N.W.O.B.H.M. Wednesday: Salem-Attrition

Dissonance Productions
2018

Formed back in 1980 and initially only active until 1983, Salem is a N.W.O.B.H.M./hard rock band that is lead by Simon Saxby (ex-Deep Fix). The forthcoming "Attrition" is Salem's third full-length album since reforming in 2010. Opening by way of the incredible title track (a real rock and roll gem that is as modern as it is vintage!), "Attrition" is the highly-anticipated follow-up to "Dark Days". Including the aforementioned title track, there are eleven tracks in all on Salem's new release. Having first covered this majestic metal/rock band back in late November of 2011, Salem has had some awesome material to be sure. Honestly all it took was one listen to the group's 2010 compilation, "In the Beginning...", for me to fall in love with this group's sound. With that long history in mind, "Attrition" is the best thing that I have ever heard from this veteran band! Thanks to the contributions of all of Salem's band-members, "Attrition" also holds the distinction of the being the most care-free and versatile release to date from Simon Saxby and company!! Speaking of which, Salem is rounded out by Paul Macnamara (guitars), Mark Allison (guitars), Ade Jenkinson (bass), and Paul Mendham (drums). While it is true that everyone has helped out in the past, Salem's new album shows a older band that is not afraid of growth. Wisdom comes with age and Salem seems to understand this more than any other band their age. Now more than ever Salem has evolved to fit the times. Overflowing with catchy hard rock numbers and mature AOR/melodic rock tunes, Salem has taken up a sound and style that could rule modern day rock radio. For some that might sound like a sell-out, but they would be greatly mistaken about Salem's new approach. There is nothing artificial about this album and Salem are not claiming to be anyone but themselves. When it comes to the hard rock smashers, heavy rockers and beautiful ballads on this album it is all Salem and all good! Times might be changing around them, but that hasn't stopped Salem from stepping up to the plate and knocking things out of the ballpark!! Amazingly enough Salem does all of this while still maintaining that core essence that first made people take notice of this talented act. As great as their new studio album is, Salem should be on every top ten list from Europe to here in the U.S. That might seem like a long ways off, but I simply cannot see a whole lot of heavy & heard rock albums being as golden as this release is. With a due date of February 23rd, "Attrition" is a must-have for fans of Salem and anybody that loves hard rock/melodic rock. The album runs over fifty minutes, but with one great track after another it is a thoroughly enjoyable experience. Between this perfect album and Robespierre's latest release, 2018 is going to be one hell of a year for N.W.O.B.H.M. fanatics!

N.W.O.B.H.M. Wednesday: Sparta-Welcome To Hell

High Roller Records
2014

Prior to High Roller Records releasing Sparta's career-spanning (1979-1990) compilation, "Use Your Weapons Well", in 2011 (with the double LP version collecting a whopping 25 songs!) the closest I had been to hearing this obscure New Wave Of British Heavy Metal band in all it's glory was when a (now-defunct I believe) blog-site assembled their own Sparta career-spanning collection. Before scanning over said collection, which I never downloaded as I had heard (and thus been turned off by) that the band's (at least early) material was more in line with early Def Leppard, I had never realized that this (initially) Nottinghamshire-based band had released anything more then an odd single or two. Quite obviously they had although "Welcome To Hell" marks the first "official" fell-length studio recording from this band that was formed in late 1979 by lead guitarist Tony Foster and bass guitarist Tony "Sapper" Warren (the two Tonys having previously played together in the band Xerox). While the band was only active from 1979 until 1990 it's still somewhat striking that it is only now (after 35 years) that this heavy metal five-piece is releasing their "debut" album! With that said the question must be asked. Is this an example of how all good things come to those who wait? Well, before we get to that let's see who's who (or at least who handles what) on the nine-track "Welcome To Hell" (And no, the title cut is not a cover of the Venom classic although that would have been cool!). Besides Tony Foster and Tony Warren we have three, yes, count them three(!), brothers in Sparta in the form of lead vocalist Karl Reders and his siblings Steve (guitarist who is nicknamed "Snake" ) and Paul (drummer who is nicknamed "Radge"). It was only after the well-received "Use Your Weapons Well" was released that the band (in it's original line-up no less!) decided to give it another go with "Welcome To Hell" being the result. Other than an updated version of the group's 1981 single "Angel Of Death", which stacks up rather nicely to to the original, and "Arrow" (an original Sparta composition from the eighties that was never laid to tape) all of the material on "Welcome To Hell"* looks as if it was written after the release of Sparta's 2011 compilation. According to the promos notes it was actually the title cut that was written first (serving as the first Sparta track to be written since 1985!) with the rest of the tracks then falling neatly into place. Of the nine tracks there is never really a dull moment to be found although some tracks ("Angel of Death (2013)", "Soldier of Fortune", "Wild Night", "Dreaming of Evil" and "Rock'n'roll Rebel") are better then others and a track like "Time" comes off as if Sparta was trying to reinvent itself as a modern metal act! Sparta itself lists influences like Black Sabbath, Judas Priest and Motörhead (along with "a little splash of AC/DC") and for the uninitiated that would seem to be as good a place to start as anywhere. Had this been my first taste of Sparta ever I would have been impressed, but knowing how long it's taken to get from their humble beginnings to this point gives me an even greater appreciation of "Welcome To Hell". If you've never heard this lot before then I would actually start with this new album and then work your way backwards towards the 2011 compilation "Use Your Weapons Well" (which was also released as a 2CD set although I don't recall that version having 25 total tracks). All of which brings me back to the original question that I posed. Is this album an example of how all good things come to those who wait? I'd confidently say yes and let me just add this-Great job Sparta and welcome back!!!!


*The very cool  "Soldier Of Fortune" is based on an original song that was first written in 1984, but it has been completely re-worked.

