Volbeat – Rewind, Replay, Rebound review.

I am not the oldest Volbeat fan, I only discovered them last year at Download Festival 2018, but I have been listening to them absolutely non-stop ever since.

Volbeat cds for birthday and Christmas, Volbeat t-shirts under my work clothes pretty often, Volbeat on the car stereo during every road trip to visit relatives, Volbeat in the car ride to work almost every work day. Overall; I’ve listened to over 2,900 times in the past year. Something that few other bands can boast. Since records began in 2011 (when I started tracking it via LastFm), they are my 9th most listened-to artist. So basically; I’ve listened to them more in one year than I have some of my favourite ever bands, almost any other band in fact, in the last 8 years.

So you could say, that coming into this new album, which is the first new one to be released in my time as a fan (not counting the amazing live album, Let’s Boogie! Live from Telia Parken), that I was more than a little excited.

…So imagine my surprise when the first time I listened to it, I didn’t really care for it. At all.

Now, that was partially my own fault, first of all I was lifting weights on a red hot Summer’s day, with a noisy fan on while I did so, so maybe it wasn’t really hearing it in the best conditions. Additionally; I was beyond hyped, so I wasn’t really going in with realistic expectations.

Having listened to it a good few more times, some of them while driving, some while exercising and some just sitting there in a quiet room paying close attention, it has definitely grown on me more.

There are some stand out tracks that I am really happy to have in my Volbeat collection and which I would be excited to see live. ‘Die To Live’ is probably the best of them. I mean, how could it not be, featuring as it does guest vocals from the mighty Neil Fallon from Clutch. It is a jaunty up tempo rock n’ roller with tinkly piano reminiscent of Illusion era GnR and fun saxophone reminiscent of the Boomtown Rats but a basic bouncy pop punk structure for the rest of the song that wouldn’t be out of place on a mid period Green Day or Rancid album. Real fun tune.

There is also the singles ‘Parasite’ which is a 40 second punk statement with punctuated vocals and oodles of energy, and ‘Leviathan’ which is just an absolute sing-along anthem up there with previous gems like ‘Heaven Nor Hell’ or ‘Thanks’ or ‘Lola Montez’ in the Volbeat-sound-like-fun stakes. The band are always great when Jon gets pounding on the floor toms. It is the kind of smile-inducing big stadium shouter that makes you remember how fun Rock Music is when you are 13 years old.

Another great thing about the album is the lead guitar work, Michael and Rob’s lead guitar lines and solos are utterly majestic at times (think the Guitar solo from Anthrax’s ‘Safe Home’ and you’ll know what I mean)… the kind of magical guitar solo that transports you to another place.

That said. I don’t think I would be out of place in saying this is the band’s worst album. Well, if not worst, then, least good. The first point against it in my book is really subjective, but it is just not heavy enough. There’s maybe two Metal songs on it. ‘The Everlasting’ and ‘Cheapside Sloggers’ (with guest guitar from Exodus’ Gary Holt!) are the heaviest tunes, but they stand sort of alone in that front… and even ‘Cheapside Sloggers’ is only Metal in the second half once the guitar solo section kicks it up a notch.

The second thing against it is they re-use a lot of things from previous albums. Single ‘Pelvis On Fire’ for example will be real good fun if it is the first Volbeat song you ever hear but it is exactly halfway between ‘Devil Or The Blue Cats Song’ and ‘Sad Man’s Tongue’ and you kind of feel they are ripping themselves off a little bit. Haven’t I heard that vocal melody before? Hasn’t he done an Elvis voice before? That slow down speed up thing sounds familiar.

The third thing, again subjective, is that they do too much of the overly earnest big American radio rock style. On the previous album they did it a bit on tracks like ‘Goodbye Forever’ or on the album previous to that, with ‘Cape Of Our Hero’ but they did it really, really well and in small doses. Here they do it so much it kind of overwhelms the album. They do inject Volbeatness into those songs, but just not enough for my tastes. It makes the album sound a bit bland. Usually a Volbeat album is a rollercoaster going from sounding Psychobilly, to Pop Punk to Groove Metal to Stoner Metal to 1950s Rock N’ Roll to Metallica-Worship and back again, all in a seamless package where it all flows together and you don’t even realise its weird that bagpipes have entered the mix.

On this album it feels like a radio rock album with a few detours. Initially at least. The more I listen to it the more I get into it. I also feel like me saying they do too many radio songs is a bit like Millicent Stone in the TV show Bunheads telling the ballet dancers they are doing too much of a certain step (when she herself has no knowledge of dancing). And saying there isn’t enough metal is a bit silly when the tracks I have said where the best songs, ‘Die To Live,’ ‘Parasite’ and ‘Leviathan’ are in no way metal and are still brilliant. And some of my all time favourite Volbeat songs from across the discography like ‘Lola Montez’ and ‘Sad Man’s Tongue’ and ‘Still Counting’ aren’t metal either.

That’s perhaps a conflicted mess of a review. To summarise I would sum it up thusly, the gut reaction was negative but its a grower and although I would certainly not make it your first Volbeat album unless you love earnest radio rock, I wouldn’t go so far as to call it a disappointment and it has at least 5 or 6 songs I am really happy with and will be happy to include on future playlists, and would be happy to see live. However; if all you liked about Volbeat was the heavier side of them, like ‘Pool of Booze, Booze, Booza,’ ‘Slaytan’ and ‘Wild Rover Of Hell’ …then maybe this album might not be an instant hit with you either.

Volbeat – Seal The Deal & Let’s Boogie Review

Seal_the_Deal_&_Let’s_Boogie.jpgVolbeat, the interesting Hard Rock/Metal/Country/Whatever-else hybrid band from Denmark, released their 6th studio album, Seal The Deal & Let’s Boogie, in 2016. It is their second album with former Anthrax lead guitarist Rob Caggiano.

Whereas the previous album leaned a bit harder on the country twang, this album is a bit more polished, commercial and stadium rock sounding. It is a bit less eclectic but it is tight and focused. The production job is very big, befitting the band’s crowds size nowadays and the vocals sound stunning. It may not be the heaviest moment in their catalogue but it is pretty gigantic.

Other interesting things about the album include that it features two cover songs (‘Battleship Chains’ by Georgia Satellites and ‘Rebound’ by Teenage Bottlerocket) but to be honest if you didn’t know they were covers they would seem like originals. There is also the fact that you can get the one track in two versions, either in English as ‘The Bliss’ or with a Danish chorus and guest Danish singer Johan Olsen as ‘For Evigt’ depending on which version you buy.

Highlights include the catchy opener ‘The Devil’s Bleeding Crown’ which has the same sort of stadium stomp as Nickleback‘s ‘Burn It To The Ground’ and has such great vocals, especially the bit where Michael sings “Down, down, dooooown” …as well as the insanely good ‘Goodbye Forever’ which has such an enormous chorus hook and great backing vocals, and finally of course ‘The Loa’s Crossroad’ which has a great stoner-rock riff that could be on a The Sword album if it wanted to.

Its a remarkably consistent album and the kind of thing you can listen to over and over again. Its full of massive music for massive stages, with all the best things about polish and perfection without sounding contrived or overly simplistic. The album prior will probably always be my favourite as it was my introduction to the band, but this one is a superb follow up. It has inspired me to get more Volbeat and I heartily recommend it to anyone who likes rock music. You could like this if you were a Green Day fan, a Guns N’ Roses fan or a Pantera fan. It covers so much ground its bound to please a very wide cross-section of fans. If like me you were late to the Volbeat party, I recommend you immediately rectify that, and then let’s boogie.

Volbeat – Outlaw Gentlemen & Shady Ladies Review

Outlaw_Gentlemen_&_Shady_Ladies_Album_CoverYou know an album is good when you listen to it every day for an entire month. I had not been a Volbeat fan up until this point, but early this summer I had caught them at Download Festival between bands that I did know. They played a song that was introduced as being ‘about a shady lady called Lola‘ and it really struck a chord with me. Not least because the guitar solo, played by former Anthrax guitarist Rob Caggiano reminded me of Anthrax‘s ‘Safe Home’ which is a song that I love so much I had it played at my wedding.

If you aren’t too familiar with them either, the simplified description you hear bandied about is that they are supposedly a mixture of Elvis, Johnny Cash, Danzig and Metallica. I mean, that is what people say but obviously the reality won’t be exactly what people say as it never is with these things, but that is the kind of thing people say about them and gets you in the right head-space of roughly what to expect.

