Rigor Mortis - Welcome to your funeral: Part 1-beginning to 1987

2016
12 Pound productions
MVD

In 1988 I remembered all these ads popping up with long haired skull logo with weapons behind it for some band called Rigor Mortis. Being that it was 1988 thrash was in style and bands playing that style coming out  of everywhere. Major labels were stepping forward, signing acts and hoping to land the next Megadeth or Slayer. I bought that debut from Rigor Mortis based on the cover, the horror themed titles and the fact that I knew it was thrash. It was good and I played it fairly often back then, but I never knew a whole about them other than they were from Texas and the style of music they played. This DVD tells much of their early back story. Eventually members of this band would go on to play in the Ministry, Gwar, Warbeast and other acts. This is the story of how these young musicians came to form this band. Through interviews with the band members, friends, members of other bands and other various people involved with them in their early years we are told the story of how Rigor Mortis came to be. Every band has a story of how they came about but this one is interesting for several reasons. Coming together as a unit was neither a quick or easy process for Rigor Mortis as it took several years and various members came in from different bands in the DFW (Dallas/ Ft. Worth metal scene). Plus although the band knew the kind of metal they wanted to play it did take them some time to get all the people in place that allowed them to do this. There are some early clips mixed in showing the band progressing as well in between the interviews. One of my favorite stories was when the band saw a flier for Megadeth coming to their area in 1986.  They didn't recognize the opening band and thought  that Rigor Mortis should be on this show, so band members went to talk to the owner of the club about this. I won't finish the story because you really need to see the DVD and hear the band tell it. Some times this type of documentary paints the band in a light they want it to. In this case the band members are very honest and that's part of the charm of it. It was bittersweet seeing hearing guitarist Mike Scaccia in interviews as he passed away unexpectedly a few years ago. Phil Anselmo of Pantera fame narrates the documentary. Rigor Mortis/Warbeast singer
Bruce Corbitt produced the film. The film goes up to the band being signed. Since the title says parts one I am assuming a part two is being planned and will cover the album releases. I thought the quality was solid and focused as it came me interested throughout. After finishing the film I did wish there had been more whole songs/live clips. Then I saw under special features there is over half an hour of live footage and rehearsal clips that you watch after the movie gets you psyched to hear more of the band's early material. Fans of the band and old style thrash will definitely want to check this one out.

Forgotten Gems: May-Linn's "May-Linn"

Uninspiring name and album art aside, Belgium's May-Linn's lone 1988 album is about as fine of a traditional heavy metal/power metal release as there is! Or at least in regards to one that you've probably never heard of before. Initially this unassuming 8-track release was issued on Shark Records, but thankfully a CD version was released by No Remorse Records in 2010. Opening with the cut "Soldier", which is about as close as one can get to real power metal while still waving the banner for homegrown heavy metal, the release works it's way through one track after another of solid heavy metal while lead vocalist Steen Nielsen breathes life into cuts like "Joey Don't Care", "Breakout" and "Dangerous Games". This Forgotten Gem can be looked at as a great snapshot of the late eighties power metal scene especially in regards to what was going on in Belgium at the time. Along with the likes of Ostrogoth, Crossfire and Warhead this is one of my more favorite "under the radar" type bands that most collectors probably know of, but probably not casual listeners. As a straight-up eighties power metal/eighties metal release this one is hard to pass up and seeing as it can usually be had for under $20 it's one album that I like to recommend for those looking for something new from heavy metal's heyday. The only draw-back to this release (or rather to the 2010 re-release by No Remorse) is the bare-bones booklet. Make that more like a simple inlay as there is literally nothing to it! That's a small nit-pick item though and in no way should it sway you away from adding this golden nugget of eighties metal to your personal collection!  

