760. Sweet Savage / Killing Time. 1996. 4/5

Back in the 1980's I had a man-crush on Vivian Campbell. I loved his guitaring and song writing in Dio, and was crushed when he left that group before I could see them live in 1986. I followed his other bands leading up to his incarceration with Def Leppard. I had also heard that he had been in a band called Sweet Savage before he joined Dio, and tried to find any material I could of theirs. I was basically unsuccessful, with the only song I could find being one called "Eye of the Storm" which was on the Lars Ulrich-inspired NWoBHM '79 Revisited release. It has only been in later years, with the appearance of the internet and better research abilities that I have tracked down the few early Sweet Savage recordings by their original line-up, including Campbell, leader and bass guitarist/vocalist Ray Haller, guitarist Trev Fleming and drummer David Bates. They are all brilliant, and despite Vivian's defection to Dio you can't help but wonder how Sweet Savage did not manage to break through into mainstream metal ranks as well.

Fast forward to 1996, and Metallica has brought Sweet Savage back into the public eye by recording a cover version of "Killing Time" for their The Unforgiven / Killing Time single. Suddenly there are others like me searching out material that, for the most part, does not exist. So they put the band back together again, with the exception of the Leppard-ed Vivian Campbell, who was replaced by Simon McBride, and recorded this album, which became their debut album some 17 years after they first started playing together.
The material for the album consisted of songs from the very beginning of the band, re-recorded with the current lineup, as well as songs from their time that were reworked or completed renovated in the recording process. And you can easily split it up into three divisions or categories, just on listening alone.

Firstly, there are the songs that have been written by the current lineup for this release. "Welcome to the Real World", "Thunder", "Parody of Wisdom" and "Why" are those four songs, and whether it is the fact that they were written at this time for this album, or they had been previous ideas that were redone for this album, there is a noticeable difference between these songs and the others on the album. The second grouping are songs that were originally written in the period following Campbell's departure from the band, and Ian Wilson's arrival as his replacement. "D.U.D." and "Reach Out" are those two songs, and both have a faster pace than those first four songs mentioned, with a catchy snatch of lyrics and a punchy riff. Thirdly, there are the songs that came from the original line-up, and were the ones that caught the imagination of punters when they first came on the scene. Those songs, "Killing Time", "Vengeance", "Eye of the Storm", "Prospector of Greed", "The Raid" and "Ground Zero", are the groundbreakers here, the eye catching, ear-pricking, fast paced, head banging, guitar driven songs that are the source of Sweet Savage's power. The difference between the songs in this section and the first section is like chalk and cheese. Those first songs are fine, but of a slower pace generally, written with another guitarist in a different era, and that is truly noticeable. The speed of the songs, and the flying fingers in the solos, are the dead giveaways in the songs from that final section. While the original versions with Vivian playing are superior simply because of his guitar playing (compare the original versions of "Eye of the Storm" and "Killing Time" with the two on this album, and you will know exactly what I mean), these versions still shine through in an era where song writing is still an art form many cannot reproduce.

What a shame this album didn't eventuate in 1982 instead of 1996. Who knows what could have happened if it had. Perhaps Sweet Savage would still have gone the way of other NWoBHM bands, getting that initial release out but still fading into obscurity. This album is still terrific despite the time that had disappeared in between their emergence and their reappearance, and finally allowed fans of several generations to appreciate the music that they would otherwise have never had the ability to do so.

Rating:  The sound of gunfire echoes through the night.  4/5

Full album on YouTube

674. Sweet Savage / The Raid - The Ripper [EP]. 2005. 3.5/5

The songs on this single/EP/whatever you want to call it, were recorded back in 1980, when Sweet Savage had their core group together of Haller, Campbell, Fleming and Bates. Though rumours abound that it was released, or was supposed to be released, as a single back in 1984 or 1985, it had never been confirmed. this "EP" as it is called was released in 2005 with the original songs. Both of these songs, "The Raid" and "The Ripper" are the original 1980 versions, while a demo version of "The Raid" is tacked on as the third song to make it look like value (I guess). Before listening to this, I had visions of "The Ripper" being a cover version of the classic Judas Priest song, but it is in fact its own enjoyable version of the age old story.