This is my first Volbeat album; and normally before reviewing a record I’d know a lot more about the band first, have a lot more research, know more of the discography, but I have been absolutely hammering this every day all month, and I can’t really wait to spooge my approval of it all over the internet.

Now; because I have some kind of obsession with ‘Lola Montez’ as you can guess from the above anecdote, I keep starting the album at track 9, as if that is the beginning. The song, a summery and anthemic Hard Rock tune about a historical dancer and her famed ‘spider dance;’ begins with some gentle chugging and a very melodic lead vocal. Any time I hear it I am instantly transported back to that field at Donnington. I find myself loudly singing ‘the love of your life, yeah-eah eah’ and ‘Lola’s spider daaaaaaa-aaaa-ance’ in the car every single time.

That is followed by ‘Black Bart’ which by contrast is almost a Speed Metal tune. It has the same talented melodic vocals but the guitar and drums are significantly stylistically different.

Speaking of different, this is again followed up with ‘Lonesome Rider’ which has a sort of country or rockabilly feel to it.There are guest vocals from Sarah Blackwood who gives it an even more country twang. Normally, I don’t like too much novelty in my music. Recently, bands like Ghost have helped me loosen up a bit and with how well Volbeat blend all their disparae styles it doesn’t feel like a novelty but just a fresh combination of elements.

The legendary King Diamond, who I’ve grown more accustomed to over the year since getting the boxset of his first five albums, shows up on the tack ‘Room 24’ as another guest star. The track is actually written in a style suitable for him and has the band playing darker, heavier and more bombastic stuff to fit in with the King’s unique style.

Other highlights include the enormously catchy groove metal song ‘Dead But Rising’ and the very stadium sized, Avenged Sevenfold-esque ‘The Nameless.’ (When he says ‘Six feet under and still alert,’ I get real Matt Shadows vibes).

It is a very varied album. It is a very interesting album and it is a very fun album. It is the kind of album you can listen to all the way through over and over again. It is remarkably polished and well produced. It is full of more hooks than a fisherman’s equipment store and it has some intriguing lyrics about genuine historicalcharacthers that may lead you on to further reading.

I can’t tell you how it compares to other Volbeat albums. Maybe it is their best, maybe it is their worst. I’ve got more coming my way in the future so I am happy to find out, but let me tell you this, as a first Volbeat album it is an absolute winner and it has totally sold me on this band hard. ‘Lola Montez’ is absolutely my song of the summer. If you don’t know them, I highly recommend you check them out. Maybe a bit of whoa-lbeat is just whats been missing in your music collection.

Thrash Metal Thoughts

Thrash Metal Thoughts: I enjoyed writing my previous post, Hair Metal Thoughts, and felt I could apply that same shell to another subgenre. What better subgenre than my favourite? The one I’ve been into the longest, the one I identify with the most, the one I talk about the most.

Some of the thoughts here may contradict previous reviews but its just what I was feeling at the time of writing. Its not a set of reviews as much as a quick new appraisal. Its just some Thrash Metal Thoughts.

 

Annihilator:

Annihilator – Alice In Hell (1989).
Its very difficult to choose an absolute favourite Thrash album, or make a compelling case for the best one of all time, there’s just so many and so many different takes on it. Some are raw and punky, some are traditional, some are brutal and extreme, some are progressive. Some take on political and social lyrical matter and some are sword and sorcery fantasy based. However; for me an undeniable top 5 contender has to be Alice In Hell; one of and possibly the greatest moments in 1980s Heavy Metal all around and in Thrash specifically way up there. I wouldn’t say its a mixture of all the kinds of Thrash, there’s no proto-Black Metal like early Sodom and no one could mistake it for a lost NWOBHM album like Overkill’s debut, but it does cover a heck of a lot of ground.
On top of all of that, its just got that x-factor. That undefinable greatness, those riffs, those drums, those vocals are all just miles ahead of most of the competition. This is Master Of Puppets levels stuff here. Maybe at times the lyrics and the brief moments of silliness let it down, arguably, but overall this is inches away from perfection.

Favourite Songs: ‘WTYD,’ ‘Wicked Mystic’ & ‘World Salad.’
Not For Me: Nothing really, its pretty consistent.

 

Annihilator – Never Neverland (1990).
Well, everything I said about Alice In Hell applies here. They’re sort of twin albums, equally fabulous. The new vocalist on this album sounds a bit like Phil Anselmo at times (only a little bit) and some of the more midpaced songs have a certain groove metal swagger, which lends itself well to the Annihilator sound. The rest is the absolute definition of well designed Thrash, and if you have never heard this album make doing so a high priority because you’re seriously missing out.

Favourite Songs: ‘Road To Ruin,’ ‘StoneWall’ & ‘I Am In Command.’
Not For Me: ‘Kraf Dinner’ – I don’t like it when they do jokey bits.

 

Annihilator – Set The World On Fire (1993).
Another album, another line-up change. Hey, Mike Magini the future Dream Theater guy is here! That’s reason enough for people to come back and check this out. Some fans called this album a bit of a sell out, partly because it had a ballad, and partly because the main music had less speed and heaviness more of the time. In all fairness though, they replaced it with Van Halen style fun (‘Don’t Bother Me’ anyone?) and never dipped in quality so I think that’s a very big overreaction. I’m very fond of this album and would defend it to anyone who had bad words for it, that’s for sure.
Also, I have to say ‘Knight Jumps Queen’ has arguably the most fun chorus riff in all of Thrash, next to maybe Exodus’ ‘Brain Dead.’

Favourite Songs: ‘Knight Jumps Queen,’ ‘No Zone’ & ‘Sounds Good To Me.’
Not For Me: Nothing really, its pretty consistent. I don’t like the jokey bits in ‘Brain Dance’ but otherwise the song is badass.

 

Anthrax:

Anthrax – Fistful Of Metal (1984).
I got into Anthrax through the John Bush era live album Music Of Mass Destruction, so when I got this I thought I didn’t like it for a long time. I wasn’t keen on Neil Turban’s vocals, or the very non-Anthraxy songs. I was very predisposed to liking it because it had Dan Lilker on it and I was super into Nuclear Assault, but this wasn’t doing it for me at the time. Nowadays, after having heard a lot more NWOBHM and early Heavy Metal this record has really grown on me.

If you’re in the mood for that Scott-Ian’s-Wrist style of riffing, y’know that Iconing style that makes Anthrax Anthrax, then look elsewhere, but just because its different doesn’t mean its not good. Also, fun memory, for a long time the local independent music shop in my small Irish town in the late 90s/early noughties had just three lonely guitar tablature books, one of which was Ratt’s Invasion Of Your Privacy, and Anthrax’s Fistful Of Metal… what a) An Odd Pair b) a weird pair for the times when both bands were very uncool c) weird album covers for big glossy books all alone in a sea of generic Irish traditional music books with generic white covers and plain black text.

Favourite Songs: ‘Across The River,’ ‘Death Rider’ & ‘Metal Thrashing Mad.’
Not For Me: Nothing really, its pretty consistent. I don’t feel like the ‘I’m Eighteen’ cover fits, and I’d prefer if it was on Killer Bs instead, but I love it in and of itself.

 

Anthrax – .Spreading The Disease (1985).
This is probably my favourite Anthrax album. I have a Vinyl copy on my wall as decoration. Its the first Anthrax album that really has that definite Anthrax feel. Its very unique among all other Thrash bands, and nothing really sounds anything quite like it. I think its got the catchiest choruses and its varied and a heck of a lot of fun. There’s not a wasted moment and its all very charming and interesting. I don’t know what part is due to Franky Bello and Joey Belladonna coming on board, and what part is confidence and experience, or indeed what’s just sheer luck, but this was a big stylistic shift and quality skyrocket. I also think this is the best vocal performance on any Anthrax album. Also, ‘Gung Ho’ really shows off the band at their Thrashiest…its their equivalent of Fight Fire With Fire in the justification-showpiece stakes. A ‘See Slayer fans, other bands can be fast too,’ sort of thing.

Favourite Songs: ‘Lone Justice,’ ‘AIR’ & ‘Medusa.’
Not For Me: Nothing really, its pretty perfect.

 

Anthrax – Among The Living (1987).
Arguably the best Anthrax album, with the most hits, the most concert favourites and arguably the best production job. I love the songwriting on this one, so many catchy choruses, so many great guitar solos, such good drumming and singing, its easy to see why this is most people’s favourite Anthrax album. Its difficult to think of anything new to say on such a beloved and much discussed album, up there with the very best of the genre, along with your Reign In Blood, Master Of Puppets and Rust In Peace crowd. Sometimes I feel difficult describing the most famous album as my favourite, a hold-over from stupid teen days, but in this case it really is a very close toss up between Spreading The Disease and this one. For a while, Anthrax was my absolute favourite band so those two would be among my undisputed all time favourites, of any subgenre.

