974. Iron Maiden / No Prayer for the Dying. 1990. 3.5/5

When the Seventh Tour of a Seventh Tour ended on December 12, 1988, one wonders if Steve Harris and Iron Maiden thought to themselves of the quote from Hans Gruber in that year’s big movie hit “Die Hard” when he said “And when Alexander saw the breadth of his domain, he wept, for there were no more worlds to conquer”. For surely, that date is the pinnacle of Iron Maiden’s empire. By this time, they had released seven of the most amazing albums of all time, covering the decade of the 1980’s with their brilliance. They had conquered the span of the music world, selling out longer and larger tours with each passing album. There had been three personnel changes in that time, but each had appeared to solidify and grow the band into being stronger, and better. The songwriting improved and the musicianship did as well. By the completion of the quasi-concept album that was “Seventh Son of a Seventh Son”, they had the heavy music world in the palm of their hands. And the only question that was raised at that time was – what will they come up with for their next album, and how can they top what has come before it?
Before that though, the band agreed on a well deserved break, but it was this break that saw the seemingly non-existent cracks in the Iron Maiden wall make themselves noticeable for perhaps the first time. Adrian Smith went out and released what was for all intents and purposes a solo album under the name of Adrian Smith and Project, or ASaP for short. The album, “Silver and Gold”, was as big a departure from the style of music performed by Iron Maiden as you could imagine, and one that left fans in a state of ambivalence, and more importantly asking questions about just what this meant for the music of the main band. Bruce Dickinson was asked if he would like to write and perform a song for the soundtrack to the movie “A Nightmare on Elm Street 5: The Dream Child”. He asked his friend, former Gillan guitarist Jannick Gers to join him, and together they came up with “Bring Your Daughter to the Slaughter”, and its success afforded Dickinson the opportunity to then write and record a solo album of his own with Gers on guitar again. Titled “Tattooed Millionaire” it was released in May 1990 to overwhelmingly positive reactions, though again the style of the songs on the album had fans of the main band wondering if their differences would affect the direction the next Iron Maiden album would take. All of this was food for thought for fans as news came through that Iron Maiden was reconvening to begin working on their next album. And then the roof caved in.
During the pre-production stages, Adrian Smith left the band due to differences with Steve Harris regarding the direction the band should be taking. Maiden’s previous two album had shown more progressive elements as well as delving into synth and keyboards for the first time, something Smith was a fan of. It had been the major focus of his solo project the previous year, and on returning to the Maiden camp and finding the focus of the music was actually moving to a more stripped down style, Adrian found he was not only uncomfortable with the direction the music was taking, but that as a result he had little to offer in regards to the writing process. No doubt he had seen and felt the writing had been on the wall for some time, as he has suggested in several interviews over the years that this was the culmination of many tings building to this point. Smith’s departure from the band was a huge moment, a bombshell for the fan base, and a huge blow to the writing partnerships that the band had built their success on over the previous eight years, let alone the serene and gorgeous guitaring that Smith offered the band as the offset to Dave Murray. It was like losing a brother.
Smith’s replacement did seem obvious from the outset, with Jannick Gers slotting in fairly swiftly to fill the void in the band’s life. Others had been mentioned in passing as being possible candidates, including Vivian Campbell and Phil Collen, both of whom would have brought songwriting along with their unquestioned guitaring ability, but Jannick was a known quantity and a friend of the band, and so he came to join the party. Given that the songs had already been all but completed, Gers did not receive a writing credit on the album, but has heavily contributed in the years since.
After the soaring highs of “Seventh Son of a Seventh Son”, Maiden was about to take its first steps not only with a new band member, but into the swirling evolving music world that was being created in the back half of 1990. Just how the band coped with the upheaval that had come in their own world over the previous 12 months along with what was happening outside their doors was soon to be resolved with the release of their eighth studio album titled “No Prayer for the Dying”.

The popular euphemism is that this is ‘stripped back’ and certainly the majority of the synths and keyboards that were a more major part of both of the previous albums are not as prevalent here. The keyboards that are used are played by Michael Kenney, who had done the job for the band live on tour. The drawing back of the musical style from a progressive metal theme to a more hard and gritty ‘basic’ sound also induced a change in vocal pattern from Dickinson on this album, with his vocals taking on a raspier style, a more layman’s style of vocal than his higher operatic style from the previous albums. The ‘air raid siren’ had been put in cotton wool and the vocals became more workmanlike. (Just an aside note here to say that that is a terrible description of the change in Bruce’s singing on this album, and of course is not accurate over the course of the album, but that’s what I’m running with).
Having settled on themes of the mythical seventh son of a seventh son for their previous album, and the space and time and sci-fi history themes of the two albums prior to that, this one became a different focus lyrically as well as musically. The greater writing focus on Steve Harris and Bruce Dickinson without the third amigo in Adrian Smith brings a different lyrical aspect to these songs than those albums. The songwriting and songs as a whole have been pulled away from the centre by Adrian’s departure, an interesting development to look at from the outside, and one that would be pulled further away from that centre on the next album with the introduction of Jannick into that writing process.
A simplified version of a review of this album would be to say that the best tracks are great, as good as ever, while the differing mood of some tracks makes for an interesting experience. The opening salvo of “Tailgunner” comes at you with fire and speed, Bruce spitting his lyrics at you in a true historical sense, bringing back memories of “Aces High” in both its lyrical and even musical sense. Steve’s bassline is heavily involved from the outset and is the central force of the song – perhaps deliberately, to try and reclaim the focus of the album. Bruce’s vocals come to the fore instantly, with the extra emphasis on lines such as “In the black above by the cruel searchlight, men will die and men will fight, yeah! Who shot who and who fired first? Dripping death to whet the bloodthirst” bringing home the intensity of it all. Everything about the song is a winner, and it kick starts the album the way it should. Its follow up is “Holy Smoke”, and its humorous portrayal of serious events mirrors a number of other songs from the era that also gave their take on the evangelical sordidness that was occurring. Bruce hams it up nicely in his vocals, and the energy of the song continues the drive of the opening of the album.
The core of the album is where thoughts are raised about what is happening in the new decade of Iron Maiden. There are serious issues – political, worldly – being raised in the lyrics of the songs. This is not something that is completely foreign to the band, and still comes in the mix of those songs that the band usually writes, the ones based on movies or literature and the like. But there sounds like there is more serious tone about some of these songs, perhaps slightly more morbid than they usually are, and it’s the music that tends to drag it in that direction as well as the lyrical content. The title track “No Prayer for the Dying” I still sing along to today, but it did have the distinction of being the first ever Iron Maiden song that I would not automatically look at putting on a mixed tape if I was making one back in the day. Steve is putting himself out there in the short lyrical piece he has composed, and Bruce is drawing every emotional aspect out of them in his vocals. The music itself, until the solo break, also does this job as well, with the undertone keyboards offering the sealing of the deal. It is almost like two songs pressed into one here, the emotional beginning, to the almost speed metal middle and conclusion of the guitars. Beautiful and frantic in the same sentence. “Public Enema Number One” follows along in a similar aspect, with Bruce faux screaming about politicians and their individualistic greed, exhorting the everyday people to find a way to stand up and fight against the tyranny. Dave Murray offers his usual one co-write on this song and it is noticeable in the music and guitars, accentuating the points of the song that need it perfectly as he always seems to be able to do. Except that! Wait! Dave has ANOTHER co-write here on the album, on the very next song “Fates Warning”, and once again his contribution to the music especially here is wonderful. The guitars here are the essence and basis of the track, the terrific rise and fall through the song brings the heart and soul to the song. Lyrically it mirrors another Dave Murray track “Deja-Vu”, with “Fates Warning” discussing the relevance of determinism, whether the events in our lives are already pre-determined or if they are playing out as they occur, coincidence or not. Is it God, or fate? It’s a thinking person’s thesis, all sung beautifully by Bruce with the right amount of emphasis and rollicking soundtrack underneath.
Side Two starts with a harder, harsher journey both musically and vocally from Bruce. “The Assassin” juggles its momentum by sharp stops and starts and changes in pace throughout, which perhaps messes with its ability to be adoringly taken on board. Steve gives us a song here that begins to give us a peek into the future, with some of the techniques offered musically in this song developed further onto tracks of the Maiden albums that appeared in the 1990’s. The change in mood and timing throughout the song does also invoke a pattern mid-song that came from pieces on the previous album which in itself is worthy of study. “Run Silent Run Deep” for me is where the album rises to a higher plane. Certainly based on the 1958 war film of the same name starring Burt Lancaster and Clark Gable, Bruce feels like he’s back in the groove vocally, and the clear run of the music brings back that smooth transition that is required. On a side note, I wonder if Bruce felt like using some left-over lyrics from his song “Dive, Dive, Dive” from his “Tattooed Millionaire” solo album? Surely the temptation must have been there.
“Hooks in You” is a winner, and not just because it was Adrian’s sole contribution to the writing for the album before his departure. Another song to add to the Charlotte Saga, this is a fun song with double entendre and innuendo thrown around with Bruce obviously enjoying himself. Although there are many songs on this album that invoke strong opinions from Iron Maiden fans, this one seems to have more of those than any other. I’ve always loved this song from the first time I listened to the album, and on an album that is mostly drawn from more serious subject matter lyrically, this is a fun romp. Add to that the follow up, “Bring Your Daughter… to the Slaughter”, an anthem so strong it had to be banned, blocked and re-recorded to make it the hit it is. As mentioned earlier in this episode, Bruce had originally recorded it for the “A Nightmare on Elm Street 5: The Dream Child” soundtrack with Janick, and when Steve Harris heard it, he loved it so much that he had the original version suppressed so that Iron Maiden could re-record it and add it to this album. It’s loud, it’s fun and it has energy and drive. It may not be Maiden’s greatest song, but on this album it is the shining moment. The closing track “Mother Russia” is the epic finisher, drenched in the history of the changing face of politics through Europe. Written at a time when that political landscape was being rewritten, this offered the hope that the changing landscape could lead to prosperity and peace for all, invoking the wonderful history of the country and its own internal struggles as a nation. And as magnificent as this song is musically in capturing the mood and the majesty of the time - truly one of Steve Harris’s finest moments outside of the 1980’s albums - listening to it in today’s climate is as sad and tragic as it was hopeful and inspiring when it was released 35 years ago.