Forgotten Gems-Dr. Know-Wreckage in flesh

The year 1988 was not a great year for metal, in many ways it was a year of letdowns from bands a number I liked. Let's see Metallica, Megadeth, Overkill, Death, Anthrax and of course Celtic Frost all came up short in 1988. Now one album that I had in the above group in 1988 was Dr. Know's "Wreckage in flesh". I had gotten into them on their 1986 masterpiece "This island earth". After hearing that I went back and bought their earlier albums which were good although more of a raw hardcore sound. When "This Island earth" came out the band was a trio. During the tour they changed bass players, added a second guitarist and eventually changed drummers. After the tour they changed second guitarists again. So heading in 1988 vocalist/guitarist Kyle Toucher was the only member left who had played on "This island earth" and the only original member left in the line-up. However I still had reason to believe the next album wouldn't be good. In 1988 while at the record store I saw "Wreckage in flesh"  and grabbed up a copy. I slapped that baby on the turntable and sat back waiting for some hardcore or crossover to overtake me. Opener "War theatre" came on with a very thrash sound backing up Kyle Toucher's quirky vocals. I was in shock right away and disappointed. Now, wait you are probably asking how could "Metal Mark" not like a band taking a metal turn. Fair question. My feelings back in the mid-80's were that I liked the blending of metal and hardcore in the short lived crossover movement, but by 1988 a number of bands from that sound or even bands that had a more hardcore sound like DRI, Crumbsuckers, The Exploited and Agnostic Front were all crossing over to the metal side and giving up their hardcore/punk roots to an extent. Now that is definitely the stance I took back then and some of those albums still hit me that way. Going more metal may have been just fine it were good or great metal. Now back to this album; back in 1988 this album sounding a bit generic for thrash of the time. Granted at the time my tastes were moving from thrash into early death metal so slower wasn't going to appeal to my tastes then. However in recent years I gave "Wreckage in flesh" a few more spins. Okay, it's not this Island Earth, but in it's own way it's pretty good and maybe even a little different in 1988 terms. When I heard this back when I came out it came across as so-so thrash. I listen to it now and I hear the mix of thrash, sludge and hardcore. Some of the highlights include "Master Mind" which features a healthy dose of sludge before launching into some a focused thrash attack."City Wheels" is almost ten minutes long and centers around slow and heavy passages and includes  a ton of guitar solos.
A few years before covering a Sabbath tune became commonplace this band took on "Into the void". Really it's one of the better Sabbath covers I have heard. They manage to be faithful enough to the original, but add their own spin to it as well. I was wrong this album back then, it happens every once in a while but not often. It's a definite change from their previous work, but mostly it pans out.

Sacred Oath-A crystal vision

Angel Thorne/World Sound
2012 re-issue

In the mid-to late 80's it seemed like every long haired dude who owned an instrument seemed to be trying to form a metal band. In 1985 a couple of high schools kids in Connecticut decided to form a band. Unlike a lot of other clueless teens these guys had some talent. They became Sacred Oath and pretty soon they were playing shows even recorded a demo. Following a second demo they signed a record deal and recorded their debut album "A Crystal Vision" in May of 1987, but it wasn't released until 1988. I didn't hear this album until recent years. I'm not sure that I would have been as impressed by it in 1988 as I am now because I was a thrash first metal fan back then. So maybe it's good that I didn't hear this album until now. Even on their debut the music was tight and well thought out with enough tempo changes to make it interesting. Beyond that they had the skill to not just pull it off, but make it look easy. The style is what qualified as progressive leaning metal in the 80's. Think Fates Warning's  first three albums, Crimson Glory and Queensryche before Rage for order. They also have some classic metal mixed in as well along the lines of someone like Omen. The vocals of Rob Thorne alternate between a deep but clean style and some high pitch screams that he lets loose as needed. It's difficult to pick favorite tracks here as every song is good. If forced to choose I'll go with "The beginning" with it's swirling riffs, the hard hitting "The ferryman's lair" and "Message to the children" which runs six minutes, but feels like they put ten minutes worth of music into it. Fans of 80's metal always seem to have some lesser know albums that they hold up as great albums that most people missed out on. This album doesn't seem to be mentioned in those conversations very often. That's a shame because it should be. Unfortunately the band would break up not lone after this was released. However they years later they reformed. They had the sound down early as this album proves. The re-issue includes a lyric booklet.

Forgotten Gems-Deathrow-Deception Ignored

Noise
1988

I first heard Germany's Deathrow on their 1986 debut Satan's Gift/Riders of doom and enjoyed it. I was huge in the thrash at the time and this album filled that need. It was basic German Thrash not far off from what Kreator and Sodom were doing around the time. The next year Deathrow released Raging Steel and the band sounded even heavier and tighter. By 1988 the band was on to it's third album. Again there is a progression, but perhaps it doesn't follow a course that everyone thought they follow. It's still thrash, but instead of just going in one speed they mix it up. The styles and the tempo receive some changes and the band handles this approach with expert hands despite the fact the previous albums were far more basic. They show great technical skill that the other albums never really hinted at. There are three tracks here that are over seven minutes a piece yet they fill the time with as much sound as they can. Now don't think for a minute that technical and progressive elements take away from the heaviness of this album. I have heard that argument stated in reviews by people who obviously did not have a clue. This is still killer thrash only you get even more ideas and changes mixed in. They sound great from the pounding of "The Deathwish" to the swirling chaos of "Bureaucrazy" to the unbelievable instrumental "Triocton". This was one of the most pleasant thrash metal surprises of the late 1980's and it still holds up well today.