N.W.O.B.H.M Wednesday: E.F. Band

Like so many other fans of the N.W.O.B.H.M. movement my first taste of E.F. Band was thanks to their contribution to the first "Metal For Muthas" compilation with the brilliant track "Fighting for Rock 'n' Roll". That was many moons ago (when I first secured a copy of the 1980 N.W.O.B.H.M. sampler on CD), but it was just recently that a copy of the group's comprehensive 2003 compilation "Their Finest Hour" fell into my lap. Thanks to that 2CD set, which includes a brief history lesson the band as well as a few photos and extensive liner notes, I was able to fully experience and then appreciate everything that this Swedish-born band had to offer the N.W.O.B.H.M. scene. Formed around 1979 or so out of the ashes of progressive jazz-rock band Epizootic, who released one (extremely limited and now highly collectible) self-titled LP, the band took it's name from it's two founding members, Pär Ericsson (vocals/bass) and Bengt Fischer (guitars). Initially they were known as (the) Ericsson Fischer Band, but after shortening their name (and relocating from their home-country to Britain in 1979) they were soon on their way to becoming early members of the N.W.O.B.H.M. club. Early on the band was rounded out by drummer Dave Dufort (known for playing with Mike Oldfireld and Screaming Lord Sutch) and with that line-up in place two 7" singles were released (1979's "Self Made Suicide" and 1980's "Devils Eye" which both appear on "Their Finest Hour"). Also in 1979 another 7" single was released in the form of "Night Angel", but that release featured a drummer credited as simply "Johnsson" and it saw an outside label mesh with the band's arrangements. As such it doesn't appear on the band's 2CD anthology compilation, but chances are it's not a selection that would be missed. Anyway, by the time the group entered the studio to record their 1981 debut album, "The Last Laugh Is On You", Dave Dufort had left the band to join Angel Witch and a new drummer was needed. In came Dag Eliason who would remain behind the drum kit for the duration of E.F. Band's existence. His playing would anchor a band that, sound-wise on album number one, was part 70's rock, part boogie, part blues rock and a whole lot of hard rockin' fun! The band's debut album is somewhat similar to the music of  Ethyl The Frog (although much more free-spirited overall!) and thanks to it's respectable reception in the press (and no doubt their previous contribution to "Metal For Muthas") the band would get the opportunity to tour with Richie Blackmore's Rainbow! Arguably the best cuts on the band's debut album would have to be the title track, "Kids" and  "Anything for You". All three cuts showcase E.F. Band's distinct sound while offering slightly different takes on hard rock. As far as debut album's goes "The Last Laugh Is On You" is most certainly an overlooked affair, but seeing as it is featured prominently on this collection there's still plenty of time to discover this charming collection of heavy rockers! On we go must so we turn our attention to album number two, 1982's so-so "Deep Cut". By this point the band had decided it was time to expand a bit and John Rich (Picture, Hot Property) soon joined the group as lead vocalist. "Deep Cut" isn't a bad album all in all as there are some saving grace moments such as a cool cover of Girl's "Love Is a Game", "Child Of Innocence", "Is Anyone There",  "Tonight's Alright", "Big Talker" and "Trinity". John Rich didn't last all that long though as he would eventually be replaced by Roger Marin (Deep Machine, Angel Witch, Nevadda Foxx, Bordello,Kamikaze ). With Roger Martin on lead vocals and the addition of a talented second guitarist by the name of Anders Allhage the group would release their third and final album, "One Night Stand", in 1985. Album number three opened strong with the worthy "Gimme Just a Little Rock 'n' Roll" and showcased a band that had (seemingly) found the right line-up needed to put them over the top. So, what happened then? Well, Anders Allhage (aka: Andy LaRocque) leaving the band for King Diamond didn't help matters much and then there was apparently some in-fighting going on and a few issues with records labels. About one year after the release of "One Night Stand" it was all over. Unfortunately it seems as if a black cloud formed over E.F. Band after their break-up. First founding member Bengt Fischer tragically died of cancer on the 5th of April 2001 and then John Ridge (who sang on the group's 1982 album "Deep Cut") also died of cancer in March of 2003. What's even more sad is the fact that the 2003 compilation features the 2001 track "Remember You" (which was written, engineered, produced and performed by John himself as a tribute to Bengt Fischer) and John died before "Their Finest Hours" was ever released! How awful is that? Still, "Their Finest Hours" is dedicated to Fischer's memory and all proceeds from the sales of the 2CD set went towards The Cancer Fund in Sweden so his death (and John's) will never be forgotten. Despite not having the same name recognition as many of their N.W.O.B.H.M. cohorts this is one band that deserves a special place of honor in the collections of N.W.O.B.H.M. fans. If all you know about E.F. Band is their "Metal For Muthas" track then "Their Finest Hours" is really the way to go. It can usually be found on Amazon and Ebay and it's not all that bad price-wise. It collects their three albums, singles, live cuts and some unreleased material. With 17 tracks on the 1st CD and 18 tracks on the 2nd CD it is a well-rounded compilation for a band that had more to offer then just "Fighting for Rock 'n' Roll"!

N.W.O.B.H.M. Wednesday: Hell-The Age Of Nefarious (Single)

Nuclear Blast
2013

When I first covered Nottingham, England's (re-formed) Hell back in March of 2011 I had no idea that their come-back album, "Human Remains", would be as good as it ended up being. Granted I did suspect that it would be pretty solid given how well their previous single, "Save Us from Those Who Would Save Us / On Earth as It Is in Hell", sounded. But, I didn't expect the album to be as epic as it was! Now, Hell is back in  the spot-light thanks to this 4-track, 22 minutes long "Single" that features one new track, "The Age Of Nefarious", as well as three live tracks (" On Earth As It Is In Hell", "Blasphemy And The Master" and
"The Oppressors"). Here's the thing though. From what I've read it seems as if Hell has tried (for some unknown) reason to distance themselves from the N.W.O.B.H.M. scene. But, even if this British-based 5-piece doesn't necessarily identify themselves as being part of the N.W.O.B.H.M. movement, which is kind of weird when you take into account that the heavy metal-leaning Hell was first formed back in 1982 when the movement was in it's prime, still kicking major ass and quite alive (thank you very much), the reality is Hell is just about as close as you can get to being a full-on N.W.O.B.H.M. act from their style (straight-ahead heavy metal with a major dose of Venom/Merciful Fate satanism/mysteriousness) to their stage presence (costumes and imagery are a huge part of their theatrical live shows!) and even their substance (Hell's music feels like classic British metal)! Formed by members of Race Against Time and Paralex, and sadly never making it past the demo stage the first time around, Hell comes to the party fully-loaded with the metallic fury that is "The Age Of Nefarious" and, if this is any indication of the direction that the group plans to take on their next album, then the follow-up to "Human Remains" should be a great heavy metal platter! Now, I'll admit that coming into this "Single" I wasn't sure what direction to go with this review. Yes, I loved "Human Remains" and found myself becoming a huge Hell fan as a result. That being said I did feel a bit let down after a l-o-n-g talked about e-mail interview that I set up with Hell never came back to me. At the time the group was still in the "we need press and we need it now" stage and, after going back and forth with the group's manager (and doing a crap-load of research to make sure that my interview questions were well thought out and covered a lot of ground), I obliged and looked forward to getting the answers back. Well, follow-up requests proved to be fruit-less endeavors and I ended up adding Hell to the (growing) list of group's who never replied to e-mail interviews. So, my personal feelings toward Hell might be one thing, but their music is another. And while these guys might still be crafting (lyric-wise) cheese-feast worthy songs, which (let's face it) was the lone-downside of "Human Remains", the actual music is dastardly and "The Age Of Nefarious" is no different! With the band's long-anticipated sophomore album, "Curse And Chapter", due for release towards the end of November it will be interesting to see how it stacks up side-by-side with "Human Remains". With lead vocalist David Bower sounding as spooky as ever on both the lone studio-track and the three live cuts it certainly seems to suggests that Hell will be, once-again, "in for the win" with album number two. Original members Kev Bower (guitar and keys), Tony Speakman (bass) and Tim Bowler (drums) are also all returning for album two so (consistency-wise) one can't help but get a little excited for the prospects of "Curse And Chapter". Of course no one can forget about someone as important as guitarist Andy Sneap whose skills did a lot to help shape the epic "Human Remains". I'm a big fan of both his playing and his work behind the scenes so if he's on board once again then (fingers-crossed boy and girls) this "Single" is just the beginning of what stop be a cool wrap up for 2013's heavy metal scene!