When this album was released, I bought it at the first available moment that I could. The Rock Factory at Shellharbour Square was my immediate destination to find this album, and then rush home to get it on my stereo as quickly as I possibly could. And I played it over and over and over. For months. I spent lunchtime at work sitting in my car listening to it. I drove home longer from places in order to fit it all in. I had it playing on my tape deck and my CD player. I taped it on both sides of a C90 cassette, so that I didn’t have to rewind it once I had listened to it, I could just turn it over and start again. It was Iron Maiden after all, and despite the changes to the music, I couldn’t get enough of it. Even then I knew it wasn’t the same as what had come before, but I literally didn’t care.
It probably wasn’t until the release of “Brave New World”, and the re-fusing of Adrian and Bruce back into the band, that I began to notice some flaws that this album has. On reflection over the years, it was the first Maiden album that I thought showed that no band can continue forever to produce albums of such spectacular material that you can rate it as nothing else but full marks. When this was written and recorded in 1990 music was changing, and even bands as huge and synonymous as Iron Maiden felt the need to adapt to what was happening. As I said on the podcast episode on “Brave New World” a couple of months ago – episode number 67 for those who are interested – to me “Brave New World” would have been the example of what the next progressive step for Iron Maiden should have been. But the 1990’s decade was to move all music in a different direction altogether, and as it turned out “No Prayer for the Dying” was probably a better interpretation of what was to come than anyone realised when it was released. But the release of “Brave New World” gave me pause on what I thought of “No Prayer for the Dying” ten years on, and that was that it was an okay album that I either over listened to or overrated at that time. My pure thought was that “Seventh Son of a Seventh Son” was the end of the line of great Iron Maiden albums, that “No Prayer for the Dying” was an album that is better than most, because of the band and the writers and performers in the band, but compared to what had come before there was a slight dip in quality.
Beyond those years, I have listened to it intermittently – always when a new Iron Maiden album was released, and on occasions when I felt like a bit of nostalgia. I generally enjoyed the album whenever I chose to play it, but it was a one-off until the next time that feeling or event came along.
I have now had this album out for a fortnight. It is another of those albums that I knew I needed to give it the reigns and let it run as it saw fit. I wanted to know how much it could grab me. If I was tired of it after a few listens then I would know where it stood with me in 2025. If I kept allowing it to repeat as I once had in the car park of Glen Fulton Holden every lunchtime, then I also knew how I felt about it. And the response? It’s a decisive points victory to the “No Prayer for the Dying” album. I’ve had this on at least once a day for that time, and 20 times all the way through. And through the memories of 1990 and 1991 that it brings back, I’ve remembered how I felt about this album when I was listening to it at that time, the door of the car open, me sitting in the drivers seat eating my ham and cheese sandwich, and air drumming along to this album. Yes, as I have said often on recent episodes, there were a lot of albums that came out during this 2 month period, all of which had their chance to get repeated plays at the time. And this certainly got that. And those memories over the last two weeks have been terrific. And through that I have reignited by appreciation of this album. It has some flaws, certainly. It has some differences, ones that if comparing the album to the first seven albums means it can't compete with their greatness. But as an album of the time, with what was floating around in the music ether, it has its grounding here for what was about to occur.

973. Elton John / Too Low For Zero. 1983. 3/5

Back in 1983, in the middle of those years where pop and synth were ruling the airwaves of Australian radio, Elton John released this album, and my mother went out and bought it. It was unusual, as Mum didn’t buy many albums, and possibly none since the abomination (my mother’s words) that was Yoko Ono’s contribution to the Double Fantasy album in 1980. It was my first initiation to an Elton John album, as before this it was only the songs that were played on the radio that I knew, and here again the only reason that I sought it out and played it of my own volition was on the strength of the first two singles released that found airplay. It was an education, one that in later life had me searching for all of his albums.

The opening track wasn’t part of that reason. Listening to it didn’t auger well for what was to follow if it was going to follow along these lines. "Cold as Christmas (In the Middle of the Year)" is a dreadfully deadpan, boring opening to an album, one that has the potential to push away would-be listeners immediately. The opening of an album has to be a grabber, one where your attention is diverted immediately to it and drawn into its spell. This opener does almost the exact opposite, and is a disservice to album overall.
“I’m Still Standing” is still the song that punctuates the 80’s decade for Elton. It’s the upbeat, grandiose song that shines with positivity and ecstasy, a bright and breezy proclamation for both Elton himself, and as an anthem for those who wish to push it. You can’t help but like this song, no matter what your mood, as it drags out the bad and replaces it with the good.
The title track “Too Low for Zero” reaches for those same emotions but in a different way, expressing from the depressed side of the spectrum and garnering a slow and melancholic drip feed as a result. I always liked this song as a teenager, perhaps allowing it to feed on my own angsts of the time when they arose. Without those feelings 30+ years later, it probably doesn’t impact me as much. “Religion” is one of those Elton John songs that doesn’t come along too often, one where the piano doesn’t dominate. It’s the guitar, bass and drums that make the most impact here, though in that same mid tempo that the majority of his songs sit in. This has never been a favourite of mine, perhaps because of the lack of piano which is his signature, but it’s a combination of all lots of factors that pushes me away.
The first side ends with what I consider to be a classic, “I Guess That’s Why They Call It the Blues”, a beautifully paced song led by Elton’s piano throughout and sung just perfectly. I can’t explain why I have always loved this song so much. It is completely outside the box of what I would consider my usual style of song, but it grabbed from the start and has never left me. It is one of my three go-to karaoke songs whenever that particular urge grabs me, and although it sounds like I’m strangling a cat when I sing it, I don’t care.
The second side opens with the hybrid craze-induced “Krystal”. Musically it is as far away from a typical Elton John song as you could imagine, but it works. The constant back beat and bass line keeps the momentum flowing throughout, allowing the instruments to fade in and out where necessary, and leaves Elton to sing over the top, telling the story as he does. It is strangely effective, and though I don’t think it works as a radio single as it does become repetitive, on the album it fits in nicely.
This is followed by “Kiss the Bride”, the partner to “I’m Still Standing” in regards to the upbeat up tempo vibe that it provides, a perfect party song to bring out the happy spirits and encourage a singalong as well. It provides the same brightening of the album as its partner does on the first half of the album. The segue into the two works perfectly. It’s a mood lifter. “Whipping Boy” doesn’t quite contain the same energy, but it does maintain the momentum that the album has picked up along the way. It just feels a bit samey all the way through. “Saint” and “One More Arrow” are for me as disappointing as the opening song. For me they are limp and lifeless, and are always a signal to either restart the album (preferably without the first track) or change albums to the next in line. It is a somewhat disappointing finish to the album.

This is probably Elton's best album from the 80’s, and while it was an excellent decision to have Bernie Taupin return as ‘full time’ lyricist here, the songs are still mixed in quality. The best songs here are excellent, ones that you can still sing along with today. The not so good are completely forgettable, and harm the album as a whole when trying to look at it objectively.

Rating:   “And it won’t be long, before you and me run, to that place in our hearts, where we hide”.   3/5

972. Elton John / Goodbye Yellow Brick Road. 1973. 4/5

The album that is spoken about more often than any other in the Elton John catalogue is Goodbye Yellow Brick Road. It is considered a classic, one of those albums that everyone must listen to during their lifetime. Does this necessarily make it a great album? One that can and will be listened to time and time again? Or does it just have a quirkiness about it which makes it a ‘necessary’ listen to appreciate its place in time, and then move on to the next album?

