Tag Archives: Singles

Megadeth – Mary Jane (Song Review)

“Prepare my friends to follow me”

Thrash giants Megadeth go all King Diamond on Mary Jane, weaving a witchy tale of vengeance from beyond the grave. Taken from 1988’s drug-addled So Far, So Good… So What! the track has a thick ghostly atmosphere (aided by the album’s reverb-heavy sound) and a haunting mix of clean and distorted guitars. As always with Megadeth, the guitars are state-of-the-art with numerous twists and turns but frontman Dave Mustaine excels vocally too with a tortured and hate-filled performance. Nowadays I tend to associate ‘deth with songs about politics and society but, in their earlier days, songs about magic and the occult were pretty common and Mary Jane is one of my favourite of the lot. In fact, it’s one of my favourite Megadeth songs… period!

Alice Cooper – School’s Out (Song Review)

“We can’t even think of a word that rhymes”

I adore Alice Cooper’s School’s Out album and listen to it a lot. But the majority of the time I skip its opening title track. It’s such an overplayed song that you can end up taking it for granted and I like to keep it fresh so that, when I do listen to it, I hear it for the timeless rock ‘n’ roll classic it is. It’s such a great idea, perfectly executed. The genius main riff is like a clarion call to party, Dennis Dunaway excels with his bouncy basslines, and Alice’s threatening voice is the perfect vehicle for the witty and anarchic lyrics. The band set out to capture the joy and energy of that last day of school and with School’s Out they get a snotty, rebellious and jubilant A+.

Jethro Tull – The Witch’s Promise (Song Review)

“Lend me your ear while I call you a fool”

I’ve always been a sucker for a bit of folk and fantasy in my rock so I instantly fell in love with The Witch’s Promise the moment I saw Jethro Tull’s 1970 performance of it on Top Of The Pops (as part of the 1993 BBC series Sounds Of The Seventies). It took me years to find it on an album but luckily I videotaped the show so I could continue to partake of the song’s wonderful vocal melodies and lush layers of acoustic guitars, flute and keyboards. It had the swinging, hippy pop style of the band’s early material but The Witch’s Promise also pointed the way forward to the folkier, singer/songwriter focus and lush orchestrations of Jethro Tull’s future work. It was a watershed track that introduced me to one of my favourite bands and, by extension, the wider world of folk and prog rock. And it still bewitches me to this day.

Guns N’ Roses – Estranged (Song Review)

“I’ll never find anyone to replace you”

I’ve never been the biggest Guns N’ Roses fan but I really enjoyed watching their recent Glastonbury set on TV and I was especially pleased to be reacquainted with Estranged. Listening to the studio version now, I find I love it more than ever. Taken from the second of their two 1991 Use Your Illusion albums, it’s a wonderful ballad of epic introspection with a heartfelt, searching performance from Axl Rose and sensational melodic guitar lines from Slash, as well as two classy guitar solos. It has the kind of emotional crescendo that I think Axl Rose is particularly good at writing, and that feature in most of my favourite songs of his. If I was whittling the two sprawling Use Your Illusion albums down to a perfect single record, Estranged is one song that would always make the cut.

Tyrant – Hold Back The Lightning (Song Review)

“Ride out in midnight”

Tyrant were like lightning: they only struck once. Like so many other New Wave Of British Heavy Metal hopefuls, the Gloucestershire band only released a solitary 7″ single in 1983 before riding off into obscurity. It’s a shame the band never did more because the A-Side track Hold Back The Lightning is totally righteous: galloping power metal with anthemic, folky vocals that are a larynx-shredding mix of High ‘N’ Dry Joe Elliott and Trouble’s Eric Wagner. This was the first song I listened to in 2023 because I wanted to start my year off in suitably heroic and chest-beating fashion. Mission accomplished.

Cream – Badge (Song Review)

“Before they bring the curtain down”

I’ve listened to Badge a gazillion times now and it’s never lost an ounce of its power. It’s the track that got me into Cream, or to be more precise, its the bridge that got me into Cream. The main song is wonderfully summery but when it reaches the bridge and Eric Clapton’s Leslie-speaker guitar arpeggios chime in, it’s one of the most emotionally moreish sounds in rock history. It was co-written by Clapton and his Beatle pal George Harrison for Cream’s farewell album Goodbye and although the relationships in Cream had turned sour by that point, the band put in a great performance. Especially Jack Bruce, who excels with his bouncy, melodic bass line. Shame they couldn’t have held the band together as this is brilliant stuff and I find their catalogue, short though it is, increasingly revealing and rewarding over the years. But Badge still ranks as the cream of the crop.