Sidenote… how much does it suck this wasn’t 1986…then it would be in the gang with Puppets, Peace Sells and Reign In Blood as the 1986 Thrash Masterpieces club. Shall we all just pretend it was ’86?

Favourite Songs: ‘Imitation Of Life,’ ‘One World,’ ‘Indians,’ ‘Caught In A Mosh’ & ‘I Am The Law.’
Not For Me: Nothing at all, it is perfect.

 

Anthrax – State Of Euphoria (1988).
Some people don’t like this album and I really don’t see why. There’s not one song on this album that wouldn’t sound good in concert or on a compilation. I think maybe all together they might cause the attention to drift or something? I love it. I wish they’d play more from it live, especially the second half. Its very overlooked. Solos, production and vocals are all roughly equal to the last album, although the only noticeable difference is that the songwriting is less succinct.
I have the same problem with Anthrax as with Guns N Roses… there are so many amazing originals and they play three or four covers live instead? Covers get on the best-ofs instead? Well; whatever floats your boat but I’d rather hear ‘Who Cares Wins’ or ‘Right Next Door To Hell’ anytime than ‘Antisocial’ or ‘Live And Let Die.’ The album artwork is a bit ugly, but clever on a spinning disc I guess.

Favourite Songs: ‘Finale,’ ‘Schism’ & ‘Be All End All.’
Not For Me: ’13.’ I don’t feel like the ‘Antisocial’ cover fits, and I’d prefer if it was on Killer Bs instead, but I love it in and of itself. Its so Anthrax though. Its so them I can hardly believe its a cover. Its actually one of the best songs on the album too, its just not in the same spirit of the rest of the record.

 

Anthrax – Persistence Of Time (1990).
For a long time, this was my favourite Anthrax album. Over the years I’ve grown to think the first too songs while good, are overlong and slightly repetitive, and that Belly Of The Beast could do without the extra intro. Otherwise, what’s not to love about this album? Some of Anthrax’s finest ever work. I can’t tell you how much I loved ‘One Man Stands’ as a teenager, and ‘Belly Of The Beast’ would be in my top-ten thrash songs of all time, it just works so well, I love the version on Music Of Mass Destruction especially, with its extra drum flourishes and John Bush’s beefier vocal style. The artwork is cool and the coolest thing in Anthrax’s history is the stage-show from this tour with the clocks and backdrop of this album art.

Favourite Songs: ‘Belly Of The Beast,’ ‘One Man Stands’ & ‘Keep It In The Family.’
Not For Me: Nothing really, although some of the longer songs could do with a bit of either trimming or variation. Once again; surprise surprise, I don’t feel like the ‘Got The Time’ cover fits, and I’d prefer if it was on Killer Bs instead, but as with the previously mentioned ‘Antisocial’ I like it in and of itself and feel like so Anthrax-sounding that I can hardly believe its a cover. Both those songs are like greatest hits of the band, which rankles a little tiny bit because your hits should be your own songs, and as I mentioned before, part of what irritates me about Guns N Roses, but objectively they are great.

 

Anthrax – Live: The Island Years (1994; Recorded ’91/’92).
This album covers that aforementioned incredibly cool period. Its actually from two different shows, the radio show and the concert video. Its got a pretty great version of Bring The Noise which is different from the studio version, and quite interesting. Its not the greatest production job but then not poor either, way better than say, Nuclear Assault’s live stuff, but not as great as Annihilator’s.
Its got a pretty strong tracklisting and I wish they had marketed this differently because it feels like a real throw-away cash-in sort of thing (because of record label issues and cheapo packaging) but the actual product is actually way better than it feels like anyone gave it credit for.

 

Cacophony:

Cacophony – Speed Metal Symphony (1987).
I wanted this album (and the other Cacophony studio album) for about a decade before I finally got around to it. Everybody knows this is what Marty Friedman was up to pre-Megadeth and that is definitely worth checking out in my book. I finally picked up a copy in like, 2013 or something and have been listening to it fairly regularly ever since, going in between liking it and not liking it but listening to it a lot to feel like I didn’t waste my money. I don’t think its as fast or heavy as I’d like, nor as succinct and compact. Its really musically impressive but not all that catchy or fun and the vocals aren’t top-tier. All that sounds like heavy criticism, but I guess I just focused on the negatives there, because it really is a rather fantastic album and I don’t want to sound like its bad… its just not as great as the more famous albums in this article. I’d take it over an Atrophy or Morbid Saint album, sure, but not over an Overkill or Metallica album if you know what I mean. Its the best of the c-list, and just because it isn’t in the big leagues doesn’t mean it isn’t good. Probably too, if I’d have bought it earlier I’d be closer to it. Sometimes the stuff you get in your early teens sticks with you the longest (although in fairness, I’m a lot closer to C.O.C and Helloween from my twenties than stuff like Spineshank and Ill Nino I bought in my early teens).

Favourite Songs: ‘Desert Island,’ & ‘Concerto.’
Not For Me: ‘Speed Metal Symphony.’

 

 

Dark Angel:

Dark Angel – Darkness Descends (1986).
I think, if I’m not mistaken, this is one of the most recent Thrash albums I bought (in the same order as Overkill’s Horrorcope, I think, about a year ago this month). Its fast, ugly and brutal. Its a kind of spiritual brother to Pleasure To Kill and famous to fans of the heavier stuff, influential to more extreme bands and it brought Genre Hoglan to fame. Its production is a bit rough and its just a wee tad too extreme at times for me to absolutely love it but I have to say, I like it a lot better than I expected. I’ve listened to Leave Scars and Time Does Not Heal on Spotify recently and they totally nail what I wanted from Dark Angel, so that’s the next two on my to-buy list (only about a decade and a half after I originally wanted to get em). If you are a Black Metal fan working backwards from Emperor to Hellhammer to Sodom, then this might be another one to check out. Otherwise, don’t check this out until you’re already fairly familiar with Annihilator, Exodus and Testament first.

Favourite Songs: Nothing stands out
Not For Me: Nothing stands out.

 

 

Death Angel:

Death Angel – The Ultra Violence (1987).
The band’s most straight-forward and normal album, recorded at a young age yeah-yeah, but just as professional as any of the competition. Forget about the demographics and listen to the music…
I feel like all anyone ever talks about this band is the Kirk Hammet connection or the family aspect or the age but never just how impressive that instrumental is, or how satisfying tunes like ‘Evil Priest’ and ‘Thrashers’ are. There’s some great soloing, some serious speed and energy and a real ‘spirit’ to the performances. Arguably its not always super memorable and a harsher critic than me might call it generic if they were feeling unkind, but all that would be sorted out on future records.

Favourite Songs: ‘Thrashers,’ ‘IPFS’ & ‘The Ultra Violence.’
Not For Me: Nothing really, its pretty consistent, but some tracks are a bit overlong.

 

Death Angel – Frolic Through The Park (1988).
A halfway point between where the band came from and where they were about to go, this is the experimental first steps into transitioning between pure straight traditional Thrash and the more dynamic, progressive, technical stuff on the subsequent album… Frolic Through The Park can come off as a bit more jarring, wacky and odd than Act III as they hadn’t utterly nailed transitions and smoothed everything down to perfection yet, but its undeniably good in and of itself and without the Act III context is a fine album on its own, a strange follow-up to The Ultra Violence sure, but a good one. People at the time must’ve been baffled, but baffled with a touch of excitement.
I’ll confess I don’t listen to this one as much as the other two nowadays, because when I want the glory and perfection I go for Act III and when I want the purity and simplicity I go towards The Ultra Violence so this falls behind a little bit… but I’d still recommend people check it out. Overshadowed, justly, but it need not be ignored, there’s some killer stuff on here that would be a shame to miss out on.

Favourite Songs: ‘Why Do You Do This,’ & ‘Bored.’
Not For Me: The cover of ‘Cold Gin’ doesn’t really fit.

 

Death Angel – Act III (1990).
The undisputed diamond in the crown, this album is a masterpiece for the genre and one of the most interesting, entertaining and well-written albums the genre has to offer with heaps of innovation, but never sounding gimmicky or losing its Thrashiness. On top of that, its simply the best set of choruses and solos the band have ever come up with, and the acoustic tracks are some of the best and least forced-sounding in the genre. If you only get one Death Angel album, this is the smart choice.