http://metalmark.blogspot.com/search?q=Hell-Human+Remains+

N.W.O.B.H.M. Wednesday: Virtue-We Stand To Fight

No Remorse Records
2013

I must confess that for many year, even after I had begun my open love affair with the N.W.O.B.H.M. scene, that I was ignorant to the importance of Virtue's 1985 "We Stand To Fight" 7" single. Greater men then me, or at least men and women more musically knowledgeable about the movement then me, had long been proclaiming "We Stand To Fight" to be one of the greatest singles ever to come out of the N.W.O.B.H.M., but it was only a few years back that I actually manged to download a "reasonable" sounding rip of it. Until now the only way you could have heard this 7" was to either (somehow) pay serious dough for a original copy, pick up a lousy bootleg copy or download it. None of those options, with the obvious exception of somehow securing a "real" copy of "We Stand To Fight" on vinyl, comes close though to this remastered edition which, incidentally, includes the band's only other known recording, their "Fools Gold" demo.
While this has been re-issued on vinyl as well (in a very limited run) it was the CD copy I opted for and, as usual for me, I was ever asleep at the wheel when it came to this one dropping. How I missed it initially I have no clue (other then perhaps some relationship issues I was going through around the start of this year). Anyway, as this was released initially in 1985 it was actually late to the game when it came to the movement. By 1985 the N.W.O.B.H.M. scene was drying up and fans were turning their attentions to everything from hair metal and glam to U.S. power metal and thrash. From what I've read about this single, as fine as it is, it did take some time before people caught on to how great it was, but by that time their just was not enough fanfare to keep Virtue in the limelight. The striking thing about this single though is that, given the right push and airplay, both of the cuts on "We Stand To Fight" have commercial appeal. That is especially true of  "We Stand To Fight'" which could have easily been a hit back in 1985. The other track, "High Treason", is also one of the better numbers to come out of the scene with comparisons to Satan, Demon, Tokyo Blade and Samson most certainly fair. Toe to toe these two cuts could have stood, but it just wasn't meant to be. The band's follow-up, the aforementioned demo, "Fool Gold", wasn't enough to hold this killer act together and sadly they ended up calling it a day. An interview with one-time Virtue vocalist Tudor Sheldon tells the full story of the band and, along some cool photos, makes this CD's booklet a nice bonus. While some might not like the price (typically this goes for about $14.99 or so plus shipping) of this re-release when they see that it only has 5-tracks let me just say it's worth eery penny! The re-master job is fantastic and pound for pound this is simply sensation heavy metal. Even if the three cuts from "Fools Gold" don't stack up to the group's single you could easily justify buying this for just those 2 tracks! And the thing is it's not like "Fools Gold" was a bad release as it's actually a pretty solid demo! Putting these five tracks together gives you almost 24 minutes of what is some of the finest material to ever come out of the N.W.O.B.H.M. era! I can't recommend this one enough! Whether you're just starting off your N.W.O.B.H.M. collection or you're looking to replace your burned copy of "We Stand To Fight" this is a great pick up.

N.W.O.B.H.M. WEDNESDAY: INTERVIEW WITH DIAMON HEAD'S KARL WILCOX

Recently I had the privilege of interviewing Diamond Head drummer Karl Wilcox. Our regular readers will no doubt recall that I am a huge (and I mean HUGE!) fan of N.W.O.B.H.M. with Diamond Head being a particular favorite of mine. So, please know that when I say this was a privilege for me it REALLY was. I've been listening to this band for well over 20 years now and I've just recently started showing my own teenage son how great their music is. With the news of a US tour in the works I sat down with Karl to talk about the band and his own life.

Andy-First things first I just want to thank you Karl for taking time to answer a few questions for me today. I'd imagine that things are pretty busy these days for Diamond Head right?

Karl-No worries Andrew. Yes it's getting a little manic.

I have to sort out flights, hotels, van hire, Merch. Backline etc.  More importantly the work visa and tax ID's have to be sorted before I can book anything.

Andy-How are things coming along as far as Diamond Head's tour of the US?

Karl-Great. There's been a great response to us announcing the tour. The US was great for us in 2002 and our first ever tour in 2011.

Andy-When was the last time Diamond Head played in America?

Karl-2011. Sean and Brian Jammed with Metallica at their 30th anniversary bash

Andy-If I'm not mistaken (and please feel free to correct me if I am) you joined Diamond Head back in 1992. Can you tell me how that came about?

Karl-1990-91 but close enough I had worked with Brian on his 'Radio Moscow' project 85-87,  then with Sean on the 'Notorious'  project with Robin George 88- 89.

When they decided to get DH back together I was offered the gig. I am the first musician/member to join the band who was a fan an actual fan of the band

Andy-You were involved with the NWOBHM scene before you joined Diamond Head. Two bands that are often mentioned are Requiem and Chase. I know Requiem released a single. Was that your first studio experience?

Karl-We had done some demos prior to that single in a local studio in Walsall.  It was a great experience. In the mountains of Wales with a former member of 'Hawkwind' We had a massive band revolt on the night of going. 

Andy-How did you learn to play the drums Karl?

                                                               Karl Wilcox live and lethal!

Karl-My dad had a big band / dance band in the UK and used to watch him play. He never wanted me to be a drummer so I ended up playing the trumpet for 10 years before finally taking up the drums. The drummer in the county big band was leaving and the drum chair fell vacant.

He was a great player.. I took over and it was a disaster. So I took all the music home and practiced like a Mother came up with my own solos until I owned that drum chair.

Then I got into the Devils Music :-) 

Andy-I've always thought that you had your own unique style of playing. Who were some of your influences as you were just getting started?

Karl- My main influence when starting out where Buddy Rich and My old Man. He was more of a groove player..

As I got into the Devils music then I became aware of John Bonham, Ian Paice. Keith Moon, Terry Bozzio , Neil Peart.Phil Rudd

There really are too many very good players from that era before the drum machines took over.

I could go back to the 60's and list influence. But the main influence from them all was " I want to do that for a living"

Andy-This is a similar question Karl. Has any young drummer told you that they were inspired to pick up their first pair of sticks because of you? In Diamond Head you've been able to make your mark and you've become an important aspect to the band's sound. I'd be shocked if there wasn't more then a few young drummers out there that listed you as a influence!

