Tag Archives: Debut Albums

Album Of The Day, Black Metal, Death Metal, Genre, Heavy Metal, Thrash Metal

Album Of The Day: Possessed – Seven Churches

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Possessed – Seven Churches (1985 Combat Records)

It came out of the Bay Area thrash scene but Possessed’s 1985 debut Seven Churches is now renowned for getting the death metal ball rolling. And quite right too: Jeff Becerra’s voice is demonic and cavernous; the riffing is brutal and relentless; and it closes with a song called… Death Metal! But it’s really more than that. As with other early efforts from the likes of Sodom, Kreator, Slayer and Celtic Frost there’s a primordial stew of dark extremity at work here that doesn’t fit neatly into any genre but has elements that can be extracted into loads of them. It’s not just the death metal guys that have worshipped at the altar of Seven Churches. And that’s why it still holds up today and always hits the spot, whatever kind of evil metal mood I might be in.

My 2008 Century Media reissue. Too black to take a good photo of, but it does fold out into an inverted cross!
Album Of The Day, Death Metal, Genre

Album Of The Day: Incantation – Onward To Golgotha

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Incantation – Onward To Golgotha (Relapse Records 1992)

Immolation, Suffocation and Incantation, the big three of death metal’s “-tion” bands, are all equally deserving of umm… adulation. But these days it’s Incantation I’m enjoying the most. I’ve had their 1992 debut Onward To Golgotha on CD for years but when I saw this vinyl reissue in Edinburgh last week I had to pick it up. This is a churning, subterranean take on Morbid Angel style death metal, more concerned with blasphemy than gore. Over 30 years since it was released, it still sounds impressively brutal and atmospheric. So if you like your death metal dank and cavernous you should give Onward To Golgotha your undivided attention.

Album Of The Day, Classic Rock, Doom Metal, Genre, Heavy Metal

Album Of The Day: Black Sabbath – Black Sabbath

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Black Sabbath – Black Sabbath (Vertigo 1970)

Each one of the first six Black Sabbath albums has enjoyed a spell as my favourite Sabs record. At the moment though, it’s the groundbreaking 1970 debut that takes the top spot. The evil riffing is timeless, Ozzy’s voice sounds uniquely mournful and I love every note of Tony Iommi jamming away on The Warning while everyone else has nipped to the pub. And, in case the cover’s upside-down cross, haunted watermill and iconic magical, mystical woman aren’t Hammer Horror enough for you, Black Sabbath captures the Brummies at their most atmospheric and spooky musically too. Making it my Sabs of choice this Winter.

Back cover of my copy – the Sanctuary 2009 deluxe vinyl edition

The gatefold with upside-down cross!
Classic Rock, Genre, Hard Rock, Heavy Metal, Song Posts

Aerosmith – Make It

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“What have you got to lose?”

I remember buying Aerosmith’s Columbia years compilation Box Of Fire back in the mid 90s. I didn’t know a lot of the band’s 70s stuff and I was worried I’d risked too much cash on 13 CDs worth of albums I might not like that much. But the moment I heard the first riff of Make It, the opening song on their 1973 debut album, I knew it was going to be ok. Make It is a great, gutsy opener and a decent song but it’s the guitars that really umm… make it. It’s chock full of dirty drop-D riffing and colourfully wonky soloing. And that intro riff, with its goosebump-inducing suspended chord and mini-gallop, still knocks me out as much today as it did back in 1994. Money well spent.

Classic Rock, Genre, Song Posts

Bert Jansch – Alice’s Wonderland

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Many of my favourite instrumentals come from the world of acoustic folk/traditional guitarists. The mid-60s was a golden era for the genre, with many major artists releasing albums of groundbreaking creativity and virtuosity. Today’s pick comes from one of these albums: it’s Alice’s Wonderland from Bert Jansch’s 1965 debut. Recorded live in a kitchen on a borrowed guitar, the lo-fi recording puts you right in the room with Jansch as he picks dreamily through an array of beautiful chords and timings, only settling down briefly for a sublime, swinging vamp. It seems loose and improvised but the repeating passages and the way the chords all lead into one another suggests otherwise. It’s an extraordinary piece from a magical era, musical genius of the most unassuming and laid-back kind.