Favourite Songs: ‘Ex-TC,’ ‘Disturbing The Peace’ & ‘Veil Of Decption.’
Not For Me: Nothing really, its pretty consistent.

 

 

Exhorder:

Exhorder – Slaughter In The Vatican (1990).
Everyone tells you the same thing… this is where Pantera stole their sound from, Phil used to roadie for em. Then you go and check it out and it sounds nothing like Pantera and that’s usually the end of it. There’s a lot more to the band that just that, but its all so ‘almost.’ Their brutal production style is almost awesome, their singer is almost awesome. The songs are almost as good as Slayer’s fast stuff. I could go on but the main thing is its just a bit forgettable and I listen to it a lot to try and not feel like I’m only in it for the cheap Pantera connection, and at the time I may even enjoy it, but a day later, could I hum you even one chorus? Could I bollocks.

Favourite Songs: Nothing Stands Out.
Not For Me: Nothing Stands Out.

 

Exhorder – The Law (1992).
A much better album, with much more memorable songs. A huge improvement in vocals, riffs, songwriting, production, performance, the works. If they had have continued on this tack they might’ve ended up like Sepultura and Machine Head did in the mid-90s. Ugly artwork, but hey, artwork’s not that important anyway. Not as important as some of those awesome screams, or the interesting funky bass. Funk in Metal was a bit of a novelty, see Death Angel, and a few quick seconds of it without being goofy is just the ticket. If I want some Exhorder, my go-to choice is side-A of this album. Check it out if you’re interested in the band.

Favourite Songs: ‘Un-Born Again,’ ‘Soul Search Me’ & ‘The Truth.’
Not For Me: ‘(Cadence Of) The Dirge’ and the ‘Into The Void’ cover.

 

 

Exodus:

Exodus – Bonded By Blood (1985).
I’ve never heard an album so simultaneously over and underrated at the same time, nor have I ever flipflopped so much between liking and disliking something. Its been mostly liking in the last ten years to be fair though. I’ve got to say though, the title track is so insanely, monumentally good that the whole rest of the album just drastically pales in comparison. Like, the tile track is unquestionably on of the band’s, subgenre’s and even overall genre’s finest hours. That chorus. That chorus just does something to me. I know there’s some great moments on the rest of the record, like the acoustic guitar bit, or the aggression, or the little lead lines, but its otherwise all so c-lister compared to that absolute world class title track. I also, contrary to popular opinion really don’t think Paul Baloff is any good. I get that he was fun as a person in San Fransisco in the 80s and there’s lots of fond memories but musically, my ears just don’t gel with him. Zetro is so much better for me that its almost distracting thing about it. I like tracks from this live with Zetro. I like tracks from this live with Rob Dukes. But I don’t love it the way magazines and websites seem to say I should. Apart from the title track. Frig me, that title track is so good!

Favourite Songs: ‘Bonded By Blood,’ & ‘A Lesson In Violence.’
Not For Me: Nothing really, but sometimes I’ll take a notion for a while that I don’t like ‘Piranah’ or ‘Strike Of The Beast’ or ‘Exodus’ but at other times I love them, so its hard to give a straight answer.

 

Exodus – Pleasures Of The Flesh (1987).
This is what I’m talking about! This is why Exodus are so important to me. This is what’s great about Bay Area Thrash. I mean, the catchiness, the power, the musicianship. Sure the album art isn’t good, and yeah, fan favourite Paul Baloff is gone, but how could you argue with these songs?

The production is also a lot less reverby than the debut. The lyrics are more interesting. The solos are more musical and damn, there’s some fuuuuun riffs. I think the difference is that this album is fun and only the title track of the previous one is fun. So, if you’re more into extremity it’d be better but if you’d rather hear Among The Living than In The Sign Of Evil, then this is more suitable.

Favourite Songs: ‘Brain Dead,’ ‘Seeds Of Hate’ & ‘Chemi-kill.’ (Three of the best
Thrash songs ever, ever written).
Not For Me: I hate the intro to Deranged, the bit about the salad, and some of the lyrics, but the song is decent. I think the title track is a bit overlong or needs more variety, and also it should be the album closer not just halfway through. Why don’t Thrash bands end with the epic as much? Most don’t actually close with the logical climax.

 

Exodus – Fabulous Disaster (1989).
The best Exodus album in my eyes. The closest they ever came to absolute perfection. The most memorable songs. The most varied material. The finest performances and of all the early albums the best production and songwriting. Admittedly, the lyrics can be a bit dodgy at times, like the fun bit in that documentary where they’re joking about the difference between ‘Athlete’ and ‘Ath-a-leet,’ or the line ‘devastating plaster’ but I can overlook that when the songs are so good.

The title track is one of the absolute definitions of Thrash Metal for me. Also how heavy is that opening track? The guitar tone is so biting its crazy.

 

Favourite Songs: ‘Fabulous Disaster,’ ‘The Toxic Waltz ‘Verbal Razors’ & ‘Corruption.’
Not For Me: ‘Cajun Hell’ is a bit weird, but still good. ‘Like Father Like Son’ is clearly better as the closer, Thrash bands should do that more. What I actually dislike though is the ‘low Rider’ cover, seems so out of place and out of character and doesn’t fit and partially derails the momentum.

 

Exodus – Impact Is Imminent (1990).
Almost as good as the previous few and nowhere near as bad as the weird ‘its disappointing’ reputation it has for some reason…similar to Testament’s Souls Of Black in that respect. I hate the album artwork, but again, not that important. I think the only problem musically with this one is that the songs might be a bit overlong. That and how do you compare to the amazing Fabulous Disaster material?

Special shout out to the guitar solo on ‘Within The Walls Of Chaos’ …odd tone, really makes the song.

Favourite Songs: ‘Impact Is Imminent,’ ‘Thrash Under Pressure’ & ‘Only Death Decides.’
Not For Me: Nothing really, its pretty consistent.

 

Exodus – Good Friendly Violent Fun (1991; but recorded 1989).
I only bought this one recently because its only got eight songs, one of which is an AC/DC cover, and it has really ugly artwork and I used to be more shallow. I’m glad I’ve finally taken the chance though, this is a pretty great little live album. I think the tracklist is awesome, and all that’s really missing for such a brief album would be ‘Bonded By Blood.’ Its great to have so many of my absolute favourites in one set though. Its a pretty stunning collection to be honest. The production and performances are pretty decent too, nothing to complain about. I’m not so used to this yet that I can really think of much more to say. Its good and I’d recommend it. Is that enough?

 

Forbidden:

Forbidden – Forbidden Evil (1988).
The best album artwork of the 80s? The best vocal performance outside of the big-four? The best songs of Forbidden ever wrote?
Yes, Yes and Yes. Man, I’d love to have a copy of that on my wall.
You might’ve noticed I really enjoy solos and catchy choruses so this one is pretty much guaranteed to be one of my favourites. There’s such great razor sharp riffs, such fantastic drums (I think I originally bought it to get more Paul Bostaph drums since I have a bit of a drummer crush on him…those fills!). I guess there might be a wee bit of filler, but at least three-quarters of this record is best-album-of-the-subgenre quality stuff.
I have so many fond memories of school trips and stuff listening to this. Great, great album. If you don’t own it, fix that!

Favourite Songs: ‘Forbidden Evil,’ ‘March Into Fire’ & ‘Chalice Of Blood.’
Not For Me: Sometimes, but not always, I get a bit of a thing against ‘Off The Edge.’

 

Forbidden – Twisted Into Form (1990).
Its more progressive than the debut, but less slow and groove orientated than the next two. Its not just as world-class as the debut but it is very strong for a second-waver (man, I always remember this one line in a magazine that said ‘Forbidden never amounted to a hill of beans in the UK’ and when I listen to this or the debut I really wonder why). I always feel the need to throw Forbidden’s name in with Exodus and Testament, because it really belongs there… even if the charts at the time didn’t work out that way. Okay, side A is defiantly a little stronger than side b, but its still a great album.

Favourite Songs: ‘Out Of Body (Out Of Mind)’ & ‘Twisted Into Form.’
Not For Me: Nothing really, its pretty consistent.