The danger with double albums, as this release was on vinyl, is that they risk being too long, too drawn out, and overstaying their welcome. Having songs that become timeless within the mix can help with that, and that is certainly the case here.
You can imagine that those that have this on double vinyl have probably worn out the first side of the first album, because that is where the gold is situated. The opening instrumental stride of “Funeral For a Friend”, which is then tagged with the brilliant “Love Lies Bleeding” as an 11 minute opening track is still one of my favourite moments from Elton John’s career. The quiet, almost haunting beginnings of the track slowly builds, with the growing musical overlay and addition of instruments along the way, to the crescendo that then halts as it moves into “Love Lies Bleeding” itself is magnificent, and one Elton starts singing as well, bringing with it the emotions of the lyrics, it is one of those songs that I will still get goosebumps from whenever it is played. For me it is a triumph.
“Candle in the Wind” is often referred to as one of Elton’s greatest tracks. Yes, I like it. I’m not sure it would rank in my first ten or so songs of his though. In many ways it was cursed for me when he re-worded it for “Candle in the Wind 1997” for the tribute to Diana Spencer and was then overplayed for months everywhere. That might be unfair, but just the way I feel. What can’t be argued is that it is a part of this album’s allure. "Bennie and the Jets" changes up the attitude of the album for the third song running, with Elton’s hammering piano and halting vocals the main styling of the song. These two songs became big selling singles which increased their influence in the world of Elton John. The opener is still my favourite.
Side two opens with another mega-hit, the title track “Goodbye Yellow Brick Road”, and still has the emotive impact and the change in vocal pitch that separates it from the run of the mill songs. Bernie Taupin’s lyrics here are as far as I am concerned the star attraction. It is still a song everyone can get on board with.
“This Song Has No Title” finds itself in no man’s land after this, the first song on the album that doesn’t come with its own reputation, and as a result it feels out of place. The following song “Grey Seal” is better, played at a better tempo and with more enthusiasm vocally as well. The reggae-influenced and less ordinary “Jamaica Jerk-Off” is followed by “I’ve Seen That Movie Too”, a song that sets itself with the John/Taupin template of easy listening vocals over the placating piano and synth. And it works wonderfully well. It’s the kind of song you listen to while sitting on the lounge relaxing rather than singing along to in a louder atmosphere, but it is still a good track.
The second album starts off in a similar vein with “Sweet Painted Lady”, once again with the tempo not getting out of second gear, just idling along gently like you would hear at a piano bar. You can’t help but like "The Ballad of Danny Bailey (1909–34)". Whether you take notice of the lyrics or note, this has a harder element on the piano and drums than in recent songs, and the jaunty aspect of Elton’s playing brings back that toe-tapping quality which is usually prevalent in his best songs. “Dirty Little Girl”, I think, sounds a bit too much like what came before it in “Benny and the Jets” – not precisely, but to me it always feel like it has the same formula, just with more guitar in holes. Still, this is followed by “All the Girls Love Alice” which is a ripper of a song, utilising all of the instruments to keep the song moving along perfectly in unison, once again picking up the pace and jive of the album, and Elton’s vocals telling the story in style. The only thing that halts this for me is the two parts where he stops to brood over the lyrics, but overall this is one of the better songs on the second album.
Elton channels the fifties on the second side of this second album, starting off with "Your Sister Can't Twist (But She Can Rock 'n Roll)", infusing the synth keyboard into a song that feels as though it should have Chuck Berry playing along with it in the first half, and then the Beach Boys in the second half. Somehow he manages to combine the two into the upbeat song it is.
"Saturday Night's Alright for Fighting" is the undoubted highlight of the second album, building on the previous song by going into all out hard rock, with hard hitting drums, rock n roll piano, heavy licking guitar, thumping bass line and fantastic lyrics and vocals. This is still the song by Elton that produces the most blood-pumping moments, showcasing the fact that he can write the ballads and the pop, but he can also write these hard and rocking songs with just as much aplomb. One of the greats.
“Roy Rogers” moves back to the comfortable mid-tempo piano bar range that this band does so well, though through Elton’s crooning I often think that no matter how much I like this song despite its country and western leanings, what I wouldn’t give to have heard more of the direction of the previous song. “Social Disease” is slightly more enthusiastic while not getting too excited with itself, while “Harmony” finalises the deal in a rising expectation of a wave of emotion that may work better for others than it does for me.

For me, and probably for many people, this would have been an even better album had they done some cutting and pasting, or tried to cull some songs from the release. Hindsight is a wonderful thing, and I wonder if Elton ever thinks about that. It would have been a task, and it would have changed the feel of the album, so given it is considered a classic it probably wouldn’t have worked. For me, the good (and great) far outweighs the less good, and it gives a varied selection of the writing techniques of both Elton as musician and Bernie Taupin as lyricist. In the end, I can only agree that everyone should listen to this album and experience it, for all of those reasons mentioned here. You may not agree with its status as ‘a great’. You may be like me, someone who appreciates the excellence within the music, while understanding that not all of it reaches that pinnacle.

Rating:  “You said sorry honey if I don’t change the pace, I can’t face another day”.   4/5.

971. Twisted Sister / Stay Hungry. 1984. 5/5

As one of the longest overnight sensations in the music industry, Twisted Sister had fought tooth and nail to get themselves a recording contract and then a distribution that would allow them to get their music out to the world. While their eventual debut album had finally found the light of day, it was the follow up, “You Can’t Stop Rock ‘n’ Roll” that really showed the kind of music the band could produce, and the talent that they band contained. Though they were still struggling to have an impact in their home country of the US, their success in the UK and Europe gave them the encouragement to find that next step.
The subsequent recording of the album became somewhat of a battleground. The band had brought in producer Tom Werman to head the album, on the basis of his success with bands such as Blue Oyster Cult and Motley Crue. During the writing and recording process, Werman apparently brought to the studio four songs by the band Saxon, and was pushing them on the band. This led to conflict with lead singer and songwriter Dee Snider, who took this as Werner wanting to replace one or several of his songs with Saxon cover songs. In an article by Jason Fisher on The Gauntlet website in 2009, guitarist Jay Jay French said, "We lost two songs on the album because of all this. We lost "Blastin' Fast and Loud" and "Never Say Never" as concessions to Tom so that he'd stop bugging us to do covers of Saxon songs. He wanted us to do 4 or 5 Saxon covers. Tom would deny he ever said that but he did. Dee was insulted as he was a song writer. That created problems and no one got along." In response in the same article, Werner was quoted saying. "I did bring them three or four songs from Saxon" stated Tom, "not wanting them to cover them, but just suggesting to them they listen to these songs because I loved them. That is my job. I didn't tell them that they were going to record them. Did they end up recording any, no. If I had the authority to pick songs as Dee has said I did, why didn't I force it on them?"

The title track “Stay Hungry” is, in my opinion, one of the greatest opening tracks on an album of all time. It grabs you from the start, the pounding drums and rhythm line, with Dee immediately grabbing you with his recruiting call, announcing the lines of the song in a demand that you sing along with gusto. It’s a fantastic song, an anthem in every sense of the word, and for me is still the outstanding song of Twisted Sister’s career. Whenever I made a mixed tape, or now whenever I make a playlist, this song is almost always a part of it. This is followed by the song that got everyone in, “We’re Not Gonna Take It”, that still evokes a chorus of singing whenever it gets played, especially in my house. I loved the video and song when it was released, and my kids still love it today, forty years later, so it shows how entertaining it is generationally. From here we move in to “Burn in Hell”, where the star of the show is the chorus, with the chanting between the main lines in the background taking centre stage, such as ‘HEAR no evil, don’t you SEE no evil, don’t you LAY no evil down on ME!” Still great after all these years.
The two parter song that makes up “Horror-Teria (The Beginning)” is terrific for completely different reasons. “Captain Howdy” is the slow, almost chanting track that reeks of doom, the forbidden and gleeful trappings of Captain Howdy himself, which then morphs into the faster paced and harder rock of “Street Justice”, for the vigilantes to take justice into their own hands. You will probably either love or hate this dual barrelled song. I think it’s great and follows up the hard core start to the album perfectly.
The second side of the album opens up with the second single, the hard core “I Wanna Rock”, which gets the adrenaline running to the right levels once again, another great anthem to sing along to. And while the following track “The Price” can be considered to be a power ballad, it has the right amount of grunt and emotion in it, perfectly sung by Dee, that it doesn’t feel like it is intruding upon the party. I enjoy the sing-along aspects of “Don’t Bring Me Down” as well, all played at a good pace and filled with the right paraphrases. “The Beast” slows itself down in much the same way as “Captain Howdy” does, which just possibly comes at the wrong time of the album for such a change in momentum. It’s a small thing, but by the time we reach this section of the road I am looking for a continuation of the speed, rather than what is effectively just putting the brakes on instead. This is rectified by the closing track “S.M.F.” which charges at you and is then finished abruptly, concluding what is still a terrific forty minutes of hard rock.
Perhaps this album is rooted in the 1980’s, but that is not to say it has overly dated. In fact, I really think for what is effectively a glam metal album it is as fresh now as it was when it was released. Let the kids laugh at the video clips, then expose them to songs such as “Stay Hungry”, “Burn in Hell”, and “S.M.F.” and I reckon you’ll have them hooked. If you are one of the doubters, or one of the haters, then that is fine. Everyone’s musical tastes and desires are flavoured differently. But much like Quiet Riot’s “Metal Health” album, which had a similar success to this album the previous year, is thrown into the same basket in the modern age, of an album that is pigeonholed in the times and is unrelatable in the modern age, "Stay Hungry” is far more than that.