Forgotten Gems-Powermad-The Madness Begins

Warner Brothers
1988

Hailing from Minneapolis Powermad were one of the many thrash hopefuls of the 80's who never quite made it. I think that's more because the scene was so crowded and not a reflection of the band's talent. Having formed in 1984 these guys soon knocked out a few demos and signed to Combat who released their debut EP. Shortly after that they inked a deal with Warner Brothers and put out another EP. I remember an ad for "The Madness Begins" getting my attention in 1988. Although I believe a friend had oredered it and that's how I first heard Powermad. The four track EP showed the band had a rather refined thrash sound not far off Anthrax and early Overkill. Although they are not afraid to hit upon a few technical acrobatic bits here and there. The vocals of Joe Dubay are a bit higher than some other thrash singers of the day, but they suit the music here quite well. The EP includes three originals and a Ramones cover. My favorite track is probably the closer "Blind leading the blind" which is an admirable shredfest. I wasn't overwhelmed by Powermad at the time as I was already to some heavier and faster bands. However they were creative and steady enough to appeal to me and they still do. The band is probably more known for their 1989 LP "Absolute Power", but this holds a special place for me because it was my first exposure to this band.

And justice for all- Yearly visit

One of my most anticipated albums of 1988 was of course Metallica's And justice for all. I remember going to the local Sound Waves the day it came out. There was a huge banner for it hanging out in front of the store and posters all in the store window. Oh, yes this was going to be a great day. I had been listening to the first three albums in the weeks leading up this release. I had seen them earlier in the Summer on the Monsters of rock tour and they had killed. I plunked down my cash for the cassette and clutched it tightly on the way to the car anticipating how great it was going to be. Then something happened, that being that the mighty Metallica had lost their way. I'll get into specific gripes in a minute, but needless to say I was shocked. What happened? How could this happen? My view of Metallica was changed from that day on. I have never come close to liking them as much as I did during the three years before that day. Anyways this leads me to an annual ritual I have whereby I take out And justice for all and give it another chance. Yes, I have been doing this for years to be fair and hoping it might click or at least that's what I thought up until a few years ago. Now I have kind of accepted that I am never going to embrace this album, but I still give it an annual play and try to really give it my attention.

Here are top complaints from 1988 about the album.
1-Most of it is far slower than it needs to be.
2-Several songs are way too long considering what little is going on during the time frame.
3-Where's the bass?
4-Going along with number three is the fact the production overall is very thin.

So over 22 and a half years later here's where I stand after my latest listen as I address the above concerns.

1-I still find this a problem. The power just isn't there and pace is part of it and so is number four, but still this album sorely needed some more speed and spirit to help it out.
2-Oh, definitely. Most of the songs are too long and this ties in with number one as well. They tried to write epics, but instead wrote a number long, boring songs. Yes, there is difference between epic and long and boring. However that's something Metallica didn't know and their lack of writing talent came to the surface on this album.
3-After who knows how many listens I still get stuck on this point. Indeed, why did you hire Newsted only to keep his talent hidden on his first full length effort with Metallica? Another bad decision.
4-There are times where the production is okay, but overall it fails the band. The writing has lot of problem so maybe even stellar production would not have made a difference. However the production on the previous two albums was great. So it was painfully obvious that something was lacking in this area. Even more so is that I've heard live recordings of some of these songs where they sound a lot better live and I think that shows the production here might have robbed this album of some steam.

Okay, not to be a total sourpuss I forced myself to come up with three things I like about this album.
1-Dyers Eve is a pretty good song and nice choice for a closer. Not sure if I like it because it's the fastest song or the shortest, but still I like it.
2-James Hetfield sounds decent overall and the production shortcomings didn't effect his vocals.
3-Blackened has potential. It's probably my second favorite song on the album and it has some moments, but a heavier production would have helped (I know I couldn't resist a little negative jab even here).

So there you go. I gave the album my annual listening actually two as I play it once in the car and then once through the computer with head phones. It's not a good album and it was and still is a disappointment, but I have given and will probably still give it at least one shot a year. Feel free to blast me or agree with me.