 

Heathen:

Heathen – Breaking The Silence (1987).
This album came free on their website for a while. I really like it, but I always feel like I don’t really own it because it was free. Even after having it for years and years. Anytime I’m in a Thrash mood I break some of this out and I always enjoy it, but I still don’t feel like I can really accept it, because I don’t have a physical copy. Its weird. I’m weird. Whatever. When I’m not being a bit mental, this is a very good album. Not quite in the league of Testament, Exodus and Forbidden but still yet another example of great Bay Area Thrash with a high singer. The Sweet cover of ‘Set Me Free’ is even better than Saxon’s cover of it too, that’s worth mentioning. Usually, I think a cover can throw off a Thrash album but here it really works.

Favourite Songs: ‘Death By Hanging’ & ‘Pray For Death.’
Not For Me: Nothing really, its pretty consistent.

 

Heathen – Victims Of Deception (1991).
A very different musical direction. Much more technical, lengthy and elaborate. The guitar work is amazing. I love it on the one hand, but if I’m not in the right mood I’d argue it could use a few more fast songs…arguably against the point of the album in the first place but sometimes I’m in weird moods.

On the previous album, the cover really worked, but I guess the Kill The King doesn’t necessarily meet the proggy vibe here. I can’t decide if it throws me off or not. Its so good, but I guess it isn’t the right fit. I can’t decide.

I used to think that there was a different singer but I just didn’t know the singer changed his surname from Godfrey to White. I also didn’t know until researching this article that Paul Baloff was briefly in the band. I guess that makes the fact that Lee Atlus is in Exodus nowadays even more logical.

Favourite Songs: ‘Prisoners Of Fate,’ & ‘Guitarmony.’
Not For Me: Nothing really, but some of ’em could use a trim.

 
Kreator:

Kreator – Endless Pain (1985).
This album isn’t one you ever hear people talk about all that often. Its almost as if Pleasure To Kill was the debut. This one is a bit slower, a bit less extreme, a bit more reverby. A bit more simplistic. A bit more samey. A bit less professional. Its not like, a joke or something, but its not Master Of Puppets either. Much, much better than Sodom’s debut though, if you want a comparison.

Favourite Songs: ‘Dying Victims,’ ‘Cry War’ & ‘Tormentor.’
Not For Me: Nothing stands out, but its all a bit too rough and dull.

 

Kreator – Pleasure To Kill (1986).
This album is deceptive. With its reputation and its ferociously aggressive first two songs you’d be forgiven for thinking this was just a brutal nasty selection of unpleasant harsh bashing. There’s a surprising amount of complexity, depth and musicianship though. Its not mindless hammering, its much more sophisticated than that. And when they slow down there’s some serious groovy riffs and memorable moments. I know the exciting story is about the speed and savagery (and of that there is no shortage) but there’s so much more to this record than that, if you take even half a second to look deeper. I think I first gave it a second chance when I heard Napalm Death’s cover of ‘Riot Of Violence’ and saw what it had to offer.

Favourite Songs: ‘Pleasure To Kill,’ ‘Riot Of Violence’ & ‘The Pestilence.’
Not For Me: Nothing really, its pretty consistent.

 

Kreator – Terrible Certainty (1987).
This is a much more focused and well-formed version of Pleasure To Kill. It takes the different song-types of that album and makes every track here a mixture of them all. Its still got that nasty tinge to it, that bit heavier and harsher than the yankee Thrashers… but there’s a good quarter of this album wouldn’t sound weird on Among The Living or The American Way either, if you know where to look. Yeah, its a bit slower and a bit more mature, but so was Seasons In The Abyss, and we all know how good that was. This feels equivelant.

Favourite Songs: ‘Terrible Certainty,’ & ‘Toxic Trace.’
Not For Me: Nothing really, its pretty consistent.

 

Kreator – Extreme Aggression (1989).
Most people will tell you this is the best Kreator album and I have no problems with that state of affairs. I think this should be people’s introduction to the band. If you haven’t heard the band before, try this one on for size before anything else. I think this is the best distillation of their essence without being too experimental or too brutal or out of ideas or anything else. This is the core Kreator. This album is Kreator to me.

Favourite Songs: ‘Stream Of Consciousness,’ ‘Betrayer’ & ‘Fatal Energy.’
Not For Me: Nothing really, its pretty consistent.

 

Kreator – Coma Of Souls (1990).
I think this is my favourite Kreator album. It definitely has my favourite two Kreator songs on it (Coma Of Souls and People Of The Lie…the catchiest two songs the band ever wrote) so that’s a big point in its favour. Its also slightly less harsh and nasty than the earlier ones. Some people say its a bit of a let down after Extreme Aggression but I don’t hear that at all. I think this takes what that built and does it even better. Admittedly, nothing on it is as good as those aforementioned two god-tier tracks, but that would be a big ask. Its consistent, perfectly produced, challenging yet not boring and has the perfect mix of heaviness with pleasantness. If Mille had’ve tried being a bit more melodic on the vocals I’m sure this album could’ve really sold crazy well. As it stands its the perfect ending to the early days.

Favourite Songs: ‘Coma Of Souls,’ ‘People Of The Lie’ & ‘Terror Zone.’
Not For Me: Nothing really, its pretty consistent.

 

 

Megadeath:

Megadeath – Killing Is My Business (1985).
A lot rougher, a lot rawer and with the fun ‘we blew the budget on drugs’ story, Killing’ is the interesting moment in the catalogue. Weird thumpy tom sounds and reverby drawn back vocals just add to the experience. Sure its ugly, but its good-ugly. If people can listen to Burzum or Crass or early Carcass then this is Dark Side Of The Moon by comparison anyway. These songs are a great deal of fun too, I wish they’d play a lot more from this live… especially the Title Track. It feels like an absolute Megadeth anthem and I’d never make any compliation or playlist without it. It feels like the Death Rider or Metal Thrashing Mad of the piece y’know. The Running Free or Iron Maiden of the album. The one that transcends. That place goes to Mechanix and justly so, but I feel like the title track is just as good and deserves more recognition.

Favourite Songs: ‘Killing Is My Business,’ ‘Rattlehead’ & ‘The Mechanix.’
Not For Me: Nothing really, its pretty consistent.

 

Megadeath – Peace Sells But Who’s Buying (1986).
If you lose the novelty cover, then this is utterly perfect. I mean, the title track is one of the most important songs in Metal history, for a start off. Then you’ve got the likes of ‘Wake Up Dead’ and ‘Devil’s Island’ with their just other-worldly catchiness. Then you’ve got the variety of Good Mourning and The Counjuring. You’ve got that utterly charming dry production. I mean, do I need to say more. Its peace flipping sells for goodness sake. If you don’t like it you should probably stop reading this.

Favourite Songs: ‘My Last Words,’ ‘Devils Island’ ‘Peace Sells’ & ‘Wake Up Dead.’
Not For Me: ‘I Aint Superstitious’ – Save it for a B-Side.

 

 

Megadeath – So Far So Good So What (1988).
I think this one is my favourite Megadeth album. If it had a slightly better production, an Ed Repka sleeve and it ditched the cover tune, I’m sure it would get the same treatment its successor and predecessor do. Such things oughtn’t concern us though, when the album has In My Darkest Hour on it, should it?

And hey, he said the word ‘Megadeth’ there …that’s worth some points, no?

Ok. I know not everyone is convinced and maybe it is going to feel overlooked forever, especially with the less-famous line-up, but just because its a bit rough around the ages, doesn’t mean its not fantastic fun, musically strong and full of damn memorable material.

Favourite Songs: ‘Set The World Afire,’ ‘Liar’ & ‘Hook In Mouth.’
Not For Me: The intro to ‘Mary Jane’ but not the rest of it. The ‘pull over shithead’ line in the otherwise perfect ‘502’ and the bloody Sex Pistols cover, save that for a B-Side.

 

Megadeath – Rust In Peace (1990).
The title track to this one speaks to me on some near-religious level and can conjure in me feelings almost nothing else can. It is one of the most compelling reasons to enjoy Thrash Metal that I can name. Then you have all the concert favourites, Tornado Of Souls, Hangar 18, Holy Wars. Then you have those awesome deep cuts like Take No Prisoners and Five Magics.

Then the artwork, the beautiful, beautiful artwork. Then the super clean production. Then the damn guitars, I mean seriously, those guitars! I’m struggling to think of an album on this list that can even compete.

For a few years I didn’t realise how much everyone loved this. I thought it was all about Peace Sells and Countdown To Extinction. Good to see nowadays you cannot attend a single Metal gig without seeing or hearing something to do with Rust In Peace. That feels like justice somehow.