Karl-Thanks Andrew. Brian's step son Dan who has his own band lists me as one of his top 3 influences. The other two are John Bonham and Lars.

If I can influence any drummer to leave the show and go right home and practice immediately as the guys who inspired me then I've opened the door for that Kat to develop. Whether they like what I have done or not.

I been blessed to work as a musician/entertainer

Andy-As I briefly touched on with the last question your contribution to Diamond Head's sound is well regarded. You've spent a large part of your career with the band in fact. How does it feel to be able to look back and say that you were involved with one of the true icons of the NWOBHM scene?

Karl-I was the first member who was an actual fan of the band and used to watch them play and say I should be up there with them.

And here I am. I give the utmost respect for the parts played by Duncan and I just embellish it what I can. Groove is very important to me and the band. 

Sometimes you have to pinch yourself. But I have know Brian for 30 years now and it's been a great journey. 

We did a show in Montreal with Kiss at a festival. 'Detroit Rock City' was the first album I purchased and I'm standing back stage with my niece and nephew looking on gobsmaked  talking with Paul & Gene. 

Keep believing 

Andy-This shouldn't surprise you guys, but I have firsthand knowledge that teenage metal bands (with even preteen members!) are playing covers of some Diamond Head classics. That says a lot about the lasting impact that Diamond Head has had on heavy metal. When the band is playing live It must be something to be able to look out in crowd and see several generations of fans right?

Karl-There's old folks and young folks in the audience and there singing the songs at me and I'm singing them back at them. It's great. DH has a great catalog of songs both with Sean and with Nick. Obviously the classics are the main course for the show.

Although we have done support shows and had the headlining road crew ask "why are you playing Metallica songs?" The look on their face was priceless..

Andy-Besides headlining a tour of the US this April, which is a big deal for Diamond Head fans like me, are there any other big plans for the band in 2013?

Karl-We we quiet last year due to myself needing an emergency blood transfusion during our summer European tour. We had to cancel two shows the I was back on the Tubs thumping away. We had planned on hitting the US late last year..

This year hopefully sees the band doing two US tours, an East Coast run in April and a West Cost run in October.

Also we play a Belgium festival and will putting a European tour around that.

We hope to make a DVD of this tour so you all got to come to the show and record with us. If you don't like what you did at the show come to another show and re-record with us, we'll love to see you again.

Andy-Thanks again Karl for checking in. As we wrap up this quick interview is there anything you want to say to Diamond Head fans? I'll give you the last word.

Get your street teams together and get folks who have never heard or seen us to the shows. DH fans have been a long standing crew and have supported us through everything. 

See you all soon 

Thanks.

NWOBHM WEDNESDAY: FAST KUTZ

Ebony records released this particular "one and done" effort from Fast Kutz back in 1985. By that point in time the N.W.O.B.H. scene was starting to dry up and Fast Kutz was more of a project then an actual band you could argue. It seems as if guitarist Kenny Nicholson (former Holland/Hammer) was able to convince some folks at Ebony that with a little bit of time and money he could whip together a band. Thus the project was put together by Kenny Nicholson  (who is currently with Black Rose) ."Burnin" was supposedly produced by Darryl Johnston (head of Ebony) and features bassist Nev Percivall, ex-GYPO frontman Keith Davison and drummer Paul Fowler. This one was never issued on CD which seems kind of odd and the original vinyl goes for ridiculous amounts. Despite the so-so production it's still a good one-off record with Nicholson in fine form. It's worth noting that at least one of the songs ("Driving Me Crazy") dated back to Nicholson's time in Holland.

http://www.mediafire.com/?npxuh210dvq

NWOBHM WEDNESDAY: HELLS BELLES

Right off the band let's make sure to point out that this Hell's Belles (Or is it really Hells Belles? Doesn't seem right not adding that extra apostrophe mark, but I've seen it both ways so....) was around before the all-female AC/DC cover band. Not that either one is better then the other. To be fair though I've never heard the ladies covers so you know....Anyway,  what would you expect to get if you were to combine one-time Bronx vocalist Paul Quigley and some members of Discharge? If you were to say "Well, you'd get this awesome rock/heavy metal/punk band that just killed it!" I'd tell you to try again. Without getting too deep into the exact who, what and where that followed in the days that took place between the band's formation in 1983 and the release of their lone full-length LP, 1986's self-titled affair (Yes, that's the second picture there!) let's just concentrate on the end result. That's where I run into trouble. Try as I may I just can't get my head wrapped around today's NWOBHM act. I even thought about simply passing over this late comer to the scene. Too say the band's one album was a bit "uneven" is putting it mildly. Before getting too far off point though let's just say that they tried their hand at a sound known as "Rogue Metal". Whatever you want to call it though it was just too much of this and that as if the band either A) Didn't know what they were or what they wanted to sound like or B) They tried to appeal to everyone and their mother with all the different genres smashed together over the course of 10 tracks. Regardless, with guitarist Pooch (Who passed through Discharge), bassist Gareth Holder (A former member of punk band The Shapes) and former Brute Force drummer Anthony "Spiv" Smith joining him, all the pieces were set in place for Paul Quigley to release this "unique" album. The band even brought in Lyndsay Bridgwater (Ex-Ozzy Osbourne, Blizzard of Oz, Budgie) to add some flashy keyboard elements to the LP. Ultimately though the band only managed to achieve an album that is all over the place."Looks Like Love" is a serviceable opening number that promises good things only to leave you disappointed and confused. "Screaming for Mercy" and "Long Legs" are cuts you can get behind, but they are nothing to get worked up about. Despite a number like "Overload", which is a bit of a gem, rocking you hard and maybe "Storm Break Loose" (Solid heavy metal") giving you a bit of a head rush, there is a huge chunk of filler material. Sure, maybe it's a case of the LP being half good and half bad, but the bad numbers really stick out and man, do they ever drag! While the album might be worth downloading, as I don't think it ever made it past the vinyl stages, I'm not sure I could justify buying this NWOBHM platter. Even though the band is, as of 2008 or so, again active (With some of their newer music even appearing on iTunes), it seems as if the band is nothing more then a Paul Quigley solo/studio-only project.