Top 5 re-issues/re-releases of 2010

I'll be doing my top 25 albums of 2010 next year, but am knocking a few other other best of lists this week. Here we go with re-issues and re-releases.



1-Quartz-Stand up and fight
Always heard good things about this NWOBHM classic, but finally got to hear it with a bonus track to boot this year.
2-Poobah-Let me in
Early 70's fuzzed out goodness that I never heard before this year.
3-Blind Illusion-The sane asylum
Not much in the way of bonuses on this re-issue, but a veru good and overlooked late 80's thrash album for sure.
4-Savage Grace-Fall from grace/Ride into the night
The two Savage Grace I hadn't heard were put on one set with bonus tracks. Nice package.
5-Darkness-Defenders of justice
I missed this one in the 80's, but got to hear it this year. Great old style German thrash metal.

Darkness-Defenders of Justice

Battle cry
1988/2005/2010

When you think of the German speed metal scene from the 1980's you invariably come to the big three of Destruction, Kreator and Sodom. Like any other scene there were some overlooked bands behind the big names. Darkness would be one of top choices from this scene. The knocked out numerous demos before finally releasing their debut "Death Squad" in 1987. The sound was a mix of powerful thrash with hardcore undertones. The next year "Defenders of justice" brought even more of the same sound. They had it all in terms of intensity, an abundance of monster riffs, a great sense of pacing and just a great feel for how to get the most out of their music. In fact the songwriting was actually tighter here than on the debut. Tracks like "Predetermined destined" and "They need a war" show the band's ability to control and build the song with multiple parts. By 1988 this band was definitely playing at a high level. They knew how to churn out crunching blasts and when to launch into head banging gallops. The production could have been better, but their talent reaches far past the weak production and crappy album cover. Unfortunately they didn't get the kind of exposure outside of Europe that the big three of the scene got. Also differences in musical direction would lead to changes in the line-up and the musical direction so "Defenders of Justice" ended up being the last really good album from this band. This re-issue includes eight bonus tracks including several songs from early demos. This re-issued version was originally put out by Battle Cry in 2005 and the same version has come back into print this year. This album holds up well and makes wish the band had gotten more recognition back when it was first released.

Blind Illusion-The Sane asylum

Metal Mind
1988/2010

The Bay area's Blind Illusion formed back in 1979 and went through different style changes before eventually settling on thrash.The band went through numerous line-up changes too as vocalist/guitarist Mark Biedermann was the only long term member left by the time they recorded the Sane Asylum. Joining Biederman for this album was bassist Les Claypool before his Primus fame, guitarist Larry LaLonde after Possessed and before Primus plus drummer Mike Miner. Even though Blind Illusion had formed before most other thrash bands their album came out at a time when the thrash movement was in full swing and many other Bay Area bands had already released albums. Still that didn't matter because it was instantly obvious that this was not just another thrash act trying to cash in on the rising trend. The album uses thrash riffs, but the straight ahead gallops are mixed in with various other pieces and the approach has different levels rather than just one speed. As a whole thrash in 1988 wasn't seeing a great deal of growth, but this was one band who were right away showing that the genre could be expanded upon. I first heard this album the year it came out and it took me a few spins to get into it because I was big on the charge ahead type of thrash. This album had more to give you just had to listen a little longer to soak it all in. Unfortunately the new re-issue doesn't have any bonus tracks and has the same packaging as the vinyl. On the other hand it's good to see it on an affordable CD. Also the music holds up very well twenty-two years later. Reportedly the band was working on an album around 1989 called "The Medicine Show" apparently also featuring Claypool and LaLonde as well as Biederman, but it was never released. The band just released "Demon Master" this month. I have not heard it yet, but need to. So for those new to the band you can now check out the re-issue of the debut and their recently released and long awaited sophomore release.

This will be the first I have pitted two EPs against one another in this category. These two bands are also likely the most obscure acts to be featured in this segment as well. Antix's EP can be found on eBay at any given time on vinyl for a few bucks. They played on the Sunset Strip scene for at least five years and did a single three years after this EP with a much different line-up. Still not that much is known about them considering how long and where they played plus some of the connections they had. Their EP was produced by Don Dokken and Jeff Pilson plus they were on the label of Great White's manager. Toy Roz also played in the LA area and their album can be found at almost any given time on eBay if you have more money than sense. Far less seems to be known about them except judging by the cover they liked big hair, bad outfits and like Antix believed that misspelling their band name was the key to success. Let's get past the hair spray and spandex and see what other horrors await.