Every single person who grew up in my generation of the 1980’s, those that spent those middle years in high school and witness the birth of MTV as a phenomenon along with the other music video shows, were exposed to the wonderful film clips for those two hard rock anthems, “We’re Not Gonna Take It” and “I Wanna Rock” by Twisted Sister. Some of the in-jokes of the videos may have passed over the head of those that didn’t also see the movie “National Lampoon’s Animal House”, but they were memorable all the same. Many of those people will have gone out and bought the album on the strength of those videos, and those that did will not doubt discover, just as I did, that there was much more to the band and the album “Stay Hungry” than just the outfits and humour that are the initial perspective.
As per the usual path, this album came to me by way of my heavy metal music dealer, courtesy of a cassette that also had Motley Crue’s “Shout at the Devil” on the other side. A fun way to spend 90 minutes. And while those two singles had drawn me in to wanting the album, and were generally the only two songs everyone else at school knew, it was the rest of the album that I enjoyed much more. “Burn in Hell” and “Horror Terria”, especially the fast pace and fist pumping second section “Street Justice” were favorites for me, along with “Don’t Let Me Down” and “S.M.F”. But, as already outlined, the title track to me was the piece de resistance.
I can still put this on at any time and enjoy it still. I’ve had it going over recent days and sung along with every song. And it is one of those albums that reminds of those days when it was released, for me my middle years in high school, and things my friends and I used to do. I listen to “The Price”, and I’m transported back to athletics carnivals and school camps and the such, all where this song was played at the time and now acts as that time machine.
For Twisted Sister, this album was the high water mark of their career. After all the hard work they had put in to get to this point, it seemed to fall away very quickly on the other side of the peak. That story will no doubt come up down the track on another episode. But for now, let’s bathe in the glory that is the best that the band had to offer.

970. Queen / Sheer Heart Attack. 1974. 4.5/5

Queen is the servant of all varieties of music. There is no one way to try and pigeonhole what genre of music they sit in, because each writer and performer has a different style, strength and love. The fact that they have been able to marry that all up over the years and make albums that don’t turn people off because of it is amazing. Here on “Sheer Heart Attack” this is true as it always is.
The lead up and progress of writing and recording the album was not short of problematic. On the band’s first tour of the US, as support to Mott the Hoople, guitarist Brian May was diagnosed with hepatitis, which required cancelling the remainder of the tour, returning home, and May being hospitalised as a result. The other three members of the band – lead singer Freddie Mercury, bass guitarist John Deacon and drummer Roger Taylor – returned to Trident Studios in June to begin the process of putting together material for their next album, with May unable to join them until a month later. They then spent a month recording the backing tracks to the majority of the songs in a studio in Wales, before returning to London for further recording. This was then halted again, as May was diagnosed with a duodenal ulcer which required surgery. Although he was allowed to recuperate at home, he was absent from the studio for another three weeks. During this time he wrote two songs while the rest of the band continued with overdubs on the tracks so far recorded. When May returned the final recording could be done, and then the time consuming task of mixing could commence.
To showcase the sound that Queen created, the 24-track facility at Trident Studios still meant that many of the songs had to be mixed down, with multiple tracks needing to be mixed onto a single track in order to have the songs completed to the vision of the band. With so many vocal harmonies and instrumental overdubs being created in order to have each song sound as big and grandiose as they do, it showed that while the songs themselves may be moving to a more compact and less extravagantly lengthy tome, that the care and precision that the band exacted from themselves to produce their amazing spectacle was no less than they had practiced on the first two albums of their career.

The overall style of this album does progress from both “Queen” and “Queen II” in that there is probably less of the real prog rock that categorised those early albums, and a more formularised approach to the individual songs. That’s not to say that the style of the songs doesn’t change, they most certainly do, depending on the writer of the song itself. It’s just that the songs themselves seem to be moving out of that early experimental atmosphere and into an entirely different arena, one that retains the inspiration of those early tracks and combines it with structure that is more reminiscent of the 3-to-4-minute track.
The opening half of the album showcases this merging perfectly. Brian May’s assault during “Brighton Rock” is spectacular, and he shows off all of his skills within the framework of the song perfectly. Topped off by Freddie’s marvellous vocals, changing as they do from falsetto to mainstream, and the rollicking rhythm section, halted only by Brian’s unaccompanied solo in the middle, makes this a superb opening track, and also the longest on the album. This is followed by the world renowned “Killer Queen”, the kind of radio friendly short sharp heightening of every great part of Queen that made them the band they are. The wonderful combining of Roger Taylor’s crisp drum work and John Deacon’s precision bass playing, Brian May’s scene stealing guitar riffs, combined with the easy tinkling on the piano, and topped off with Freddie’s wonderful vocals and lyrics, backed by the support vocals of the other three members. It seems such an easy task on paper, but the right combination of everything here makes a single that the whole world knows and loves.
The three songs in the heart of the first side almost form a medley, such is the way they segue into each other. Roger’s excellent “Tenement Funster” starts it off, with his lead vocals showcasing how well he sings, despite being the drummer and possibly third in line for vocals in this group. Brian’s layered guitar solo is killer here as well. This is succeeded by Freddie’s “Flick of the Wrist”, which lifts the pace while combining layered vocals of the four all over the top and the introduction of the piano as well. And finally, the third part of this triumvirate is “Lily of the Valley”, a quieter, slower Freddie song, concentrating on his vocals rather than the band as a whole, who are for the most part sedately in the background. Each song is terrific on its own, and even as a merged entity it works just as well.
The first side concludes with the brilliant, heavy “Now I’m Here”, dominated by May’s guitar and the layered vocals throughout, Freddie accentuating the power required through his singing on the song. This has been a favourite of mine since I first heard it, which was well after its initial release. It was one of the songs that drew me to Queen, quite simply because of the grunt it has with the guitars and drums and Freddie’s aggressive vocals. Quite simply a ripper.
The opening track of side two is “In the Lap of the Gods”, dominated by Roger’s amazing vocal, so high it is impossible to recreate, though it is Freddie who sings the basis of the song itself. It not only harks back a little to those early albums innovations but looks forward to where it took the band on following albums. Those vocal overdubs are amazing but take special attention to Roger’s part. Amazing. This moves straight into the second heavy song of the album, “Stone Cold Crazy”, which again is important in not only being a great song but in giving each member a chance to shine. Roger’s drumming throughout is a joy, John’s bass line perfectly awesome, Brian’s heavy guitar riff the star attraction and Freddie as always emoting throughout. It is no surprise a band such as Metallica covered this song, because it has elements for each member of the band to show their wares.
The versatility of the band is then proven in Brian’s “Dear Friends”, a quiet reserved short tale which shows that he doesn’t always write just the guitar heavy anthems. This is followed by John Deacon’s first solo composition recorded by the band, “Misfire”, a great song on which he plays most of the guitars. “Bring Back That Leroy Brown” follows a familiar take, with Freddie injecting his jangling piano into the song which highlights a separate style of song from most of those here on this album. It wasn’t the last time these changes were noticeable on a Queen album, which in essence highlighted the fact that their style couldn’t be nailed down.
If there is one song that doesn’t do it for me here it is probably "She Makes Me (Stormtrooper in Stilettos)". Perhaps it is too much change through the back half of the album for me, but it has never been a favourite of mine. The album concludes with the crowd anthem “In the Lap of the Gods… Reprise” which gives off a good vibe to complete the full set.

As someone who grew up through the 1980’s, and whose introduction to Queen was radio singles and then albums such as “The Works” and “A Kind of Magic”, the journey backwards through the plethora of albums the band released during the 1970’s was always an interesting one. Most of that happened after the passing of Freddie Mercury, when instead of just enjoying the albums I knew and the songs from the “Greatest Hits” album, I decided I really should own those other albums as well. And I did eventually discover them all, and each one autonomously from the other. And as with all instances like this, the first part of that was not only enjoying those songs on those albums that I already knew, but getting beyond that to know the other tracks on the album.
Here on “Sheer Heart Attack”, the songs I knew are some of the bands best. “Killer Queen” has always been a gem, “Now I’m Here” one of my favourites, “Stone Cold Crazy” another of their best, and “Brighton Rock” I had heard and loved from the “Live Killers” album. And so it was the variety and expanded experience of the rest of the album that surrounded these tracks that I had to get to love. And I did. Because it is Queen after all, so what is not to love? Even “Hot Space”!
I have no memory of when I first heard this album. It was certainly in the early 1990’s, and I don’t recall what my initial reaction to the album was. But I remember when I was going through the process of listening to the album that there was a period where the songs I didn’t know were the filler that was there until those hits came on. That of course melted away over time, and the album became a WHOLE experience for me, not just a few songs here and there. And, more than that, I remember thinking at the time how cool it was to have “NEW” songs from Queen to listen to and to get to now, even though they were never going to release any more music now that Freddie was gone (little did I know at that time...)
And as I have had “Sheer Heart Attack” back in the CD player in the Metal Cavern for the past couple of weeks, I have realised just how much I actually enjoy this album. Prior to this month I’m sure if I had been asked what I thought of the album I would have said, ‘yeah, it’s good!”. Whereas now, should you be wanting to ask, I would probably say “Yes! Sheer Heart Attack ROCKS!” And that’s how I think of it, a new-ish album all because I didn't actually discover it until 20 years after it had been released. 50 years on, and it is hard to believe it can be that long since it was released on the world. It still sounds amazing, and there is still so much on this album that is groundbreaking with the way the band wrote and recorded songs.