NWOBHM WEDNESDAY: RANKELSON

Looking at these pictures would probably lead a person to think that this Welsh band was a sleaze rock/glam metal band. So, how exactly does this odd looking band, with an ever odder name, fit into the NWOBHM movement? Well, despite the ill-fitting and hair metal make up job, Rankelson is a name that should be on any respected NWOBHM fan's to check out list. Formed in 1984, the band managed to release two solid, if admittedly middle-of- the-road, rock/metal albums before folding four years later. According to the ultimate guide on all things NWOBHM, "The N.W.O.B.H.M. Encyclopedia" the band was formed initially by ex-Neon Spirit bassist Kim Hooker (Kim later went on to greater fame as the front-man of glam band Tigertailz) under the name Ran-Kelson. Due to numerous omissions of the hyphen the band dropped it and settled for plain old Rankelson. A four track demo appeared in the band's early days which lead to better live opportunities rather then an immediate record deal. It took some doing, but a deal was eventually struck with the classic Ebony Records. The result was 1986's "Hungry For Blood". With a keyboard player in the line-up the material released proved to be more on the hard rock/ melodic metal side of things. The overall impression is material similar in nature to bands such as Demon, Blade Runner, Tytan or Seducer. Album number two, "The Bastards Of Rock 'n' Roll", might have had a mean-looking cover and sinister- sounding title, but the music proved to be more commercial in nature (bands like Chinawhite and Persian Risk come to mind) even if it did retain some of it's hard rock appeal. Two albums proved to be all Rankleson could muster before folding and truthfully, as I do strive to be above all honest, neither album is a "masterpiece". Added together on one of those 2 on 1 CDs though (which I just ordered not that long ago, but you can easily make your own at home thanks to sites like  this:
http://bloodandhonor-metalblog.blogspot.com/search?q=rankelson ) and you get a very enjoyable mix of melodic NWOBHM metal/hard rock and keyboard-driven rock/metal. For those times when you want to listen to solid heavy metal (not thrash or speed metal, not power metal or hardcore metal) this is the right type of band. As stated though the band is mostly known for it's association with Tigertailz who, in and of themselves, proved to be far much more successful then Rankelson. Still, I like a good change-of- pace album for when I'm in the mood for NWOBHM, but not really heavy or fast metal. I will leave with this one last thought/observation though. Any day of the week I will gladly (and I mean GLADLY) take a band like Rankelson over what passes for hard rock/heavy metal these days. With these guys the emotions were real as was the energy and charisma. Bands like this, even if they were looking to sell a more commercialized product, were putting out fun records that were not 100% pissed-off rage like today's young crop. Don't get me wrong as we need the rage to stay in metal (and I say that as someone who has groups like Slayer, Napalm Death, Hatebreed and Pantera in their personal CD collection), but sometimes you want your rock to just rock and your heavy metal to just flat-out make you want to let loose without smashing furniture in the process!

NWOBHM WEDNESDAY: Tygers Of Pan Tang-Ambush

Retroactive UK
2012

For this week's NWOBHM WEDNESDAY (a series that I admittedly have slacked on lately) we take a look at the new album by Tygers Of Pan Tang. Really, there is little left that needs to be said about Britain's own Tygers Of Pan Tang. As front runners of the NWOBHM movement the band released some of the greatest British metal of all time. At a time where we see countless retro acts trying desperately to capture the sound that broke down the walls of heavy metal (and sadly failing to be honest) an act like this is sorely needed. For the new album the band choose to re-unite with producer Chris Tsangarides once again. Chris worked with the band previously on "Wild Cat" and "Spellbound" (1980 and 1981 respectively) so "Ambush" does carry itself in similar fashion to those classic albums. Speaking of the album "Wild Cat" (again, a classic album and a must own for anyone who claims to love the movement) the new cut "Hey Suzie" (penned by drummer Craig Ellis) can be seen as a updated version of the the band's killer tune "Suzie Smiled". Lead by guitarist/founding member Robb Weir (who does a smashing job on the new album alongside fellow guitarist Dean "Deano" Robertson) the band has managed to release an album that looks back fondly at their roots ("Hey Suzie") while still maintaining a modern edge (the sweet number "One Of A Kind" is commercial rock at it's best). Special mention should be given to Italian vocalist Jacopo Meille. A big reason that this album works so well is the way in which Jacopo is able to paint the music as part modern rock and part classic rock. He is much more then a capable front man as he makes "Ambush" his own.Of course when any band steps into the studio they are only as good as the album's finished product. As such credit must also be given to the albums overall production.Chris Tsangarides was able to bring out the best in the band as evident by the numbers "Keeping Me Alive", "She", "Man On Fire" and "Speed". In his hands the band's own brand of British heavy metal by way of classic rock shines brightly making this one of those albums that demands repeated listens. Everything from the vocals and guitars to Gav Gray's bass riffs sounds crisp while also retaining a rich classic rock vibe. Without a doubt "Ambush" is the kind of album that the Tygers Of Pan Tang needed to release for not only their fans, but themselves. The band has been waiting on a moment like this for a long time-a moment when they can step out of the crowd and back into the spotlight saying "This is how it is supposed to be down".

NWOBHM WEDNESDAY: SHIVA

Bristol-based Shiva are another act that are sadly ignored when people start to discuss the nwobhm movement. When it comes right down to to it most people have never even heard of the band. I'm hopeful  that today's piece might helped that even a little and open up discussions about this unheralded power-trio that had more in common with Rush then Iron Maiden. You can hear Rush, Yes, Deep Purple and even Blue Öyster Cult in the excellent "Firedance" (their sole studio album as "Continuance", the 2004 follow-up compilation, is just a mix-up of demo-cuts and material for a second album that never materialized"). Before we get too far off course though (which is easy enough for me to do- just ask my girlfriend or kids!) the band was formed in 1979 and featured three highly-skilled musicians in John Hall (lead vocals/guitars/keyboards)

Andy Skuse (bass/vocals/keyboards) and Chris Logan (drums). Now, unlike Rush and Yes what Shiva brought to the party (as far as progressive rock goes) was the ability to write songs with interesting cord progressions that never got too winded or just plain "out there". Shiva never seemed to lose focus on the "rock" part of progressive rock. And even as I say that they were more influenced by acts like Rush then Iron Maiden the band certainly did know how it let lose when the time called for it.On "Firedance" there are plenty of moments where you hear the likes of Judas Priest sneak in through the back door.It is never quite on the level of the heavier bands of the day, but you do get the feeling that the band was quite aware of the sinister power of bands like Black Sabbath. Even if they were not going to be breaking out doom metal riffs there are moments here and there on "Firedance" where it all seems to come together. A little Rush, a little Black Sabbath, some B.O.C. and a hair of Judas Priest all converging in the same spot and tearing up the night. I'd even wager to say that Shiva burned through some copies of Deep Purple's "Machine Head" on their way up. Sadly the band released "Firedance" and then proceeded to call it a day in the summer of 1983. They did do one more show in 1986 and offered up "Continuance" for their fans. Nothing though tops "Firedance". It is simply a great collection of tracks that are technical and yet still rock the doors off. Fans of progressive rock will no doubt enjoy Shiva although they may also have a bit of an appeal to heavy rock/hard rock junkies. Especially as they are the very definition of a power-trio! 

