The Hammer (Review)

23 Comments
Manowar – Sign Of The Hammer (1984)

Finding their label Music For Nations wanting, presumably puny, Manowar used the budget they were given to record their third album, 1984’s Hail to England, but used it sparingly: covertly working up an additional batch of tracks which they then used to win a record deal with Virgin/Ten Records. Sneakiness aside, Manowar achieved a heroic feat. They had recorded two of the very greatest albums in the history of heavy metal… at the same time.

So here’s the second of those peerless works, Sign Of The Hammer. It’s pure heavy metal, but Manowar’s explosive and idiosyncratic idea of what that might be. Joey DeMaio leads from the front with his humungous bass riffs and leads but the whole band is on stellar form. Eric Adams sings with absolute authority and commitment, Ross The Boss’ wild, off-the-cuff guitar solos are impossibly exciting and Scott Columbus pounds out the drum equivalent of shouting “FRESH HORSES” at the top of your voice. The songwriting is also godly, with opening lines like “black clouds on the horizon” and “burning embers of the second death will come in the night” 100% guaranteed to give all but the false true metal stirrings.

The album is near flawless. All Men Play On Ten and Animals kick the album off like KISS-on-steroids. Thor (The Power Head) is as thunderous and warring as its title suggests. Mountains is elemental in its epic scope and the black wind conjured up in The Oath and the Sign Of The Hammer tips the album into sheer aural chaos. There’s only one chink in the armour here and that’s the bass noodling of Thunderpick. It’s extremely skippable but, as always with Manowar, there’s mad genius at work as the workout proves to be an effective overture to the sublime album closer Guyana (Cult Of The Damned). Eric Adams excels here, delivering an account of mass suicide with chilling and heartbreaking sincerity.

This album has hopped around the top spot of my favourite albums of all time for decades now, vying with that other work of genius Hail To England. There are times when I seriously wonder if I’ve wasted my time listening to other music when I could have been listening to this and, listening to it again now, I reckon I probably was.

HMO Rating: (All Men Play On) 10 out of 5

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

UFO – Phenomenon (Review)

33 Comments
UFO – Phenomenon (1974)

With two studio albums behind them, UFO took off in 1974 with the recruitment of the German mad axeman Michael Schenker and the release of their excellent third album Phenomenon.

The spacey tendencies of the band’s earlier work remain in the cosmic balladry of tracks like Space Child and Crystal Light and vocalist Phil Mogg shines on these mellower tracks. But Schenker shows what he can do on the album’s rockers: peppering opener Oh My with fluid leads,  chugging infectiously on Doctor Doctor and offering up a veritable guitar goldmine on Rock Bottom. Side two is less memorable but contains two highlights in the majestic Queen Of The Deep and Too Young To Know: a great example of the kind of ultra-catchy storytelling rock that would become the band’s speciality.

More accomplished albums would follow and cement UFO’s place as classic rock giants but Phenomenon more than lives up to the promise of its titular billing with its raw and innocent mix of riffy, trippy boogie. It’s a big favourite of mine and has a uniquely proto-metal place in the UFO discography. Essential listening if you enjoy the early outings of Priest, Scorpions and Budgie and want to hear the development of a style that would be heard later, louder and heavier, in the output of NWOBHM bands such as Maiden, Saxon and Diamond Head.

HMO Rating: 4.5 out of 5

[UFO – Queen Of The Deep]

*note that older versions have ‘Oh My’ swap sides with ‘Too Young To Know’ (also occasionally mis-spelled as ‘Too Young To No’!)