969. Twisted Sister / Under the Blade. 1982. 3.5/5

I was never really sure what all the commotion was about when, after the success of Twisted Sister’s third album Stay Hungry, there was a rush to re-release and go back in time with this, the debut album Under the Blade. Having said that, I had probably not heard this myself at the time, and was much more enamoured with You Can't Stop Rock 'n' Roll and felt it deserved a better audience. Still, in revisiting this album now, some 35 years after its release, there was probably more to it than I thought then.

While the sound is probably dated in this day and age, the basics of the band, and for the most parts of the album the songs themselves, are all in order and still make all of the right moves. The raw energy of songs such as “Tear it Loose”, whose song current flows along like a torrent while mixing in the duelling solos with Dee’s fighting vocals.
The opening track, “What You Don’t Know (Sure Can Hurt You), starts off strangely and stagnantly, before finally getting into gear about halfway through and delivering a much more emphatic ending to the song. I laugh a little bit when Dee sings “We’re the Bad Boys (Of Rock ‘N’ Roll)”, because, well…it doesn’t SOUND bad! It sounds tame given the punk era that has just passed and the thrash metal era that is growing around them in 1982. But, it’s a catchy tune and vocal gathering which of course makes it fun, if not dangerous.
“Run For Your Life” drags its feet a little, slowing the tempo right down to almost nothing before busting out to a more enjoyable style – reminiscent of another song a couple of albums down the track. This jumps straight into “Sin After Sin”, which faithfully reproduces a similar riff progression and vocally melody line, which easily flows into “Shoot ‘Em Down”, another straight up hard rock anthem led by Dee’s vocals, which do seem somewhat strangely a tad in the background of the mix.
“Destroyer” goes back into the box of the slow moving hard riff sludging chant fest, the kind of song that needs to be a good one or else it can induce boredom. For me here it is more the boredom inducing variety. “Under the Blade” and “Tear it Loose” both redeem this, moving along at a gloriously fun pace, with “Teat it Loose” in particular giving the teenager in all of us some fun lyrics to sing along to.
“Day of the Rocker” is the final track on the album, and is one where it feels as though the wrong move was made. Following all of the energy and hard work put into earlier tracks, to decide on this as the song to finish on, a plodding AC/DC inspired soundtrack without the drive and desire of that bands’ music, makes this an unfortunate finale to what is a pretty enjoyable album.

As I probably made clear earlier, better albums were to come after this. As a starting point it is more than worthy of your attention, because it shows what a lot of hard work in cracking the market can produce. The fact that they found their niche in the 1980’s is not surprising and this starting point has all of the characteristics you will recognise.

Rating:   “I’m gonna live my dream, shout and scream!”  3.5/5

968. Queen / Live Killers. 1979. 5/5

Queen’s growing success over the 1970’s decade came on the back of critically accalimed albums, mega successful singles that proliferated radio stations all over the world, and their amazing stage presence on their live tours. Each of these elements would grab different sections of the listening public, and then draw them in to the other aspects of the band, creating a total fan base.
Having released seven studio albums in quick succession (all came in the space of just five years between 1973 and 1978), each followed by largest and further reaching tours, the one thing the band lacked at this point of their career was a live album, to showcase to their fans who were unable to see them in concert just how they sounded and performed on stage. As a result, a number of concerts on their European tour to promote the “Jazz” album were recorded with this in mind throughout February 1979. The resulting recordings were then put through the ringer, choosing the best version of each song to put on the album. The band and their label decided to release “Live Killers” as a double LP, but even so time restrictions meant that they would not only have to leave some songs off the album, but also change the order of some of the songs from the set list in order that they would fit better onto the double vinyl. In interviews the following year, when promoting what would be their follow up album “The Game”, the band commented that they were unhappy with the production of the album, a role that they had taken on themselves in their new studio in Montreux.
From my own perspective, I have often wondered if they could have just released an album that concentrated on just one performance, and left it in the set list order. There were obviously reason why this didn’t happen, and often didn’t happen with live albums from many bands in the 1970’s. As to the quality of the production, to me it has never been in question.

To be fair, Queen chose a pretty awesome time to record a live album, as the set list that they played on this tour was second to none. Certainly, the absence of any material from their first two albums is perhaps an oversight, but by this stage of their career, with so many successful singles and songs that were fan favourites, and seven albums worth of material to choose from, making set lists was never going to be an easy thing. Would I like to have had songs from that era represented? Absolutely. But choosing songs to leave out would have been the hard part. And the fact that a song like “Somebody to Love”, which was the third song played on most nights of this tour, was left off the album, is incredible to believe. So yes. Choices to be made. So, let’s just be thankful for the songs and album that we have here to enjoy.
One of the great parts about this album and set is that “We Will Rock You” is represented twice. Firstly, as the opening track, with the so-called ‘Fast Version’ leading the band out of the pack. I have always loved this version of the song. Sure, it moves away from the ‘crowd participation’ song that it is heralded as being written as by Brian May, but it’s a great hard rock song, opening the album with a great fury. Later in the set and album, the more recognisable version is played in its usual form, and place, prior to the song it is always paired with, “We Are the Champions”. But the fiery open to the album (due to the deletion of “Somebody to Love” and “Fat Bottomed Girls” from the album) is then continued with a blazing version of “Let Me Entertain You”, where Brian attacks ferociously on guitar again and Freddie getting the crowd up and moving from the outset. The triumvirate of great tracks then concludes with a rousing version of Freddie’s anger-fest “Death on Two Legs” which is always such a perfectly conducted track, and the live version ere is just as wonderful. The easy segue of the piano chord straight into “Killer Queen” is performed seamlessly and beautifully, the change of mood carried through without any loss of momentum. This continues as the song then moves into “Bicycle Race” and then “I’m in Love with My Car”, all without skipping a beat, and all interconnected as though they all belong together. It’s a great streak of music, and still wonderful to experience.
“Get Down, Make Love” is a good live version of this song, and is followed by the perennially popular and beautiful John Deacon track “You’re My Best Friend”. Side two of the first LP kicks off with a sensational extended version of “Now I’m Here” with Freddie creating some crowd participation in the middle of the track. I love this song, and especially this version. This is followed by the acoustic session, with “Dreamer’s Ball”, Freddie’s amazing “Love of My Life” with more crowd singing, and Brian’s still beautiful “39”, while the first album concludes with the effervescent “Keep Yourself Alive”, the lone representative of those first two Queen albums.
Into the second LP, and it is a cacophony of hard rock hits, rolling in one after the other. It opens with a rousing version of “Don’t Stop Me Now”, backed up by a soaring rendition of Deacon’s “Spread Your Wings” with further help from the crowd in attendance. One of the best songs on the album in the extended 13 minute version of May’s “Brighton Rock” where he extended and amplifies his solo section through the middle of the song. Brian showcases all his skills throughout, and it is a joy to listen to every time.
Onto side 2, and the final two songs of the show, the crowd favourite “Bohemian Rhapsody” followed by the hard rock favourite again with “Tie Your Mother Down”. Both are as terrific as they always are. The Short break is followed by the encore, which is pretty difficult to top. Another hard rock ripper from Roger Taylor with his “Sheer Heart Attack”, leads into the songs where the crowd comes into the show fully, with “We Will Rock You” and “We Are the Champions”, performed to perfection to complete the show and album, with an overture of “God Save the Queen”.

Queen is a band that I knew I loved from the first instant I heard their songs on the radio, musically and vocally. There is always something magical about their songs, and the wide range of song styles that they are able to compose and yet still be Queen. It’s what sent me down the track with 1984’s “The Works” and then everything that came before it and also what followed.
My first experience with this album was the “Queen Live” single album that was released in Australia in 1985, which was a chopped-up hybrid of this album that was released to coincide with Queen’s tour of Australia in early 1985. Though I did not get to see them on this tour, which turned out to be their last of Australia, I got the album for Xmas that year and loved it. Then the following year, on a school trip to Sydney to see the play Barefoot in the Park, a friend had his tape player and was playing what I thought was the “Queen Live” album, but I began to hear songs that I didn’t know at all, and versions of others I’d never heard. I was eventually informed that what I was listening to was in fact called “Live Killers”, the full double album to the single hybrid version that I owned. Good knowledge to have. I didn’t end up getting my own copy until I got my first stereo with a CD player which was in 1990, and I bought this on double CD around that time. And it was immediately so much better than the version I still owned. And for me, no other Queen live release has been close to it. In recent years they have issued other live recordings, which have been great, but this honestly still takes the cake. The songs, and the way they are performed, is magnificent. The band may have been disappointed in the production, but I think it portrays how the band sounded live, not with absolute precision recording of their instruments, but in how they were. The extra loud crashes of the cymbals to me exemplifies how good this is, while some so called experts feel it harms the audio. Rubbish. It makes it a live album. All four members sound great and can be heard in the mix. It is a triumph. If you haven’t heard this, make sure you do. It is more than worth it.