NWOBHM WEDNESDAY: DEMON

Demon are another classic British metal band that was formed right about when the N.W.O.B.H.M. scene was really taking off. Formed in 1979 and calling Leek, Staffordshire their home this interesting act would release their first single, "Liar" the following year. In 1981 the band would issue another single, "One Helluva Night", before they released the timeless "Night Of The Demon" (check out the awesome cover that speaks volumes about the crunchy hard rock/heavy metal inside!) and, from that moment on, would go on to become one of those bands where you never quite knew what to expect. Pretty much, since day one really, the band has been lead by lyricist/vocalist Dave Hill. He has been the only consistent aspect to Demon and their sound. Without taking away anything from other singers of the era the one thing that would set Demon apart was in fact Dave and his clean singing voice. If anything Dave Hill almost sounds as if he should be fronting a classic rock band rather then a heavy metal outfit. Whatever the case his voice help set Demon apart. The other thing that helped set the band apart was the the emphasis on actual song structures and creativity. For the casual listener out there Demon's first three albums are all good, but very different. "Night Of The Demon" is a classic N.W.O.B.H.M. release that features a slight hint at the more mainstream song-writing approach that Demon would soon take. "Don’t Break the Circle" (arguably the band's most well-known number) came off of the group's sophomore release, 1982's "The Unexpected Guest", an album that saw the band move into more of a commercial sound. Slightly more slick then "Night Of The Demon" the album is nonetheless just as powerful and hard-hitting. The song writing improved and the band adopted a cleaner sound without losing any of the hard rock/traditional heavy metal that made Demon so appealing to begin with. Out of nowhere though the band's third release, "The Plague" (1983), took a wide turn and ventured into this weird progressive rock world. While there is some heavy metal and the album it is buried behind sound effects and keyboards. It's almost as if the band (Dave Hill that is) decided to lock himself in a room with nothing but 70's prog-rock albums to keep himself company and then, once he entered the studio to lay this other-worldly album to tape, he took a look at what Killing Joke were doing and said "hey, I could clean that up, add it to my prog-rock obsession, and then create an album that defies logic and yet will leave people thinking that Demon made a pact with the devil to get it all sounding this great!". How else do you explain "The Plague"? It is Demon and yet it isn't. For some reason it works and creates the third album in a row for Demon that you could fully get behind. After that Demon continued on and, although success has eluded them on the world-wide stage, they are still at it to this day with a new album supposedly due for release soon. I'm tempted, at times, to include Demon in with the greats of the movement if only for the first two albums which define British heavy metal. What stops me is the fact that they never really made it up over that hill so to speak. Still, for those into quality hard rock/heavy metal the group's first two albums are too good to pass up.

NWOBHM WEDNESDAY: MORE

Formed in 1979, More (an interesting if unspectacular name) were a fairly straight-forward hard rock/heavy metal outfit that released two full-length albums and a few singles before calling it a day. Nothing remarkable can be said about the band other then perhaps the fact that the band featured the original lead vocalist of Iron Maiden, Paul Mario Day, on their debut album "Warhead". In fact the band is hardly mentioned at all when discussions turn to the NWOBHM era and what it meant. The sad part about that is the fact that I, like many before me and many now I fear, waited far too long to do a proper search of the group with the end result being that I missed out on what just might be one of the best NWOBHM albums that most people have never heard. "Blood & Thunder" (Atlantic Records, 1982) saw the addition of a new vocalist, Mick Stratto, and a more mature sound. Trying to describe that sound is a bit of a complication. More, more then anything, sound like a fine mixture of classic rock and hard rock/heavy metal. AC/DC comes to mind as does a heavier Kiss (if Kiss had been influenced by Judas Priest) and even classic bands like maybe Cream, but being a NWOBHM act there are obviously those trademarks as well (shredding guitars for one thing) that made the movement so fun to begin with. Before I actually heard the band I had read some reviews online where Raven was brought up. Connecting More and Raven is a bit of a stretch although both do have that very basic, no-frills hard and heavy undertone to their music. More though are not as frantic and sound more rooted in the hard rock/classic rock of the seventies (UFO maybe?) without ever sounding dated. "Blood & Thunder" is a rocker of an album and overall just an enjoyable LP for when your looking for foot-stomping hard rock like AC/DC. It's a shame the band's career was so short and that more people don't know about this cult little band. Hopefully this article will inspire some of you to check the band out. Both albums have been re-released with improved sound and are worth adding to a NWOBHM collection.

NWOBHM WEDNESDAY: MYTHRA

Mythra is by all accounts considered a minor NWOBHM act. For all intensive purposes the band never achieved much success and there is not too much of a catalog from which you can pull from. And yet this NWOBHM band (who were formed in South Shields, UK around 1975 by a few school mates) had far reaching influence. They were name-checked by Lars Ulrich though for a reason. When Lars was doing his best to hype the NWOBHM scene for all who would listen it must have been interesting to put on "Death and Destiny" side by side with "Kill 'Em All". Those early works of supposed metal magic reek of Mythra. As I listened to the "Death and Destiny" LP over the past few days (in anticipation of this review) I was amazed by how much Metallica owed to this band. The fact is this South Shields band was the best of what British heavy metal had to offer. Yes, Mythra themselves borrowed from Black Sabbath and Motorhead. The band was one of those groups that should have made better for themselves though because the sound here is varied and quite exceptional. After releasing the excellent "Death & Destiny" EP the first time around (1979 to be exact and yes, for 1979 this is some fast, heavy and crazy shit let me tell you!) that should have been enough to knock these guys up the ladder to success. Why it didn't happen is a real cluster f**k all in all. The EP feature such killer works of Britsh steel as "Death and Destiny" (nice), "Killer" (which does sound a bit like "Breadfan" by Budgie", "Overlord" and "U.F.O." (which both should be of great interest to Diamond Head fans and Holocaust Fans). Sadly it didn't happen for the group. Instead of going too far into the how and why of it all I am instead going to suggest you just go pick up a copy of the 1998 re-release of this EP. Also called "Death and Destiny" it is a collection of all of the music they recorded in their way too short career. You get the EP, a single and various demo cuts. It is 13 tracks of epic NWOBHM that has been remastered and given a new life. Other then the fact that the song titles are wrong (I pulled this directly from the Metal Archives page):
"Due to the band's inactivity at the time of the release of The Death And Destiny LP some songs have been given the wrong name on the album.
Track 1, titled "Paradise" on the CD is actually called "New Life".
Track 4, titled "Vicious Bastard" on the CD is actually called "Vicious Bastards".
Track 6, titled "At Least They Tried" on the CD is actually called "At Least I Tried".
Track 7, titled "The Death Of A Loved One" on the CD is actually called "Together Forever".
LP released by Buried By Time And Dust 2012 as "Death & Destiny" The track list is as follows and, as I stated, this is a must have for NWOBHM fanatics!
01. Death & Destiny
02. Killer
03. Overlord
04. U.F.O.
05. Warrior of Time
06. Heaven Lies Above
07. At Least I Tried
08. Together Forever
09. New Life
10. England
11. Vicious Bastard
12. The Age of Machine
13. W.A.S.A.