Antix-Get up, get happy (1984)

vs.


Toy Roz-s/t (1988)

Vocalist

It's Greg Clewley for Antix taking on Toy Roz vocalist Christopher Brian Kent. Kent like many other LA frontmen of the time believed in the Dave Lee Roth school of names, but unfortunately he believed in the Bret Michaels method of vocals. In fact Kent tries a bit too hard to push with the slightly nasal whining style that dominated much of the Sunset Strip in the second half of the 1980's. His vocals are hit at miss at best and about thirty seconds to each song you will likely be rolling your eyes and "saying I have heard this kind of stuff many times before". The backing vocals actually work slightly better. Clewley does a reasonable job of handling the better songs well and perhaps even elevating the weaker songs just a little. His voice is limited, but smooth enough.

Point to Antix

Guitars

Jace White is on for Antix going against Randy Giulliani of Toy Roz. Both guys subscribed to the minimal/don't make waves type of guitar of style so much that I was forced to listen to both albums again because I forgot many of the guitar parts after one play. They both deserve to lose points for making me hear these albums again. I was also still left thinking that the guitars on both albums just sit in the background for much of the time. They were never killing my eardrums of horrible noise, but instead they play rather faceless, bland leads which may be worse than noise. The only memory that really stands out was a couple of smooth notes on Giulliani's solos.

Point to Toy Roz

Rhythm section

Bassist BJ Norris and drummer Ian Evans from Antix go against bassist Robby Wilson and drummer Robin Combs of Toy Roz. This is usually the section where I have to put my ear to the speakers to figure this one out because glam/hair bands of the day often wanted to hide the rhythm section and most of the time they should have because their guys didn't have clue. This time around it's a little better. Much of that may be due to above average production on both albums. Both drummers have some idea of what rhythm is and they keep it going the best they can. I can hear the bass some on both, but Norris gets a few more chops in and does enough not to make the band regret letting him be heard.

Point to Antix

Originality/Production

As usual originality didn't factor in much with either of these acts because if it did they would not be here in the first place. Antix might be more original, but that doesn't mean that what they did needed to be or should have ever been done. Their sound is scattered as there are a couple of alright hard rock songs and then some poppy sounding tracks that don't sound completely fleshed out. Toy Roz are maybe a little less annoying at times, but even less original. They sound like hard rock of the time with a strong leaning towards Poison and maybe Ratt which isn't going get them a whole lot of respect. The production on both albums is actually quite fine, but

Point to Toy Roz.


Who rocks more?

This was a particularly tough decision and not totally because both bands struggle to rock although that was a factor. Toy Roz manage to be consistent enough to keep the pace going somewhat and never hit a total clunker, but they never manage to get beyond watered down, uninspired glam either. Antix are much more all over the board. They have a song or two that may stink worse than anything on Toy Roz's album, but they have one or two that are are above any of Toy Roz's six songs although it's all lightweight fare. Consistency isn't that important if you are just managing to do just enough that you don't embarrass yourself. Actually the first time I heard Antix was when their song "Daze gone by" was on Hit Parader's "The Wild Bunch" cassette only compilation. I liked that song and it's on this album and it's still above average. There is also another song here that isn't half bad. So...

Point to Antix

Antix scores a 3-2 victory over Toy Roz. Just because these were EPs doesn't mean their rottenness didn't rip at my tastes and senses because they did. In fact is wasn't much better taking on fewer songs. I guess that goes along with the idea that garbage stinks no matter how big the pile. Both bands did show some life here and there. Still it's easy to why neither band got very far. Toy Roz were just trying to imitate what was big in hope that some label would pick them and try to cash it despite their lack of originality. Antix's problem stem more from confusion about musical style. They dress like a hard rock band, they have a few hard rock songs too. Then they had some poppy almost sappy moments and several songs that sound like they recorded them before they actually finished writing them. To make things harder on themselves they called their album "Get up, get happy". That sounds a kid's music CD for three year olds. Of course fans of metal bands of the day like Maiden and Priest would have avoided an album with that title. Even fans of more glam leaning acts in 1984 like Motley Crue and Twisted Sister probably would skipped past this album just because of the title too. I guess Antix didn't get the memo about at least trying to seem cool. The creppy little jester holding their band name might scare people away too. There is an import version of this album with a slightly different band picture, different logo and black rather than blue border.
Interesting to note that I wrote a post about Antix a few years ago and it has gotten a number of comments and it gets multiple hits every week. There isn't that much known about them, but apparently a lot of people are interested enough to look them up on the Internet fairly regularly.
http://metalmark.blogspot.com/2007_05_01_archive.html