967. Accept / Russian Roulette. 1986. 3/5

After the mixed response that radiated from the previous album, Accept came back here with Russian Roulette which was going to be their attempt to not embrace the creeping commercialism that they were somewhat branded with on that album, but to retain the production values that the album had provided.

The opening songs all come at you with a great running bass and double kick rhythm, allowing their natural momentum to pull you into the album. “T.V. War” is a smooth regulated train travelling down the tracks, with an easy to abide chorus and vocal line. This is followed by the curiously appealing “Monsterman” which gains your trust easily and without any qualms. “Russian Roulette” has that slightly uneasy shift in tempo that can kill an album, but it is done well here on this song, and still invokes the crowd chant chorus that tends to improve songs when loud and in groups. These three songs make another solid start to the album.
“It’s Hard to Find a Way” is a hard rock ballad, and perhaps the best thing I can say about it is that at least it isn’t a power metal ballad that grew out of this era of metal. It isn’t a ballad in the sense of the word, but lyrically and musically it has moved in that direction, and I still can’t come at things like that. The first side is recovered by “Aiming High” which is an atypical “I love hard rock” raise your fist kinda song, again replete with chanting vocals and guitar solos. Songs like “Heaven is Hell” utilise that tried and trusted method that AC/DC had popularised during the 1980’s, and this is very much in that mould, a slow tempo built around a solid rhythm and moving along in that style for the whole seven plus minutes. It’s either too slow or too long. Perhaps a little of both.
“Another Second to Be” returns us to that faster paced rocking tempo, lifting the mood of the album significantly once again. Udo’s vocals have returned to that higher register again along with the feel of excitement of the album. Perhaps it is only because of the songs like the previous one that makes these kind of tracks stand out, but if that is the case it should be a warning sign. “Walking in the Shadow” again changes that mood, but retains enough of the band’s real character to pull it through. “Man Enough to Cry” is similar in slightly different ways, but now just feels like they are overdoing the chance to find a chorus which appeals to the masses. The album concludes with “Stand Tight” which again builds on this idea of construction a song, which by this stage of the album just feels like it is well overdone.
This isn’t a bad album by any stretch of the imagination, but it is the kind of album you have on in the background and barely notice as it runs through its repertoire. The formula is set from the opening songs and followed throughout, and it’s a very ‘easy listening’ kind of album. Sure the lyrics might be taking on the world, but the easy flow of slow 2/4 drums and rhythm that follows it isn’t inspiring great vertical leaps of excitement. It incites a slow bobbing of the head and a smile of enjoyment that touches the sides of the mouth without eliciting a break for the teeth to shine through. There is little of the commercialism that could be said to have been infused in the music on Metal Heart, but there just needed to be more songs such as “Another Second to Be” on here to bring it to life.

Rather than coming to life with a raging album that sets the precedence, this instead finds itself struggling for air amongst the rising steel of the American invasion of Metallica, Anthrax, Megadeth and Slayer, along with fellow Germans Helloween who had taken on the example set by the guitars of early Accept albums and transformed them into what would be the inspiration for European bands for the next 20 years. This album treads the water of the hard rock line, the comfortable section which they shared with AC/DC. They do what they do well, but whereas they once appeared to be the leaders in what was coming, they by this stage had conformed to settle on the calm waters whilst other took on the storm.

Rating:  “For love I had to give you up”.  3/5

966. Accept / Restless and Wild. 1982. 4/5

Through the course of Accept’s first three albums, there had been flashes of inspiration, songs or even just moments in songs where you could feel the real sound of the band trying to escape into the open. On Breaker those came through almost fully formed, only to have other moments that made you forget that. From the opening moments on Restless and Wild however, you know that the moment has arrived, and so had Accept.

The joy that exudes from the opening track is magnificent. “Fast as a Shark” is vindication for the evolution of their sound, to come up with this track which blitzes along with drums and guitars while Udo chants his vocals, reaching the crescendo in the chorus. Though some ‘historians’ have described this as the first speed metal track, I tend to think of it as the first song of Accept’s Golden Age, announcing the arrival of a faster, heavier, more dominant band. This is followed up by the title track “Restless and Wild” which continues in this direction, and also features Udo moving between his low spoken and high screeching vocals for one of the first times with such conviction. Both of these tracks are a great opening to the album. “Ahead of the Pack” plays along in this style as well, while “Shake Your Heads” is more of a traditional tempo song with the anthem chorus in-built for crowds to sing along to.
The middle section of the album brings things back to a different mood, a much slower tempo and different feeling to the album. “Neon Nights” almost has a Rainbow pacing and sound to it, mixing as it does in the soloing. “Get Ready” is a straight forward hard rock outing with basic rhythm backing along with that lyrical output that encourages the crowd singalong again. “Demon’s Night” sludges into action and driven by Udo’s vocals it moves up and down in tempo throughout but also gathering momentum as it progresses.
“Flash Rockin’ Man” begins the final stanza of the album in style, with energy and guitar riffs that pick up the pace in satisfying style. “Don’t Go Stealing My Heart Away” again has similarities to AC/DC in both style and substance, but is entertaining and enjoyable in its own way. The closer “Princess of the Dawn” goes to another extreme from the speed of the opening track, settling itself into a constant mid-range tempo driven by the rhythm of the guitar, bass and drums, and allowing the song to play out over the top of this, with the lead breaks, keys and Udo’s chanting leading the way. I was surprised that I enjoyed this track so much, even the abrupt ending of the song where it just cuts off in mid stroke rather than the traditional fade out.

Unlike the previous album, that was brought down by three songs that just didn’t fit in with the mold that Accept was trying to break, Restless and Wild contains none of those filler tracks. Everything here works in its environment, mixing faster and medium paced tracks without compromising the whole. The musicianship is second to none, and the overall package is a winner. This is still an album that can be put on and enjoyed at any time, which to me is always the best indicator.

Rating:  “Fast as a shark he'll cut out of the dark, he's a killer, he'll rip out your heart”.  4/5

965. Accept / Breaker. 1981. 3/5

In interviews with the band both at the time of this album’s release and at times since, this is the point where Accept decided to make the music they wanted to without an outside influences. There is little doubt that for at least half the album it can be heard that the direction of the music has gone up a notch in speed and aggression, and yet there is enough there that harks to the past that suggests that there were still a few tendrils holding them to that previous period.

The album kick starts on a great note with “Starlight”, with Udo reaching the heights with his vocals from the beginning, signaling that a new Accept appears to be in motion. This is followed by the faster paced title track “Breaker”, which continues the reimagining of the music, with Wolf Hoffman and Jörg Fischer’s guitars here giving an insight to a future sound of Helloween’s guitar sound. “Run If You Can” expands on this again, looking for the catchy chorus to endure the time between guitar riffs. “Can’t Stand the Night” does tend to begin reigning in back to a previous version of the band’s songs, with Udo stretching to maintain the dignity of his output in what is trying very hard to sound like a ballad like rock song.
“Son of a Bitch” is a classic, if only for young kids who want to release some pent up anger. The expletive-laced vocals, according to all reports having a crack at record companies, make for easy repetition after a few beers and this turned up loud. Probably not as effective at age 47 as it was at age 17, but still enjoyable in the right company. “Burning” jumps straight in with that AC/DC-like fast paced guitar and drums, evoking images of Bon Scott and Angus Young performing it. That’s not meant to be a derogatory comment, just a comparison of what is a great rocking track with similarities between styles. “Feelings” drops back a notch with a heavier riff, but is still driven along by Udo’s vocal power.
“Midnight Highway” is the first real change up the band throws at us here on this album. It moves back to a very 1970’s commercial rock tone which is immediately noticeable in the guitar sound, and then the bridge being sung by Peter Baltes, changing the tone of the song completely. It isn’t bad as such, but it is very noticeably different from everything that has come before it on the album. I don’t get good vibes from it whenever I put the album on, it tends to distract me.
And then… oh my god… what the hell is “Breaking up Again” doing here?! Seriously! I thought we were going in the new direction, taking on the mob and making a serious move towards that heavy sound that would make them the success they should be! Now, I am a renowned deplorer of ballads of most varieties and in most circumstances. But this is just vile. I cannot believe – still! – that this was allowed to make the album.
The album then concludes with “Down and Out” which while it doesn’t fully recover from the insanity of the previous track, at least allows the listener to finish the process with a slightly less bitter taste in the mouth.

This could have been an absolute top shelf album, apart from three things – “Can’t Stand the Night”, “Midnight Highway” and “Breaking up Again”. Those three songs drop this album back a full star in rating, and more is the pity. Take those out (which in the modern age you can do) and it really does have the right energy throughout. Put them back in, and you have a promising album that points to a promising future.