Favourite Songs: ‘Rust In Peace …Polaris,’ ‘Take No Prisoners’ & ‘Holy Wars.’
Not For Me: ‘Dawn Patrol’ – I almost always skip it. It reminds me of subterranean mole people.
Metallica:

Metallica – Kill Em All (1983).
It took me a long, long, loooong time to like this and about a decade more to really get it. Even with all the articles and documentaries, I don’t think it was until 2014 when I started looking into Angel Witch and Diamond Head and Motorhead and the like that this finally totally clicked. I remember it finally growing on me in about 2005, but not quite this much. Nowdays I’m very keen on this and its one of my go-to Thrash choices, I guess because Metallica are always so much more and so much bigger and farther ahead of the pack that sometimes you almost forget about them as a Thrash band and they are their own Zeppelin-esque superstar law unto themselves…. but this one still has that teenager in a leather jacket in the garage vibe. I know I’ve seen tracks from this at WCW events or live on million dollar productions, but the actual album versions still feel human, achievable, ahead of the times sure but at least within reach of us mere mortals.

Favourite Songs: ‘Hit The Lights,’ ‘Whiplash’ ‘No Remorse’ & ‘Seek & Destroy.’
Not For Me: I know its controversial, but I hate that flow-killing bass solo. Yes Cliff Burton was good but that solo in the middle of a Thrash album just flat out disrupts everything. Also, sometimes if I’m not in the mood ‘Motorbreath’ and ‘Jump In The Fire’ feel a little half-baked, although most times they’re just charming. One thing that sometimes happens to me though is that I feel weird about ‘The Four Horsemen’ … I actually heard ‘The Mechanix’ first and it was quite a while until I heard Metallica’s version and sometimes I just get that Mustaine “You can either hear it our way or their way” speech from Rude Awakening and it makes me feel oddly guilty. I also prefer Mustaine’s delivery of the chorus. That’s not a hipster trying to be cool thing though, its an actual preference.

 

Metallica – Ride The Lightening (1984).
The cool album to like. Justice and Puppets are so popular you can’t like them the best, the debut is the debut so you can’t look like a hipster, so the person of dedication has to logically choose Lightning. Y’know, if you’re mental and think of things in those terms. Or you could, y’know, love em all. Or like things because you like them and not because of what it represents.
Anyway, how heavy is Fight Fire With Fire? Heavier than the band’s usual. How catchy is ‘Bell Tolls? Very memorable indeed. How passionate and awesome is Fade To Black? You just can’t argue with that tune. How charming is that production? How cool is the idea behind the title track?
This is a perfect storm of x-factor. Its no surprise the band who made this record ended up as the entire genre’s biggest and most important band. How could they not?

Favourite Songs: ‘Fight Fire With Fire,’ ‘Ride The Lightening’ & ‘Creeping Death.’ (Three of the best Thrash songs ever, ever written)
Not For Me: Never been that into Ktulu, and chorus of ‘Escape.’

 

Metallica – Master Of Puppets (1986).
Do I even actually even have to type something here?
This is the business as long as you remember it is and don’t let it get outplayed or act like you’re too cool for it. There’s a reason so many lists have it as the finest anyone has ever written and I won’t insult you going over the reasons why. If you’re reading this, you’ve heard this, and you either agree that it is great or will already have been told you’re wrong before. No need for another voice in the choir. There’s a redundancy in telling the world’s fattest man that he’s fat, y’know, I think he’s heard it all before, and that’s what its like for Puppets.

Oh, and if you’re burnt out on Puppets or have gone cynical over time… if you haven’t actually listened to it in a while, just clear your schedule and drink it all in whilst acting as if you’re hearing it for the first time. It can really reignite it for you. Works for me when I forget every few years just how good it is.

Favourite Songs: ‘Battery,’ ‘Master Of Puppets’ (Two of the best Thrash songs ever, arguably THE best two) & ‘Damage Inc.’
Not For Me: I’m not as into ‘Orion’ as I think I should be.

 

Metallica – And Justice For All (1988).
I have so many fond, fond memories relating to this album. I can still remember the sofa I was sat on when I first ‘got’ this album after a few years as a Metallica skeptic (It was green & white checkered, and cloth rather than leather). I can remember the baddies from the videogame (Devil May Cry 2) I was killing at the time I first heard the chorus to ‘Eye Of The Beholder’ and finally totally accepted Metallica were just fundamentally better than all their competition. I remember trying to learn the awkward title track on drums. I remember singing Blackened at the top of my lungs with friends in the park one drunken teenage night, I remember seeing ‘Harvester Of Sorrow’ live in Dublin and feeling like I was in on some secret.

I never really had a problem with the production either. Maybe its because as a teenager my brother and I would play guitar and drums together often without a bassist and the lack of bass just doesn’t bother me as an individual? I love Hetfield’s voice here. I love the lyrics. I love the artwork. I love footage of this era. I love that anything this dense and challenging and proggy (and miles ahead of the competition) is so ubiquitous and necessary for every single Metal fan to hear. Ace Of Spades aint as Proggy as this, nor is Paranoid or Back In Black or British Steel …heck, even Number Of The Beast isn’t THIS dense or epic. Its amazing really that THIS is so popular, famous and beloved when you think about it.

Sometimes I think about Lulu or Beyond Magnetic or some of the more embarassing scenes from the excellent and underrated Some Kind Of Monster documentary and I forget that the band made this. Every time I come back and actually hear it, I’m slightly taken aback by just how good it is.

Favourite Songs: ‘Blackened,’ ‘…And Justice For All’ ‘The Shortest Straw’ & ‘Eye Of The Beholder.’
Not For Me: Not one second, it is perfect. Sometimes I fool myself into thinking I don’t like ‘One’ anymore because it is overplayed or like, because the Korn version doesn’t have a guitar solo, or something, but when I actually hear the actual studio version… especially the bits they cut out’ve the video version like the extra solos, well, its absolutely awesome and I think that the staccatto ‘LANDMINE. HAS TAKEN MY SIGHT. TAKEN MY SPEACH. TAKEN MY HEARING’ bit is one of the singular greatest bits of record music I’ve ever heard and I don’t mean that as hyperbole. It just really grabs me, so, so much.

 

[Side note, I know we aren’t supposed to count The Black Album because purists get so uppity about it; but ‘Holier Than Thou,’ ‘Don’t Tread On Me,’ ‘Trough The Never’ and ‘The Struggle Within’ are four of the best ever Thrash tunes and its madness if you rob yourself of them just to make a point.]

 

 

Nuclear Assault:

Nuclear Assault – Game Over (1986).
When you think about how un-heavy the guitar tone is (sounds like a 15 year old with a tiny clip-onto-the-belt novelty amplifier) and how love-it-or-hate-it the distinctive vocal style is, you may be forgiven for thinking at first glance that this is some poor, half-baked nonsense.

If that happens, persist, because I promise you this is actually one of the genre’s finest ever releases and easily up in the very top tier with any classic you care to name. This is absolutely essential for Thrash fans and I couldn’t recommend it any stronger. Like Thrash? Please, please try this.

Favourite Songs: ‘Sin,’ ‘Nuclear War’ & ‘Game Over.’
Not For Me: Nothing really, but I’m not always in the mood for ‘My America’ and ‘Hang The Pope’ …I get what they’re tryna do, but I have to be in the right mood. Same thing with ‘Lesbians’ from some versions.

 

Nuclear Assault – The Plauge (1987).
I got it free as bonus tracks to my Game Over and listened to that disc end to end constantly for a few years so the distinction between the two is sometimes lost on me and I may mis-attribute one song from one to the wrong one at times. Its great either way. Even if I sometimes forget its technically a separate release.

Favourite Songs: ‘Nightmares’ & ‘Justice.’
Not For Me: Sometimes I’m not in the mood for ‘Butt Fuck’ …I like the music but the comedy is just lame. I agree that drink driving and manslaughter are bad, but I’m not always in the mood for this.

 

Nuclear Assault – Survive (1988).
This is the second most I’ve ever paid for an album. I think the only time I ever paid more for anything was Powerman 5000’s Anyone For Doomsday which had literally been almost entirely recalled and destroyed by the record company, save for a few copies left for radio stations and magazines. Anyway, this was just out of print and not yet reissued and I couldn’t wait. I think I spent something stupid on it I’m embarrassed and too forgetful to list here.

Its got one of the best album artworks of all time (I wore a t-shirt of it quite often for a good few years and have a vinyl copy on my wall for decoration) and more importantly, the music is good. Its got the singles, the opening two being concert staples, the singles all being career highlights, and all the deep cuts being great. Apart from the token joke tracks and a stray Zeppelin cover this is pretty perfect and I’d highly highly recommend it. Especially now its been reissued.