***I'll be back with another segment of Lesser of two evils.

Bleach, line-up changes and the dreaded melodic turn

A new record store had just opened near me in the summer of 1985. One hot Summer day my dad was going into the grocery store and I had enough time to slip down to the record store and just enough money to buy one cassette (yes, I know that was a bad format to choose). I remember looking at lots of choices. Most were bands I only knew by name or one song from one of the late night metal radio shows that I soaked in. Finally after much deliberation I settled on King Kobra's "Ready to strike" although I don't remember why. This band was formed by former Cactus, Vanilla Fudge drummer Carmine Appice and eventually rounded out by four bleached blond musicians. Their debut wasn't anything new, but I loved it then and still do. The pace and heaviness level is comparable to Dokken or Black and Blue, but for me the kicker was singer Mark Free. Years before his gender change he was a remarkable singer. You can really hear it on the "Motor City Strike" bootleg too because there are no overdubs and you are treated to his fabulous range.

Unfortunately a year later their label pushed them to create more radio friendly songs and the result was the more AOR leaning "Thrill of a lifetime". Mark Free still sounded good, but guitarists Mick Sweda and David Michael Phillips get shoved to the background and Carmine Appice's drum sound is thin and limp. Only the last three tracks had much life to them. After this album the revolving door began going on full motion. Their label dropped them, Mark Free left and was replaced by Marc Torien and bassist Lonnie Vincent replaced Johnny Rod who had left for higher ground as he joined WASP. It wasn't long after that point until the four blonds left Appice to form their own band. However David Michael Phillips didn't get along with Marc Torien so he soon returned to Appice while the other band would become the Bulletboys. King Kobra was soon completed with Johnny Edwards on vocals, Jeff Northrup filling in the second guitar spot and Larry Hart on bass. By this point it was 1988 and the band couldn't get signed so Appice released "III" on his own label and got some distribution help in the form New Renaissance. To me this album was a mixed bag that sounded like it was made up of leftovers and while Edwards was quite decent he was no Mark Free. The band did not tour for this album and soon they broke up. An album of unreleased demos called "The Lost Years" came out years later and unfortunately so did an ill-advised not really reunion album called "Hollywood Trash" in 1999. Truly a band that never followed up on their initial potential, but I still enjoy the debut and the bootleg.

Exciter-s/t

1988/1995/2009
Magnetic Air/MVD

I remember buying this one on vinyl twenty plus years ago. The original cover had a patch with the Exciter logo on a black leather jacket this album is sometimes known as . My hope was that it be a return to the style of their first three releases. I think that the band had begun to go more mainstream on 1986's "Unveiling the wicked". Unfortunately that was a trend that continued on this the band's fifth album which is sometimes known as "O.T.T." . Drummer Chuck Beehler gave up vocal duties to new member Rob Malnati as the band became a quartet for the first time. That decision made little sense to me. Nothing against Malnati, but Beehler's screaming vocals helped define Exciter's sound. Malnati can hit similar levels, but he also has more of a hard rock voice and he just does not have the touch that Beehler did. To accompany his voice the band spent about 2/3 of these tracks sounding like an accessible, big hair rock bands ala Dokken. Not that there is anything wrong with Dokken. However Exciter had established themselves as one of the founders of speed metal. With this change in style on this album they were going soft and they seemed to be taking step back what they previously established. I think by 1988 that they found themselves falling behind in he thrash genre and being replaced by bands they had influenced just a few years earlier. Yet instead of progressing and building on their sound instead they chose to slow down and try to make mid-tempo anthems. Some are decent, but some are just rather ordinary and even a little old by 1988 standards. All in all it is a rather average album at best. Exciter would eventually get back to their roots and they are still going at it today.

Top ten albums of 1988 and other awards

I didn't get around to doing my normal top ten list of twenty years ago last month. So here is an abbreviated version

10-Holocross-s/t
Obscure Pittsburgh thrash band with a frantic sound.
9-Blind Illusion-Sane Asylum
Long running Bay area band finally release their one and only album
8-David Lee Roth-Skyscraper
A lot more of Steve Vai's style this time around and that was fine by me.
7-King Diamond-Them
The story drags more than usual, but another fine effort for the King.
6-Flotsam and Jetsam-No place for disgrace
The second and last really good album from these guys.
5-Slayer-South of heaven
It took me a while to get over the fact that this wasn't as good as Reign in blood. Eventually I realized how good it really is.
4-Helloween-Keeper of the seven keys pt.2
One of the two best albums in this band's long career.
3-Sodom-Persecution Mania
The second best band on the German thrash scene stepped up and knocked one out.
2-Cinderella-Long cold winter
Cinderella brought in their blues hard rock sound and improved greatly from their debut
1-Iron Maiden-Seventh son of a seventh son
It took me a while to warm up to this one, but eventually I realized it's greatness.