Rating:  “Icicle brains, bicycle chains”.  3/5

964. Accept / I'm a Rebel. 1980. 2.5/5

Accept had released their debut album in 1979, at a time where in retrospect they were unprepared for what the process required, and for what was necessary when it came to the writing process for a new album. In later years, guitarist Wolf Hoffmann recalled that their self-titled debut album was just a collection of songs that the band had been playing from their early years, all written without a focus on the job at hand. He was quoted as such: "We were just playing songs that we had always played. It was material that had gathered up over the first few months and years of our existence and it was a mixture of all kinds of stuff." Lead vocalist Udo Dirkschneider also expressed his dissatisfaction with the group's first effort when looking back on it some years later. The release of the album however gave them the opportunity to expand their horizons, and initially it gave them exposure outside of their native Germany into countries such as Belgium, France and The Netherlands for the first time.
Coming into the follow up album, the same line up that had toured the first album came back into the studio for their second attempt. Overall the band was looking to make a significant change from the first album. With a year of touring under their belt, they not only had the solidity of their playing to express, but also new songs written with the purpose of the new album in mind. Dirk Steffens was brought in as producer of the album, the first of three consecutive Accept albums he would be at the helm of. With this in mind, the band was looking for a more commercial sound in order to gain a stronger foothold both in Germany and then throughout Europe. This leads to a varied collection of tracks that does set it apart from their debut album but due to the differentiation between the styles of the songs, perhaps doesn’t quite establish exactly what sound Accept wanted to be known for.
The album was recorded in the back half of 1979, but wasn’t released until almost six months after the recording sessions had been completed. None of this set the band up on a solid platform, and with 1980 already becoming a stand out year for album releases in the hard to heavy genre, “I’m a Rebel” had some work to do if it wanted to compete on that level internationally.

Early on in their career, Accept had a sound that at its best mixed in tangible similarities of a cross between Judas Priest and AC/DC, which wasn’t such a bad thing when you trying to find your feet in a crowded music marketplace, and establish the identity that they eventually found so well.
Anyone who comes into this for the first time in the modern age, some 45 years after the album was released, is going to find it somewhat difficult to assuage how this is the same band that they may now be aware of. The answer of course is that they aren’t. However, listening to this album like other albums of the age, such as by Praying Mantis and Angel Witch and the like will give you the best tools with which to enjoy it. The main point of difference is that those two bands were comfortable within their music at that time, whereas with Accept, here was a band still trying to discover itself musically.
The opening track on the album plays into this whole perception about Accept’s early sound. “I’m a Rebel” is written by Alex Young, elder brother AC/DC’s Young brothers, and was actually recorded by AC/DC in 1976 with a possibility of it being released on their next album. This didn’t eventuate, and when producer Steffens decreed that the album needed a radio hit, he turned to Alex who produced this song. This is as good an explanation as any for when you hear the opening track, because it sounds like and AC/DC song, which at least does get the album away on a good footing.
Beyond the opening, this album has a better idea of where it wants to head, and is better than the debut as a result. The hard rock tracks all provide a solid base for the album. Along with the title track, the second song “Save Us”, along with “Thunder and Lightning” and “China Lady” provide the best that the band can deliver. Udo Dirkschneider’s vocals hit those heights that make his unique voice one that is as distinctive today as it was back in the day. He is having a great time on these tracks, and you can tell that this is the style that he was interested in following. The guitars of Wolf Hoffmann and Jorg Fischer are just as prominent, and their solo spots along with their harmony pieces are excellent and pick the songs up. Stefan Kaufmann’s drumming is also hard hitting here and great in the mix. “Thunder and Lightning” has a steady beat throughout that fits the theme, while “China Lady” has a grittier theme to it and is more than just a foot-tapping tune.
“I Wanna Be No Hero” mirrors the opening track by trying to be a more commercially appealing song, which doesn’t make it a bad song, but the difference in how hard it sounds like the band is playing is noticeable. Here there sounds like there is a desire to sit comfortably in the rock riff as written, where the other songs mentioned sound like they are being PLAYED rather than strummed. The closing track “Do It” fits this narrative as well though not to the same degree. Again, it is fine as a hard rock song but it lacks the ambition to be more than is.
That leaves the two rock ballad tracks, both of which contain lead vocals not from Udo but from bass guitarist Peter Baltes. And again this is where the album loses focus. These two tracks are mixed in with the attempted commercial hard rock tracks and the harder rock focused tracks that seem, to me at least, to be the best of the album. But the rock ballads are as you would expect. “No Time to Lose” actually sounds like a Rainbow song in places, and Baltes vocals are very much in the Graham Bonnet style. This is an almost paint-by-numbers tradition of this style of song, one where Baltes’ bass guitar also seems much higher in the mix than on other songs. What is even more strange, this song is solely written by producer Dirk Steffens, so there is no doubt at all what he was trying to do with this song on this album. It isn’t terrible but it also isn’t very good. The other rock ballad track is “The King”, this one credited to all of the band along with Steffens. It heads in all the same directions as “No Time to Lose”, and it feels like both tracks would fit more comfortably on a Foreigner album than an Accept album. It’s a strange path to follow, but as has already been noted, the band was still trying to find its own sound at this point of its career, rather than following the path that had been laid by others.

Though I listened to bits and pieces of Accept through the years, mainly from their more well known albums from the 1980’s, it was not until the turn of the century that I began to collate the albums of the Accept discography and truly discover what they had to offer. And it is an interesting study, especially when you go through them in chronological order, and decipher the changes and growing maturity of their sound from album to album. The first album is okay but really nothing special, a fact that the band itself has acknowledged in the past. But this album, well now that’s a different story.
But let’s say this from the start. “I’m a Rebel” is not a brilliant album. It is not even one of the best ten albums that Accept has released over the years. But it has a quaintness about it that I have always liked. It is a solid album with solid hard rock songs, if you ignore the two exceptions. And that is where the crux of it lies for me. Take those two songs out, and it is a far better album. Of course, it would then only be six songs and 25 minutes long, which is more of an EP. But Accept beyond this was built around the solid rhythm and hard to heavy sound of the guitars, and Udo’s vocals. Not utilising them does harm this album. And it is obviously a lesson that the band learned after this album, because they continued to make steady progress through the next decade in refining what became their sound.
I’ve had this out for the past couple of days again, and given its relatively short length have given it seven spins in total, and yes it still has its charms. Like I said it isn’t a world beater, but not every album is. In fact, very few are. This, on the other hand is an enjoyable hard rock album that is easy to listen to, and then put back on the shelves until next time. It is worth a listen to anyone who enjoys the history of heavy music, firstly to hear just where the band was at this point of their career, and then take in how they progressed from that point. It will not blow your mind, but it isn’t all bad either.

963. Testament / Brotherhood of the Snake. 2016. 3/5

Since the reformation of the (almost) original line up of Testament in the past decade, there have been only good things coming forward. New albums to enjoy, a great feeling coming from the band at large, and tours to most of the world. The thought of a new album was something to be celebrated. And perhaps this is where some of the anomalies lie.

The two comeback albums, The Formation of Damnation and Dark Roots of Earth have been good – spectacular in places even, backed by opening tracks that kick start the momentum immediately. The energy present in “More Than Meets the Eye” and “Rise Up” is contagious. Here though, the title track “Brotherhood of the Snake” doesn’t match that, and comes across a little weak in that respect. You would hope for better to follow, and while there are songs that can bring a bit of vibrancy to the album such as “The Pale King”, “Centuries of Suffering” and “Neptune’s Spear”, something isn’t quite right.
What perhaps is a little troubling here on Brotherhood of the Snake is the sameness of the song content. Some may feel this is a general attitude of this genre of music, but Testament has always managed to steer clear of the similar rhythm and riffing that can bring this comparison. Here though it has sounded like it has crept in. The consistent double kick of Gene Hoglan’s drum kit can be attributed to some of that, but it is a combination of factors such as the drums, the rhythm guitar and bass riff blending in together, and Chuck Billy’s vocals not really moving out of the one key for the majority of the album. This might appear to be ill informed or just plain wrong to many people, but I have been waiting for this album to grab me since its release. Usually I can at least attached myself to a couple of songs, and from that point I have a connection which drags me in. That hasn’t happened here. Sure, I can put the album on, and I can have it play in the background and listen to it easily enough. But there is no pull to MAKE me put it on in front of any other album on my current rotation, and that spells trouble to me.

For the first time in a long time, I just feel like we’ve heard it all before. It’s not a bad album, it is just an average album. No doubt many of these songs will sound much better in a live environment, and I hope I get the chance to experience that. Compared to what they have produced in the past, this is slightly disappointing.

Rating:  “There's no place to hide, our sights are set on you”.   3/5

962. Metallica / Hardwired... to Self Destruct. 2016. 3.5/5

I had truly begun to wonder if Metallica would even bother to ever release another album of new material. In a day and age where money is made by touring rather than selling albums, did they even need to bother? They will forever sell out concerts around the world playing everything off the albums of their first ten years. After the horror of much of the material from Load and Reload and St. Anger, did they need to put themselves through all of that again? Sure, Death Magnetic had half an album of good material, but do you actually want to hear any of that live? All of this sounds negative, but in the long run, on the announcement that they had indeed pulled their finger out and recorded a new album, I can honestly say that, on this occasion at least, I was looking forward to hearing what the band had come up with.