Favourite Songs: ‘Survive,’ ‘Fight To Be Free’ & ‘F Sharp.’
Not For Me: It could do with trimming away ‘PSA,’ ‘Got Another Quarter’ and the Led Zeppelin cover. I guess you could argue that this is what gives it character though.

 

Nuclear Assault – Handle With Care (1989).
Which is the best Nuclear Assault album? You could honestly choose any of the first three and you’d be right either way. The debut had the charm, the sophomore has the songs and this one has the speed, power and musicianship. Which album should you try first? Do you want a mixture of Iron Maiden and DRI…go Game Over. Do you want a mixture of Anthrax and Sacred Reich…go Survive. Do you want a bit of Kreator meets SOD? Then this is for you.
Great lyrics too, on the non-joke songs.

Favourite Songs: ‘New Song,’ ‘Critical Mass’ & ‘Search & Seizure.’
Not For Me: ‘Funky Noise’ and ‘Mother’s Day’

 

Nuclear Assault – Out Of Order (1991).
Unfairly overlooked. Not just as amazing as the previous stuff but almost up there. Its highlights are very good. If just two more songs were amazing I think it would’ve titled the scales and public perception would be totally different. Also, such ugly, ugly artwork… but that’s not important. Also, the keys on the lengthy title track are a fun surprise that totally works and doesn’t feel gimmicky. A foreshadowing of Dream Theater?

Favourite Songs: ‘Quocustodiat,’ ‘Stop Wait Think’ & ‘Save The Planet.’
Not For Me: ‘Ballroom Blitz’ though excellent, doesn’t fit.

 

Nuclear Assault – Live At The Hammersmith Odeon (1992; Recorded 1989).
The artwork, packaging and production make this seem like cheap crap. I was so in love with the band at the time I had to get it, but every time I hear it I just feel like I wasted my money. I’m sure its better if you have the video with it, but on its own its just a bit poor. Not the best sound, not the best performance and not the best package containing those. Good tracklisting though. I feel bad disliking it… I feel like I SHOULD like it or at least lie about it or something, because the band feel like underdogs for some reason when they should be up there with Megadeth and Anthrax, but unfortuantely this specific product just isn’t their best.

 

 

Onslaught:

Onslaught – The Force (1986).
I bought this to try some British thrash for once. Its pretty much taking the Slayer track ‘Chemical Warfare’ and stretching it out to a whole album, complete with reverby toms. The vocals aren’t the best, the songs aren’t super memorable and the song lengths are a bit too long for the amount of ideas, but it is pretty decent. A solid album but never an amazing one.

Annoyingly, when I was in a band once I lent one of the members this when in the car on the way to a Gama Bomb gig, and the band broke up before I got it back…but small price to pay for a free gig I guess.

Favourite Songs: ‘Thrash Till Death’ & ‘Metal Forces’
Not For Me: Nothing really, but its all a bit overlong, grimy, and rough.

 

 

Overkill:

Overkill – Feel The Fire (1985).
It sounds a bit more ’83 than ’85, and there’s a few noticeable playing mistakes that made the final recording, its a bit of an influences-on-the-sleeve affair and the filler isn’t up to the standards of the best moments. That said. That said I say, this is amazing. The real highlights of the title-track and band’s-name-track are an absolute win for the band, and of the absolute utmost quality. Live, there’s almost nothing off this album that wouldn’t put a smile on my face. Its such a strange mixture of Priest/Maiden worship, punky rough and ready charm and theatrical drama, but when it all converges it births the Overkill sound and just really really works.

Favourite Songs: ‘Feel The Fire,’ ”Overkill & ‘Rotten To The Core.’
Not For Me: Nothing really, but the drums on ‘Raise The Dead’ seem out of time at times.

 

Overkill – Taking Over (1987).
This is pretty much a perfect album. Its the perfect Heavy Metal album. If someone had to show an alien or a lost jungle tribesman who’d never heard of Metal and had no idea of any preconceived notions about the music or culture at all… this is what I’d give em to succinctly deliver the pure heart of metal. This is the album Anvil and Metal Church wanted to make but didn’t quite achieve.

Favourite Songs: ‘In Union We Stand,’ (better than any of Priest or Manowar’s anthems) ‘Deny The Cross’ & ‘Wrecking Crew.’
Not For Me: Nothing really, its pretty consistent. ‘Overkill II’ doesn’t have the same fun as the first one, I guess, but that’s just nitpicking.

 

Overkill – Under The Influence (1988).
I like this, and the single ‘Hello From The Gutter’ is great fun, but of the early material this one is the one I listen to or indeed like the least. I have nothing negative to say about it, but for some reason it just isn’t as good as the other four of the early five. Its well produced, chocked full of character, its got variety, its got heaviness, its got no weak moments…. but something just doesn’t sit right with me and I just don’t connect with it the same. No idea why. Maybe I’m just being weird?  I also kinda think Bobby’s vocals get a bit to cartoony on this album, maybe that’s it? I’m not sure.

Favourite Songs: ‘Hello From The Gutter,’ ‘The End Of The Line’ & ‘Never Say Never.’
Not For Me: Same goes for Overkill III, not as good as the first one. Also, I find it difficult to connect with the progressively structured Shred.

 

Overkill – The Years Of Decay (1989).
The best Overkill album, with about half of it all being my favourite Overkill songs (can you follow that sentence’s logic… 50% of the album’s contents are among the best of the band’s entire work). The mixture of doom, speedy Thrash, epic progginess and fun charecterful uniqueness is the solidification and perfection of everything the band have been trying to do before coming together and really gelling. Some of the most memorable material they’ve ever come up with.

Favourite Songs: ‘Elimination,’ ‘I Hate’ ‘Evil Never Dies’ & ‘Birth Of Tension’
Not For Me: ‘Playing With Spiders/Skullkrusher’ is a bit boring if I’m not in the mood, although its actually a cool Sabbathy doom track, just…not what I want when I’m in a Thrash mood.

 

Overkill – Horrorscope (1991).
I’ve wanted to get this forever. I finally did last year, over a decade and a half after my origional Overkill love-fest began. I saw the video for the title track once and was afraid this album was one of those weird 90s album fails like Exodus’ Force Of Habbit if you know what I mean. When I finally got around to it I’m glad I was wrong, its one of the best things they’ve done. Its one of those Thrash-perfection albums, with a stunning production, some damn fun and inventive riffs and fills, and a pure and simple great collection of songs. There’s a touch of groove here and there, but no more than Never Neverland… a hint at Pantera but still very much in the Thrash tent.

Favourite Songs: ‘Coma,’ ‘Blood Money’ ‘Nice Day For A Funeral’ & ‘Thanx For Nothin.’
Not For Me: Nothing really, but it took me a few listens to like ‘Horrorscope.’

 

Sacred Reich:

Sacred Reich – Ignorance (1987).
This is a very solid yet unremarkable album in the Nuclear Assault mould only without the crossover bits and quirky moments. Its all technically fine on every level, the only thing missing is that x-factor or charm. Like, nothing is bad, but nothing makes you say ‘well, this is my favourite song’ either. I tend to listen to it shuffled in with other thrash bands so its part of a nice Thrash smorgasbord, as any song on its own works fine, but I don’t always sit through the whole original track order.

Favourite Songs: Nothing really stands out.
Not For Me: Nothing really stands out.

 

Sacred Reich – Surf Nicaragua (1988).
If you don’t get any bonus tracks or anything, its pretty short. The music is awesome. Each track would be the best track on Ignorance and a good song on The American Way. There’s not too much else to say really. Its awesome, just a shame its not a full length… maybe that’s just me being greedy though. Hey, if the two best songs off of Independent were on this, it’d be like, the best Thrash EP on the market.

Its weird that this is more famous and iconic than their albums. Was it just the novelty of the surf part? I hope not. It deserves more than that.

Favourite Songs: ‘One Nation’ & ‘Surf Nicaragua’ …although I think itd be better without the actual surf part in there.
Not For Me: I could do without the Sabbath cover.

 

Sacred Reich – The American Way (1990).
The best album of their career. One of the most flawless albums of the subgrene. Amazing vocals, such good choruses, awesome lyrics, the perfect production and some nice, niiiice riffs. The final track is a novelty track that technically spoils the word ‘flawless’ but if you consider it a bonus track I can justify the ‘flawless’ tag. I wish they made one more clone of this before moving on. The first four albums are all so different from eachother, could’ve done with a bit more of each, but maybe I’m just being greedy. Anyway, I don’t know what this is, but I really love this album, its got character, charm, x-factor or something. Its just that little bit inexplicably better than almost everything else. Apart from the world-beaters like Years Of Decay and Peace Sells But Who’s Buying and Spreading The Disease… well, this just about the best you can get. Trust me, you need this.