Oh and here are some other awards for 1988.

Best album cover-The one at the top of this post.

Most improved band-The nominess for this would be Sodom, Cinderella, Sacred Reich, David Lee Roth, Cinderella and Nuclear Assault. I'll go with Cinderella for their huge turnaround.

Golden Turd-Celtic Frost-Cold Lake
It had to be bad to beat out AC/DC's worst album and Van Halen's OU812. However this was a huge letdown and very bad musical direction for one of the best underground metal bands of the 1980's. It took me years to get over this and it damaged the band as well. They did bounce back with another good album a few years later, but some damage was definitely done.

There you go. At some point this year I'll do a list of my top 10 albums of 1989 and a list of 10 things I think about metal/hard rock in 1989.

Hades-Bootlegged in Boston, 1988

Cruz Del Sur
2008

This is DVD contains a rather raw recording of Hades playing nine tracks live twenty years ago. The bootlegged part of the title is no lie as the sound and picture quality are at best rather crude. We are treated to the show as filmed by someone who close to the stage, but off to the left and with a bit of an orange haze hanging around the picture for most of the show. Diehard fans are going to love it because it captures the band playing at their peak. Hades played a style of metal that was caught between classic metal like Maiden and the popular thrash of the times. They could play, but for me they really just decent at best. The talent was evident, but Hades just came across as a band who would have benefit ted from letting loose more often. They were one of those bands who were kind of on the brink of being really good, but they didn't push enough. Still this show back to a time when metal like this was still thriving as the band and the audience are feeding off of one another. Of course being a bootleg it's the view the whole time which gets a little old because I kept wanting to be able to see the band from the front, but that wasn't going to happen. The disc also includes a documentary that was far more interesting to me than the concert. They go back to 1978 when the band originated and work their way trough time telling of the significant events in their history. The tale they weave is one of a band who had high hopes for success, but eventually they gave up when the realization hit them that is going to more difficult than they thought. The band played various reunion shows in the 90's and then a reformed for a series of albums. Band members have also been in various other projects over the years. This package is much more for the very dedicated fans only.

Dragon-Horde of Gog

Metal Mind
1988/2008

Poland's Dragon would eventually be one of the scene's pioneers in death metal. They formed in 1984 and went through some line-up changes before settling down and recording their debut "Horde of Gog" in 1988. Humble beginnings indeed as the quality of this album are of demo quality at best. The music finds Dragon playing a style that's much more thrash than death metal. However they tear into their material with frenzied abandon. The drums are particularly chaotic as they throw traditional structure to the wind and just crash ahead. The playing is somewhat primitive even for 1988, but it has a sense charm just due their crazed enthusiasm. The structure is loose and even a little messy in parts yet they never get bogged down or too far off track. The playing as a whole isn't terribly skilled, but it's more hit than miss just due to the amount of aggression they pump into it. In many ways this is a more brutal effort than the two albums than would follow. In fact hearing this album makes me wonder what their music would have sounded like had they followed this style more closely. This re-issue of the album includes 9 bonus tracks taken from the Polish language version of the LP. The booklet includes lyrics, a band biography and several early photos of the band. Not an essential release perhaps, but definitely a good dose of old-style, pulverizing thrash.

Year end project starts now

For the fourth year in a row I will be doing my top ten hard rock/metal albums of twenty years ago which means 1988. Here is the process...

August-I pick 20-25 releases from 1988 that I think have a chance of making my top ten.

August to October-I listen to all the CDs and narrow them down to 10.

November-I work out the rankings as to where each album places in the top ten.

December-On December 1st I reveal number 10 and then continue doing the countdown at a pace of one a day until number one is revealed on December 10th. Immediately after that I also do awards for the top five album covers, bottom five albums covers, most improved band and of course the Golden Turd Award. If you are not familiar with the Golden Turd then just wait until December because I always give a brief explanation before I award this great honor to a band.

Why do I do this project? It allows me to re-examine older albums and I always find an album or two that I underrated and some that I overrated plus it's fun.