What is the deal with releasing double albums? Iron Maiden did it with The Book of Souls, and now Metallica has done it here with Hardwired...to Self-Destruct. Is it a payoff for the length of time between releases, or just an inability to edit and cut out songs to fit it all on one disc? The ludicrous situation comes when you have to put out THREE vinyl albums to fit the material on it! Obviously, if every song is strong enough to warrant inclusion then this is okay. Much like Maiden’s last release, I’m sure the consensus is that a little editing could have been done.
At least you can say that on this album, Metallica has had a crack at finding that lost ground from 25 years ago. It’s not completely successful, but as with the previous album there are at least places here where you can hear that not everything has been washed away from the original item. It would not be an accident that the first three songs that were released as teasers to the album were “Hardwired”, “Atlas, Rise!” and “Moth Into Flame”, as they are still the three songs that give you the best feeling about the album and the band. Harder, faster, vocals that spit and guitars that flame. They won’t necessarily be everyone’s favourites on the album, but they are the ones that best portray the old warm feelings that Metallica once harboured in all fans. “Now That We’re Dead” sits between these, and while the tempo is not the same as the others, the groove works despite its similarity to pieces of Load.
The slower songs still dredge up bad memories of stuff from Load and Reload. It’s that slow sludgy lack of momentum that really harks back to that era of Metallica, an era that sends shivers down the spine for all the wrong reasons. “Dream No More” is the first impact of this. This could almost have come from the sessions from those albums. “Confusion” also drags up memories like that, but probably more from James’ layered vocals, which are a staple of their releases from the 1990’s. “Halo On Fire” finishes much better than it starts. “ManUNkind” is only average at best, mixing as it does some Sabbath-like riffs along with a halting tempo that I find difficult to like.
“Here Comes Revenge” is a creeper, starting out somewhat morbidly before growing throughout until it concludes with you moving to the music without even realising you are doing it. “Am I Savage” is another where the tempo just doesn’t sit quite right. Again it’s that 1990’s tempo, one where the band moved to after its conversion period, and while the build to the end of the song improves dramatically overall it is average.
I must admit that while “Murder One” is not a bad song, I don’t understand why you would write a song in tribute to Lemmy Kilmister that is played at this tempo. Surely it would have made more sense to get it up to the tempo of those great Motorhead songs that he wrote – I’m not suggesting rip them off, but make it a celebration of the man and his music. Instead, we are stuck in this low tempo grunge that had little to do with his music at all. Strange. “Spit Out the Bone” though ends the album on a positive thrashier note. It’s just a little strange that the preceding songs were of such a different vibe that this is suddenly thrown at you as the closer. It lifts your perception, but in many ways it is a false perception.
As a band the individuals still all have what it takes. Robert Trujillo, while in some places still appearing to be overwhelmed by the wall of guitars in the mix, does an excellent job once again. His part is as support player in the band, but he is terrific again and when he is allowed to break out it is noticeable. Kirk Hammett, following the disasterous St. Anger no-solo experiment, again proves he can put together his craft at a high point. James Hetfield strives to find that middle point between youthful screams and middle age lower tone with his vocals again, and for the most part succeeds. The elephant in the room is still the drums. They sound fine, and at least Lars has never repeated that god-awful sound that he decided was awesome on St. Anger. But honestly, has he even put any effort in to what he’s playing? Yeah, he’s rich and clicked up enough credits in those early albums to allow him (and the band for that matter) to do whatever they like, but seriously? Like millions of my generation, when ...And Justice for All came out I spent hours and hours trying to play those songs just like Lars did, and it was fantastic. He was the top of the pile then. Now I reckon my nine year old could play this album with barely a listen. It’s not the only reason the songs these days can’t match their earlier stuff, but to me it’s a major one. Lars inspired generations of drummers with his playing in the 1980’s. Now everyone has gone past him. It’s a little sad to see, and hear.

Initially I thought the album sounded good, with pieces attracting me immediately, and some not so. At the time, it was my assumption that, like many albums, it would grow on me over time the more I listened to it, and that I would be better for it. To be honest for me that wasn’t the case here. The songs that grabbed me straight away I still listen to happily. Most of the songs that I had trouble with have mostly remained that way. If you played only the opening track and the closing track to someone, they would probably think this album could be a rival to the first four albums the band released. If you play two of the songs from the middle, that same person may think this was a rival to those albums from the 1990’s. That’s how subjective it is. I think it is overkill, and by having the courage to remove two or three songs and making it a 60 minute single disc album it would have worked better. But hell, what would I know.

Rating:  “Plug into me and I'll save you from emotion”.  3.5/5

961. Accept / Restless & Live - Blind Rage - Live in Europe 2015. 2017. 4.5/5

Since the return of Accept to the metal maelstrom some years ago, and the recording of three excellent albums, it was probably only a matter of time before the re-imagined line up got around to putting out a live album to showcase their wares. Little did we know that it would be a monster, containing 27 brilliant tracks pulled from throughout the bands amazing back catalogue, and taken from different concerts all over Europe.

Just about everything you could want to listen to is here. From the timeless classics to the newest releases to the surprising entries, very song is performed with heart and steel.

The band sounds great, no matter which venue the song has been taken from, and with the two newbies doing a great job. The rhythm section of Christopher Williams on drums and Peter Baltes on bass keep everything in control, leaving Uwe Lulis and the immortal Wolf Hoffman to showcase their wares on guitar. Impressively, Mark Tornillo on vocals does a sterling job, whether it be the old material made famous by Dirk, or the material he has performed on through the last three albums. He does justice to it all.

I unfortunately missed their tour of Australia some 18 months ago, something that I will probably regret for some time if they don’t tour again. Given that this is an indication of what they can do on the stage, you would think people would be flocking to see them. As a record of their live tour, and how the current line-up can perform, it is well worth giving this a spin whether you are a 40 year fan or an interested entry level listener.

Rating:  "Now you know your dreams are useless, and there are lies you'll never tell"  4.5/5

960. Grave Digger / Healed By Metal. 2017. 4/5

In the modern age, where the world is opened up to the music listener through the internet age, the ability to access all manner of bands and their material means you can experience more music than ever than was the case in my teenage years. So when I see a band is releasing their eighteenth studio album, and I have never heard anything of theirs before, it’s time to get their latest release and give it a spin to see where the longevity comes from.

Thus, Grave Digger is another band I have heard nothing of their back catalogue, and so went in with little to guide me. The thumping start to the title track “Healed By Metal” sets everything off in the right direction, a simple but effectively branded song that encourages chanting along with the chorus with the underlying heavy riff. This is followed by “When Night Falls” which picks up the tempo and flies along with those speed metal guitars, reminiscent of Judas Priest in their heyday. This is exemplified by “Lawbreaker” which jumps straight in and continues in this direction, once again powered by a chorus that encourages the sing along.
“Free Forever” continues to channel the 80’s heavy metal styling, using many of the guitaring techniques used in the hair metal scene (in a heavier sense) to contribute to the music. I don’t know if it was deliberate, but it is effective (think Mick Mars’ guitar sound and you’ll know what I mean). The crowd anthem chorus of “Call For War” uses that theme as well. It’s a simple but effective song progression, and one that pulls on the strings of my youth. “Ten Commandments of Metal” goes for the mid-tempo heavier riff, while the chorus of Chris Boltendahl’s vocals again demand a crowd-chanting involvement.
“The Hangman’s Eye” brings in those Helloween and Gamma Ray hints while retaining the basis of the band’s sound, belting out the vocals and then letting the guitar solo flay along during the break. It really drags you into the album again. This is followed by “Kill Ritual” where you can taste Judas Priest’s influence again, and the pull on my love of metal is again inflamed within the solo break.
And then, hello! “Hallelujah” wants to have an old school thrash influence, though not with the same ferocity. Still enjoyable. “Laughing With the Dead” slows everything back to a chanting mid-tempo again, which for me was a strange thing to do at the ‘end’ of the album. It sounds fine, but why end an album on that tempo? The answer to that is that there are two ‘bonus tracks’ following this – which surely in this day and age everyone gets, this making the ‘concluding track’ NOT that at all? Anyway, Kingdom of the Night picks up that tempo again, but is bettered by the final track “Bucket List”, a romping heavy tune that is a joy to bang your head along with, singing along at the top of your voice. Terrific stuff.

I’m not sure what the long-time fans of the band think about this album, but I rather enjoyed it for the most part. The foundation of the 80’s heavy metal scene being sewn into the fabric of the songs is what appealed most to me, and made it an enjoyable experience. While Boltendahl’s vocals are not what you come to expect from the speed/power metal bands of the halcyon period, where high pitched melodic vocals are most prominent, his fit wonderfully well here, uniquely his own and perfectly crafted to the music. Like a few other bands I’ve found lately, I need to make a serious effort in discovering the bands back catalogue to see what I’ve missed, but as a starting point of Grave Digger for me, this was more than worthwhile.

Rating:  “We hold our shields high in the sky, never surrender till we die”.  4/5