Both songs here are as enjoyable as most of the smallish repertoire the band had prior to 1983, and if you enjoy those songs then you will certainly enjoy these as well. Perhaps you will also reflect as I often do as to how they were unable to make it with the talent they had in this band.

673. Sweet Savage / Caught in the Middle - Teaser [Single]. 1983. 4/5

Such is the scarcity of being able to drag up original material from Sweet Savage, given that the original incantation of the band was unable to break into the recording market, it has only been in very recent times that I have been able to track down a copy of this, their second single. More is the pity, because not only is it terrific, it brought with it some very enjoyable surprises.

Take "Straight Through the Heart". It starts off with a sensational riff, a riff that really gets you going straight away. The thing I knew instantly was that the riff had been written by lead guitarist Vivian Campbell. How did I know this? Well, if you listen to Dio's first album Holy Diver, released not too long after this single by Sweet Savage, and play a song called "Caught in the Middle", then you will be amazed that, yes... it is the same riff. Far from being disappointed, I think it's great. The song itself is completely different apart from that opening riff, and it kicks along terrifically. New lead singer Robert Casserly lends his lead vocals to both these tracks, and he shines, showing off a more pure vocal than Ray Haller, who did vocals on the first single. The B side to this single is "Teaser", and perhaps lends itself closer to a Def Leppard-type sound than earlier songs had, but it too is a good rocking song.

Campbell left the band apparently only a couple of weeks after recording this has been completed, and the band soon folded without him. Although they were revived in the 1990's, it is a shame that they were unable to make it work it this time period, given the strength of the material they had, which this single showcases nicely.

672. Sweet Savage / Take No Prisoners - Killing Time [Single]. 1981. 4/5

This is the first single release from Northern Ireland's Sweet Savage, which to all intents and purposes should have been the springboard to further success. For whatever reason may have eventuated, that success was never forthcoming, which I find remarkable.
"Take No Prisoners" is a smart song, led by the vocals of bass guitarist Ray Haller, and driven by the twin guitars of teenager Vivian Campbell and Trevor Fleming. This is backed by the B side "Killing Time", which also showcases the best of the band, with a speedy pace rocketing along with both guitars and drums. Both songs here are good, solid songs from the NWOBHM era, and perhaps this was drowned out by all of those bands who were clambering over each other at the time to try and 'make it big'.

Sweet Savage was never able to make it unfortunately, although this single did manage to influence others. Campbell eventually left to join Dio and later on Whitesnake and Def Leppard. Meanwhile, a young band called Metallica had discovered this band, and played "Killing Time" in their early rehearsal days, and some years and millions of record sales later, they recorded a cover version of the song for the B side of their "The Unforgiven" single in 1991. Recognition just a few years too late perhaps.

671. Sweet Savage / Demo 81 [EP]. 1981. 4/5

It can be a tough gig trying to nail down a recording contract as a band. No doubt there is a lot of luck, and of being in the right place at the right time, when it comes to actually making it in the music business. With this being the case, it is still an amazing thought that Sweet Savage was unable to crack it during their formative years between 1979-1984. There were a couple of singles, and this multi-track titled simply Demo 81 in which to enjoy their craft. There is conjecture over whether or not this actually ever existed, and that perhaps it is just a name under which someone threw together these songs when they themselves collected them. Whatever the case, this is the collection I have discovered and have collated it as such.

"Killing Time" has become the band's most famous song, simply through it being covered by Metallica as a B-side to their "The Unforgiven" single. Sweet Savage's original version more than holds up. The great thing to me is that, though this is a terrific song, it does not overshadow the others on this album. "Eye of the Storm" has always been another big favourite of mine, driven along by the fast pace of the song and Vivian Campbell's excellent licks. The other three songs here follow a similar vein. In fact, "Sweet Surrender" follows the song structure of "Killing Time" extremely closely, with different words and a slightly changed riff progression fitting in to all the same crevices. It slightly amusing to check out the first time, though eventually you get used to it actually being a different song. "Into the Night" and "Queens Vengeance" are also upbeat songs, all with what is that signature Sweet Savage guitar sound that Campbell and Trevor Fleming have cropped together.

I like all of the songs here, and it again makes me wonder why the band was unable to take that one further step into 'music career'. Despite that, this is still as enjoyable today as it would have been when it was first written and recorded over thirty years ago, which speaks volumes for its freshness and writing background.