I was first introduced to Queensrÿche’sProphecy via the live version on the Building Empires VHS, before acquiring the studio version as the bonus track on the CD reissue of the band’s 1983 debut EP. Nowadays you’ll find it as a bonus track on the reissue of 1984’s The Warning because it was written during that era but I’ve since discovered it wasn’t actually recorded until the sessions for their 1986 album Rage For Order! Bloody hell. But it doesn’t really matter because this song holds it own anywhere. It’s got the classy Rage For Order production sheen but its traditional melodic metal style fits in nicely on The Warning and the EP. Some extremely bouncy riffing, catchy hooks, nice vocal harmonies and some nifty and memorable guitar soloing from Chris DeGarmo and Michael Wilton make Prophecy a standout favourite… wherever you hear it.
“Everything went wrong, I’m sorry boys I’ve got to let you go”
Abandon, Deep Purple’s second album with guitarist Steve Morse, didn’t quite reach the high standard set by its joyous and adventurous predecessor Purpendicular. But it did feature a batch of great, underrated tracks and Fingers To The Bone is a standout that ranks among my favourites of the Morse era. It’s the sound of a veteran band ageing gracefully: Purple depicting the harsh blow of job losses with thoughtful lyrics, beautiful guitar parts and a folky, proggy muso confidence that reminds me of 80s Tull albums like The Broadsword And The Beast. A rich and rewarding deep cut that proved Purple were far from redundant.
He was the lurking, shadowy menace on the cover of Iron Maiden’s first single Running Free and now wwoooaarghh… here’s Eddie! The band’s undying, murderous mascot was finally revealed in his full glory on the front of their self-titled debut album. His ghoulish presence amidst London’s grubby bins, doorways and streetlights perfectly evoking the rough, dangerous music on this NWOBHM classic. Iron Maiden sounds like it wants to jump you in an alleyway and cut your face. Gritty and aggressive tunes like Prowler, Transylvania and Iron Maiden taking the metal pioneered by Priest and Rainbow to a new level of raw intensity. And guided by bassist/songwriter/Genesis fan Steve Harris, there’s also plenty of ambition and excitement in the extended structures of tracks like the lucozade-powered Phantom Of The Opera. These days I gravitate to the Hendrix-y mellowness of Remember Tomorrow and Strange World but all the songs on this album have been a favourite at one point or another. The whole band impress but Paul Di’Anno’s raucous vocals and Harris’ forceful basslines deserve special mentions. The band members still whinge about the gnarly production but nobody else gives a flying fuck. Iron Maiden wants you for dead and if this album doesn’t get your blood flowing, you might as well be.