Classic Rock, Genre, Hard Rock, Heavy Metal, Song Posts

Ozzy Osbourne – Dee

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Following on from my post about Metallica’s Orion, here’s another instrumental that’s a showcase for a much-missed legend. Dee is a brief classical guitar piece that was written and performed by guitarist Randy Rhoads for Ozzy Osbourne’s 1980 album Blizzard Of Ozz. I can’t say that, in isolation, I find Dee particularly involving or moving. But the piece (written for the guitarist’s Mum, aww) is sensitive and pretty. Not words commonly associated with Ozzy Osbourne. And in the context of the full album it strengthens the overall musicality, variety and guitar hero-ness of a hugely enjoyable record. Countless aspiring guitarists (myself included) have tried to learn Dee and I’m sure they’ll continue to do so. That’s quite an impact for a 50 second interlude. His Mum must have been delighted beyond words.

Classic Rock, Genre, Hard Rock, Progressive Rock, Song Posts

Angel – Mariner

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“Sailed the straights alone my ship and me”

I’m a complete sucker for songs that evoke the sea or the coast and that’s exactly what I love about today’s song pick: Mariner from US pomp rockers Angel. Taken from their S/T 1975 debut, it’s not the wateriest song in terms of guitar effects and there are no atmospheric waves and seagull sounds. But the music and performance takes you on a wistful, dreamy journey that reminds me a lot of another seafaring classic, Procul Harum’s Salty Dog. Vocalist Frank DiMino is in particularly fine form, delivering the soaring and gentle tune like he’s got a faraway look in his eyes. But the best bit is an incongruous burst of piano that sounds like it’s straight out of the Rocky soundtrack. I guess you can take Angel out of the city, but you can’t take the city out of Angel.

Classic Rock, Genre, Hard Rock, Progressive Rock, Song Posts

Kansas – Belexes

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“And gather together the best of your kind”

A highlight from Kansas’ self-titled 1974 debut, Belexes wears its influences very obviously on its sleeve but does a great job of showcasing the talent and forceful chops of the American proggers. There’s some exciting Purple-style wringing of guitar necks, the stomping rhythms and vocal harmonies are right out of classic Heep and then the keyboards go all Sinbad, sabres rattling like Emerson, Lake and Palmer. It’s a formidable performance and, in the spirit of the bands that influenced it, has a live, hot-off-the-press urgency. Originality is always a big plus, especially if you expect your progressive rockers to actually… you know… progress. But sometimes it’s good enough to just be shit hot. Like Kansas.

Doom Metal, Genre, Heavy Metal, Song Posts

Reverend Bizarre – Burn In Hell!

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“An apostle of all misery”

Gather and give praise at the Holy Parish of True Doom. Here’s Reverend Bizarre and Burn In Hell!, the opening track from their 2002 debut In The Rectory Of The Bizarre Reverend. This is doom at its most pious and humongous: pushing the style to its saturnine and elephantine limits while staying true to the traditional form and vibe of genre pioneers like Saint Vitus and Pentagram. The eight-minute song only has about three riffs but a shift in mood from minor to phrygian keeps things evil and interesting and Albert Witchfinder’s operatic, admonishing croon and the grim Conan-esque atmosphere imbue the song with all the atmosphere and emotion necessary in a timeless doom classic. Which Burn In Hell! absolutely is.

Classic Rock, Genre, Hard Rock, Heavy Metal, Song Posts

Europe – In The Future To Come

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“I’ll cover my pain, or I’ll go insane”

This kind of stately Euro metal should be right up my street but In The Future To Come, the track that kicked off Europe’s career in 1983, doesn’t quite cut it for me. The regal riffing and ripping solo are impressive and it’s very melodic and listenable. But for all its proficiency, it’s just a bit too naïve and mild-mannered for my liking. When I listen to this kind of stuff I want blood and thunder. FIRE! Yowww. In The Future To Come doesn’t rouse enough of that manly passion for me to rate it as anything other than mildly pleasing.