To put it mildly this is one of the best albums/collections I have heard in a LONG TIME. Starting with "Paradise" (a cut that would make Lemmy proud!) the album moves between Diamond Head/Black Sabbath numbers, then to Hollow Ground/Holocaust or A II Z before it moves back to more Motorhead love and so on. To the extent that I don't want to over hype this this excellent collection I will just say it has to be heard to fully appreciate it's strengths. Listening to it again, as I type this morning, I pick up not only the above masterful moments but some AC/DC appreciation and Tygers Of Pan Tang love. Who came first is beside the point really. All that matters in the end is how well everything comes together for the band. Now, Mythra did release "The Darkener" in 2003 although I have yet to hear it. As far as I know they are no more, but as it seems that all good NWOBHM acts eventually get back together there might still be hope for this classic underground act. Whether it was melodic numbers, slower doom-like cuts or fast and aggressive heavy metal it all sounded good. Mythra is a highly recommended outfit to check out.

NWOBHM WEDNESDAY: DEMON PACT

Few NWOBHM bands have made such an impact with so little in the way of "official" releases and yet that is the case with Demon Pact. Formed in 1979 (and formerly known as Fenris Wolf) the band became well known for their 1981 single, "Eaten Alive". Said single explored the joys of cannibalism and, no doubt at the time, must have caused a bit of an uproar among the high and mighty. Still though their is more to the band then just that one single. That is why I am so thankful for a label like High Roller Records. Although the band only official released a handful of tracks High Roller Records someone managed to gather up enough material for a full-length compilation entitled "Released From Hell". Initially this was released on vinyl and, as much as I love my LPs, I had high hopes that sooner or later it would get a proper CD release. Sure enough it has and a mere week or so after ordering my copy from overseas I was enjoying some of the best raw heavy metal the time period had to offer. The bands story is a bit too long and winding for this early in the morning. The best I can offer is to suggest that if you love raw metal (Venom, Motorhead, Tank) then Demon Pact is a must own. This collection gathers demos, singles, live cuts and unreleased material and is a killer look at an act that was just a little ahead of their time for their own good. Thankfully bands like Demon Pact now get another chance at life thanks to dedicated collectors, fans and record labels.

NWOBHM WEDNESDAY: CRACKED MIRROR

Today's entree into our N.W.O.B.H.M. series "NWOBHM WEDNESDAY" is another controversial addition much like Clientelle was. In fact, I'm not completely sold on Cracked Mirror as a heavy metal act myself (let alone a N.W.O.B.H.M. act) and, if there are fellow fans of the genre out there reading this, I'm bound to get some slack for covering this UK act today. One suspects the only logical reason that Cracked Mirror's sole release (the self-titled 1983 private release) came to be associated with the movement is because of two things (which are really rather related in nature): how rare this LP is and, as such, the fact that somebody somewhere most likely said "if we say this is a long lost nwobhm album we can double the price of it!". How else do you explain an album that has very little in the way of actual "heavy metal" being associated with the British metal scene? Does that mean that Cracked Mirror were not good? The band (Jozef Rytlewski-guitar/vocals, Michael Dixon-bass/vocals, Jackie Hazel-keys/Hammond and Paul Harbin-drummer) who were formed sometime around 1978 seemed to have been one of the few acts of the time period to draw influence from the likes of Deep Purple, Rainbow and Wishbone Ash instead of the usual Iron Maiden or Saxon worship. Despite the fact that they most likely knew that they were bound to draw blank stairs from those fans of the day expecting huge Judas Priest-style aggression the band did have an appeal thanks to their heavy guitar-rock sound. Indeed if 70's rock/hard rock is of particular interest to you then this long sought-after LP would be a worthwhile purchase. Never mind shelling out hundreds of dollars for an album that most likely was only originally released in a limited run (hundreds maybe?) as you can usually find this on CD fairly easily or, let's be honest here, this particular affair seems to be floating around on the web to download. Here's the thing though this is not really metal so as long as you are aware of that fact then you won't be disappointed. Even if your a die-hard NWOBHM fan please don't expect this to rattle your bones. If however you like 70's guitar rock along the lines of Rainbow or Deep Purple (only with a lot more Hammond instead of guitar solos) then this album is a fun listen.

NWOBHM WEDNESDAY: DEEP SWITCH

Deep Switch was a truly bizarre, one of a kind heavy metal band from Norwich, England, that was formed in 1984. Even though the band existed in the same time and place as bands like Iron Maiden, Diamond Head, Saxon, etc. they were in their own little world and definitely marched to the beat of their own drummer (who by the way had the alias Simon De Montford ). The band issued two demos before unleashing (and yes, unleashing is the best word to describe the act of "issuing" this lone-LP) "Nine Inches Of God" in 1986. There is no easy way to describe the band's sound or live act other than to say both were quirky and strange. While live reviews are near impossible to hunt down from the looks of pictures taken during shows (and obviously we can take a cue or from the band's promo picture above), Deep Switch were as much about image as they were sound. With a strange Rocky Horror meets Alice Cooper theatrical show and , as hinted at by the drummer's name, the band's use of alias their niche was certainly carved in the scene. As "interesting" as their image was the music was also quite varied. With opener "Pigfeeder" trying to take Venom, Alice Cooper and Demon apart of fit them haphazardly back together the album starts off so odd it makes you wonder if you should dare trek on. It isn't a terrible opener as it is heavy and crunchy here and there. It is simply a strange way to start off. Thankfully you have the Satan meets Merciful Fate/Hell like numbers "The Poison Lake" and "The Dark Angel" and the heavy title cut. Many have mentioned the odd ballad "Lovers Of The Dream" and frankly it does throw me off. Yet there is something about it I like. "Time Machine" is also odd with its crazy Rush meets Iron Maiden in pop-music hell vibe. Honestly as weird as it all sounds the band did at least try to do something different during an era when far too many bands sounded alike. I give them props for that and this is an album I turn to when I just want something "different". Yes, the album is very inconsistent no matter how you slice it. Thankfully the 2010 re-release from Shadow Kingdom Records comes packed with bonus demo tracks to make up for that. Interestingly enough some of those demo cuts are better in a more "heavier" and "raw" kind of way. The 2010 re-release also features some unreleased material if I'm not mistaken. Here's the thing though: the album is dirt cheap. Even brand new copies are easy to find under $10.00 with shipping! Sure, this self-financed release was probably the final straw for the band (supposedly they folded mere months after it's release) but it isn't just for NWOBHM purists. Those looking for heavy metal bands that don't conform to the strict standards of traditional heavy metal will appreciate just what these guys brought to the table. Even the album's back cover quote is different: "If you are not satisfied for any reason, return your copy, (stating where and when purchased), to Deep Switch and we guarantee that you will be tracked down and killed. BEST WHEN LOUD". How can you not love that?