Candlemass – Dark Are The Veils Of Death (7″ Single Review)

Candlemass – Dark Are The Veils Of Death (2017)

The Dark Are The Veils Of Death 7″ was released in 2017 to celebrate 30 years of Peaceville Records and features two rare working versions of tracks from Candlemass’ classic 1988 album Nightfall. But although Dark Are The Veils Of Death would become one of the band’s greatest tunes, they hadn’t quite nailed it down here. Messiah Marcolin sounds great but seems to be making the lyrics up and throws the song title in at a different spot than it appears in the final version. Also, short-lived guitarist Mike Wead appears, which is historically interesting, but you can also hear why his noodly playing didn’t quite fit the bill in comparison to Lars Johansson’s molten soloing on the album. The B-Side features the funereal instrumental Codex Gigax: decent enough music but pointless as a standalone side of vinyl.

Recorded on a ghetto blaster, it’s lo-fi stuff but it has a blustery power. It’s just odd material for a single as you will rarely listen to this, if at all. And if you’re into Candlemass enough to buy this then you will have bought the later 3CD reissue of Nightfall that included these recordings (and much more). So this single was worth owning for about seven months. Dark are the travails of the music collector.

Deep Purple – Throw My Bones (Song Review)

“You do your thing, you do your best”

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.

(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)

Manowar – Defender: 1983 Version (Song Review)

“Father I look up to you”

They were an unknown band at the time but that didn’t stop Manowar from securing the services of screen legend Orson Welles who (clearly recognising that he was in the midst of fellow geniuses) agreed to record narration for their debut album: 1982’s Battle Hymns. His narration was used on that album’s Dark Avenger but in the same session Welles also recorded two more pieces: a cool stage intro (that the band has used ever since) and narration for a strange and glorious second song, Defender.

Mostly spoken word set to music, it’s the kind of thing other bands would have used to flesh out an album. But Manowar are not “other bands” so Defender was released as a non-album single in 1983. Not the kind of stuff to tear up the charts but a great introduction to Manowar’s barbarian muscle metal. Windswept Conan tones in the mellow intro, Welles’ baritone gravitas, that killer “ride like the wind” chorus and goosebumps galore when vocalist Eric Adams finally chips in.

I slightly prefer the more direct, streamlined Fighting The World version from 1987 (which used the same narration but re-recorded and rearranged the rest of the song) but the original has its own appeal. It almost sounds like a metallized take on classic Kansas with Adams’ soaring vocals and Ross The Boss’ bluesier guitar solo. And best of all it has a longer, more epic atmosphere with the “Tree Of Woe” vibe that characterized the band’s early work. It’s a must-hear and a must-have rarity for any Manowar fan. This is the music God has sent.

Blitzkrieg – Buried Alive (Single Review)

Blitzkrieg – Buried Alive [CD Reissue from Skol Records]

Blitzkrieg only managed to release one official 7″ single before splitting up in late 1981. Otherwise, they had some demos in circulation and a song Inferno on the Lead Weight compilation. Luckily for Blitzkrieg, their solitary release was impressive enough that Metallica ended up covering its eponymous B-side. This bestowed infamy and cult credibility to the defunct band and ensured their return in 1985.

But luck didn’t really have much to do with it cause Blitzkrieg is superb. The unforgettable opening riff might have been purloined from the Focus classic Hocus Pocus but it doesn’t matter because Blitzkrieg conjure up their own metal magic here. The mega-chunk guitars, deadly hooks (“let us have peace, let us have life”) and a dynamic rifferama climax make this mandatory listening. And the less-famous A-side Buried Alive isn’t too shabby either. Stark, driving metal with a piercingly catchy chorus. Just ignore the Bolanesque nonsense lyrics “the Leather Prince, turned to mince”… I can see why Metallica steered clear of that one.