So I have already started picking CDs and listening to a few as well. I need to start early because also in December I am going to do my awards for 2008 which I will expand to a top 25 albums because I have heard so much and I will do top five for re-releases and a top five demos. So let me know if you have any questions or suggestions and I hope you will enjoy the lists once December rolls around.

Pestilence-Malleus Maleficarum

Metal Mind
1988/2008 Re-issue



I remember buying this on cassette back in 1988 without knowing a whole lot about this band. Back then I thought that it was very fast and heavy compared to many of the thrash bands of the day. Hearing it again via this re-issue, they were playing a style of thrash that was also bordering on an early death metal style. It's fairly aggressive with more pace changes than most bands and they were still holding on to a slightly underdone production which certainly suits their style rather nicely. Looking back this isn't as noisy as say the early works of Possessed or Death and certainly not in the hyper speed for the sake of speed approach that bands like Napalm Death were conjuring up back then. Thrash was a movement that come on fast and quickly splintered off into various sub-genres. Say around 1986-87 thrash was a fairly limited style, I mean you had some difference in pace and approach yet it wasn't that varied. By about 88-90 you had bands from the group who were becoming more mainstream and slowing down and then you other bands that wanted to grow and either become more extreme or diverse. After this debut Pestilence would grow beyond their fairly basic thrash origins and by the early 1990's they would be integrating jazz and other sounds into their music. Today they are regarded as one of the bands who helped to create a more technical style of death metal. Their debut is rather basic is some respects, but they were certainly active enough that this holds up well twenty years after it's release. Not every thrash act from back can say that as I have gone back and heard acts once loved only to discover that they now sound clunky and amateurish. Mallevs Maleficarum is tightly woven and thick enough in it's heaviness that I still enjoy it. Their lyrics seem to show an equal amount of distrust towards organized religion and the world of science. I can't say that they did enough on the debut to hint at what they would become, but perhaps the ideas were in their heads even then. Metal Mind's re-issue includes a booklet with lyrics and a band biography.

Slaughter-Not dead yet/Paranormal

Metal Mind
1988/1990/2008

First the brief history lesson, Canadian thrash/death metal outift Slaughter recorded the Paranomal EP in 1988. Then the band changed some members and their name as they became Strappado. As Strappado they released "Not dead yet" in 1991 so this release includes both those albums plus four live tracks recorded in the 1980's. The "Not dead yet" material comes first on this release and it's rather typical although semi-satisfying thrash. The guitar is a little muddy in the mix and the complexity and fire are adequate yet nothing that's going to bowl you over. For 1991 it's even a little behind the times I would say due to some rather one dimensional thrash parts. The Paranormal EP is slightly better with a bit more steam behind them a stronger and richer production. Both albums are decent, but both fail to really pick up on the sound that this band established on their 1986 debut "Strappado". It's as if they became more basic and less aggressive at they went along which makes no sense to me. They also started as an early death metal band and were ahead of the game by mid-80's standards. Yet by 1991 they were playing rather standard and even slightly dated thrash. Perhaps they dumbed down the style in hopes of getting a better record deal during while thrash still had some following. I am not sure of the reason behind the change, but it was slightly disappointing. This version also includes four live tracks that are good, but the sound is somewhat fuzzy. A decent package for sure, but it's shame these guys didn't follow what they are started on their debut.

Crimson Glory-Transcendence

Metal Mind
1988/2008

By late 1988 Crimson Glory were set to release their sophomore effort. This album is heavier, has stronger writing and higher production values than their 1986 self-titled debut. Everything about this album seems very well planned as the band seems to know exactly where they are going. This direction allows the listener to really be able to soak in all that is transpiring as the band winds their way through some solidly crafted material. The guitars this time around have some definite rhythms mixed in with the flurry of sound that ruled the first album. Vocalist Midnight sounds more in control on this album and knows when and how to best use his voice. The debut was good, but I quickly got the sense that with this album they wanted to build the momentum and the emotion more. They not only accomplished that goal, but they made it look pretty easy. This was easily their best album, but unfortunately they didn't follow the direction that this album was heading. Like the debut, this album is even better than I remember it as it's heavier and far more active. I actually remember first buying this on cassette when it came out and probably wore out my copy by the early 1990's. Metal Mind's re-issue includes a booklet with full lyrics and a band biography plus the CD includes a re-mixed version of Lonely as bonus track. Probably a top ten metal album of 1988 and certainly one worth owning.