NWOBHM WEDNESDAY: SPIDER

The year was 1976 and the place was Liverpool, England. Four young men (two of whom were brothers) decided to form a band even though, supposedly, not one of them had ever played in a actual band before. In addition to the two brothers (Robbie & Brian Burrows - drums and bass respectively) the band would feature guitarist/vocalist Dave Bryce (Sniffa) and vocalist/guitarist Colin Harkness. All totaled Spider would release three albums including 1982's excellent "Rock ‘n’ Roll Gypsies", 1984's "Rough Justice" and 1986's "Raise the Banner (For Rock 'n' Roll)" before calling it a day in 1986. Of course the band also released more singles then you can throw a stick at. Or so it seems as I'm listening to the band's "Singles Collection 1976 - 1986". Starting off with the band's first single, 1977's "Back to the Wall" and moving forward it's interesting to see the band's growth. For those who don't know the band was often dubbed a poor man's Status Quo and sure enough this early single showcases a down and dirty boogie style. While Status Quo is a matter of interpretation here, and I surely wouldn't disagree with that assesment, I'd also suggest band's like Eddie And The Hot Rods as a point of reference. Seeing the band play full-tilt boogie style rock, which is certainly on the fringe of the movement admittedly, and then transforming into something with a bit more...well, backbone is interesting. Not that album's like "Rock 'n' Roll Gypsies" completely abandon the boogie. Rather they give it a good kick in the pants. The music on 1982's "Rock 'n' Roll Gypsies" offers more of a familiar NWOBHM sound with louder guitars and an unashamed "let's just have fun with this guys" attitude. It certainly would never be confused with Saxon, Tank or Iron Maiden and yet, even as it is stripped down rock and roll at it's purest, if we are to be honest it deserves every bit the attention these other bands got just because it is so much fun. In the end, despite countless gigs and single after single, the band simply called it quites. None of the members managed to stick around in the field of music really if truth is to be told. Even now some will no doubt cast snide remarks about whether or not Spider were really a NWOBHM band as they were more rock then metal. But, from their early days on the boys just wanted to have fun and play music that was no-frills, rock and roll with the same sort of D.I.Y. attitude that made the genre so sweet to begin with!

NWOBHM WEDNESDAY: MILLENNIUM

Cleveland's Millennium, who are a relatively obscure N.W.O.B.H.M. act, came to prominence in the early part of the eighties. The five-piece band was formed in 1983 and managed to score an appearance on the "Pure Overkill" split the same year. Playing alongside the bands Risk, Spartan Warrior, Incubus (who we recently covered in another NWOBHM WEDNESDAY feature) and Tokyo Rose helped boost the band's presence on the English heavy metal scene. The three cuts that the band laid to tape ( "Steal Your Heart", "Rock Was Meant For Me" and "Magic Mirror") for "Pure Overkill" were added to the band's lone long-player, the self-titled "Millennium". From the opening number, "Gang Wars", (my favorite cut on the album!) to the album's closer ("Try To Leave Me") there was a sound that combined the best part of eighties metal and the British metal scene. Despite rave reviews (Including one in "Kerrang" magazine) the band seemed to lose their way after the album's release. First came some line-up reshuffling before a brief name change (Tyrone Power? Really?) nearly ruined everything. Having to go it alone (as in no more label support) the band issued a 1985 demo. The demo announced a shift in style as no longer was the band content to play Desolation Angels-style metal, but instead they took on a more Helloween sound. Another demo ("Metal Era") followed in 1986 on which the band made an unsuccessful return to their earlier style. The band took one last shoot at regaining their lost glory with another demo in 1987 before calling it a day. Other than vocalist Mark Duffy (who would go on to have success in with thrash act Toranaga) the band members faded away. Their one self-titled album has been issued on CD by Guardian Records. It is more than a worthwhile addition to any N.W.O.B.H.M. collection.

NWOBHM WEDNESDAY:SHOCK TREATMENT

One 7" single. That was all there was to East Anglia's Shock Treatment. Even by NWOBHM standards, where hardcore collectors would beat up old ladies if it meant they could grab that one missing single they so desperately crave, this is a obscure band/single. If not for the NWOBHM ENCYCLOPEDIA I highly doubt that more than a handful of people would have even cared about this 1980 single. Released on Skull Records (?) this is one interesting 7" release that deserved a better reception than it got. Side A ("The Mugger") is a heavy (skull crushing/fuzzed out heavy) number that sounds like Motörhead, AC/DC and fellow NWOBHM band Demolition getting together for a night of rip roaring drunkenness. It's a crushing number and the way it is pulled off it sounds as if all the band had on their mind was smashing everything in sight. It's hard to know who plays what here (the band members are listed, but only their names are given-Carr, Crowbar Eddie, Evans, and Ward), but whoever (or whatever) handles leads vocals sounds like a more mean and temperamental version of Lemmy. It isn't pretty, but man does this guy ever get your attention! Meanwhile the guitar solo are just as blistering. These guys knew how to not only handle their instruments, but play the crap out of them. The leads are smoking and hot to the touch! Odd to think that beyond this lone single the band just vanished. What happened? There was talent behind these musicians so surely you would have thought at least one of them might stumble into another band. Anyway, the B Side is a lovely little track called "Nuclear Warfare". It's more of a slow number that, despite the title, is anti-nuclear war in nature. How about that? You mean to tell me it wouldn't be a good idea to turn our would into an apocalyptic nightmare? Will wonders never cease! Anyway, don't let that bit about it being slower turn you off because this is one raw and gritty rocker. It's a doom classic without the doom. It's one of those numbers that is heavy for all the right reasons. Like I said these two songs are all we have from Shock Treatment although they are both long so that is at least some conciliation. Still, this whole thing strikes me as being rather criminal. If you ask me (and I know nobody did, but just bare with me while I rant a bit!) it sucks eggs that killer metal like this (and the bands that play this sort of raw and real heavy metal) is always limited in quantity. Why is it that some bands from the same era (you know who they are!) released album after album until it was quite obviously to anyone with ears that they were well-past the use by date and then great bands like this manage only one single? I just do not understand that logic. Do record labels just not hear the garbage they put out or is it the idiot public who buys the crap music that we have to blame? I wish I knew the answer. Anyway, you can find samples of this killer single on Youtube and there are downloads floating about on the web. So do yourself a favor today and check out a real hidden treasure. Even if that album art above does not fill you with that much confidence trust me when I say this bands is the real deal. No-frills, crushing heavy metal with anger, violence and frustration to spare!