Favourite Songs: ‘Who’s To Blame,’ ‘The American Way’ & ‘Love… Hate.’
Not For Me: ’32 Flavours.’

 

Sacred Reich – Independent (1993).
Much like ‘Bonded By Blood’ the title-track is dramatically better than everything else. Its a bit repetitive and forgettable towards the end and although the highlights are amazing its not as good towards the deep cuts. It also of significance for introducing the world to Dave McClain. I mean, its great but I am writing a lot of these and I’m getting a little too honest for my own good. Even more than I’m even honest with myself. Or I guess I’m allowed to change my mind. I really like it sometimes and sometimes I’m not as in the mood as others.

Favourite Songs: ‘Independent’ & ‘Supremancy.’
Not For Me: Nothing really, its pretty consistent.

 

Sepultura:

Sepultura – Morbid Visions (1986).
This just aint my cup of tea. I get it in a curiosity sort of way and I can see why some of the extreme crowd might be into it, but yeah, not for me. Also; Is it true that Igor couldn’t afford a pedal so he played the kickdrum by actually kicking it?

Favourite Songs: Nothing stands out.
Not For Me: Nothing stands out.

 

 

Sepultura – Schizophrenia (1987).
A lot better than the previous album, but nowhere near as good as the next two. Its still a bit too rough, its still a bit harsh and its still a little bit samey, but boy is it better than the previous album and EP.

I remeber reading the linear notes of this whilst at a bus stop and my highschool English Teacher gave me a dissaproving look. I was actually listening to Set The World Afire by Megadeth at the time, but he gave me the whole ‘why do you listen to this nonsense, grow up’ thing. If we were talking Schizophrenia I’d have been tempted to agree with him, but you can’t mess with Set The World Afire.

Favourite Songs: Nothing stands out.
Not For Me: Nothing stands out.

 

Sepultura – Beneath The Remains (1989).
The title track is awesome and I love it, but apart from that I don’t really listen to this often enough to distinguish the other tracks. Its a little bit samey though much, much better than the previous material. There’s absolutely nothing wrong with this album, but I don’t know, I have some sort of mental block. I agree with anyone and any review that says its good, but I can’t ever seem to just stick it on and get into it.

Favourite Songs: ‘Beneath The Remains’
Not For Me: Nothing stands out.

 

Sepultura – Arise (1991).
It took me a long time to get into this. I remember for a little while I didn’t know Sepultura had a past, I thought their debut was Chaos AD and their Breakthrough was Roots. This resulted in quite a while of calling anything prior to this ‘Old School Seps.’ Of all the old school Seps albums, this one is the most varied, accomplished and not only realistic, but impressive. I am not in love with it or any Sepultura pre-Chaos AD but it is objectively great. I think they’re better at parts than songs, and there’s tonnes of sections I enjoy but this isn’t an album isn’t something I listen to that often.

Also how weird was it to hear this in Taledega Nights? So unexpected,

Favourite Songs: ‘Arise,’ ‘Dead Embryonic Cells’ & ‘Infected Voice.’
Not For Me: Nothing stands out.

Slayer:

Slayer – Show No Mercy (1983).
I avoided this album for years based on the silly cover and the silly make-up photo on the back, but hearing both ‘Die By The Sword’ and ‘The Antichrist’ on Decade Of Aggression made me take a shot, and I’m glad I did. I really, really like this. Its very NWOBHMy, charming and unique. It almost feels like a different band from the guys who made Reign In Blood or Seasons In The Abyss, but I love it all the same. Its like two different bands, but two awesome bands. The production job is really interesting, there’s nothing quite like it… Overkill and Megadeth’s debuts have charming production but its still different than this. Also for all the Venom influence that gets talked about regarding this band, y’know who this reminds me of? The other Newcastle guys… Raven.

Favourite Songs: ‘Crionics,’ ‘The Antichrist’ & ‘Final Command.’
Not For Me: ‘Metal Storm/Face The Slayer.’

 

Slayer – Haunting The Chapel (1984).
This EP is a lot heavier and more Slayer-y than the debut. I feel like these tracks would fit in with Hell Awaits a lot more than Show No Mercy should they be packaged together at some point. For such a famous and oft-played song, ‘Chemical Warfare’ is a bit dull, but the rest is pretty nifty. Nowadays I don’t listen to this much on its own, but I get decent coverage from it when listening to all Thrash on shuffle.

Favourite Songs: Nothing stands out.
Not For Me: Nothing stands out.

 

Slayer – Live Undead (1984).
This one feels a bit pointless, like, a live album done in the studio with a tiny crowd, and tracks from only the debut and one more EP. Like, who is this really for? I don’t dislike it, but I’ll never love it. I guess there’s a certain charm to it. I don’t listen to it often, but when I do I don’t feel like its been a complete waste of money. Not that I’d recommend it either. But if you’ve already got it, don’t throw it in the trash just yet.

 

 

Slayer – Hell Awaits (1985).
Its a bit monotonous, a bit slow and a bit too reverb-y, but its still a pretty strong album. I think the performances are the least aggressive of any Slayer album to date, and the production makes it feel a bit muted, but the songs themselves are pretty boss. Also, there’s not one, but two prototype riffs for the iconic Raining Blood riff from the next album, check em out, its like they were trying to figure out how to make the best riff in the whole genre.

Favourite Songs: ‘Kill Again’ & ‘Hardening Of The Arteries.’
Not For Me: Nothing really, its pretty consistent.

 

Slayer – Reign In Blood (1986).
This album was so hyped and so highly recommend that I felt it was actually a big disappointment for me. It actually took me a rather long time to get into and for years I’d speak of it in mocked derisive tones. If I ever used the word ‘overrated’ it was probably in conjunction with this. The main exceptions to my cold shoulder to this where Raining Blood and Post Mortem because they are Slayer’s best two songs period. Nowadays I’m actually pretty keen on this record. It works better as a whole than in bits though. I more routinely shuffle music nowadays, but getting a random ‘Epidemic’ or ‘Jesus Saves’ doesn’t really blow my skirt up in the way a deep cut off an Overkill or Annihilator album might. Its a complex relationship I have with this. In awe, respectful, but resentful, but also too self aware to stay resentful. Oh yeah, and what about that production? Hands down the best Thrash production of the 1980s.

Favourite Songs: ‘Raining Blood,’ ‘Postmortem’ & ‘Alter Of Sacrifice.’
Not For Me: Nothing really, its pretty consistent.

 

Slayer – South Of Heaven (1988).
When you read about this one, the articles always act as if its the slowest album ever recorded. When things like Silent Scream and Live Undead are pretty darn quick I just don’t get that. I’d argue Silent Scream is faster than at least half of Reign In Blood. Its not the slow broody numbers or the speedy bangers that really set this album apart though, the mid paced and famous tracks are the most memorable moments here for me. I don’t care if they are outplayed, The Title Track and Mandatory Suicide are a real high water mark for Thrash in my opinion. Oh, and the artwork is cool.

There’s a famous moment in my family where my dad got a McDonalds when not used to it and was expecting some gourmet burger and instead got soggy gross fast food. He proclaimed it a ‘dollop of slop’ and threw it out. I was listening to this album at the time. Anytime I see discarded slop on the roadside, I think of Slayer and my dad and I smile.

Favourite Songs: ‘South Of Heaven,’ ‘Mandatory Suicide’ & ‘Silent Scream.’
Not For Me: ‘Spill The Blood.’ Also as a sidenote, I didn’t know for years that Dissident Agressor was a cover and it was my among my favourite ever Slayer songs.

 

Slayer – Seasons In The Abyss (1990).
This album is pretty near flawless. Its got some really heavy nasty stuff, some nice groovy catchy stuff, some interesting slow creepy stuff, a mixture of lyricaly topics from social, fantasty and real life serial killer content. The production is absolutely immense, especially the drum sound and each band member’s performance is arguably their career best. No Slayer fan should be without and I’d argue no Thrash fan should either. I got this one slightly later than other Slayer albums (in the same purchase as Megadeth’s Killing Is My Business, in the same week my friend Paul lent me a copy of Sepultura’s Schizophrenia for the first time) but having owned it for many many years now I can definitely say I think its subjectively the best Slayer album and if you catch me on the right day I’d swear blind its always been my favourite Slayer album.

Favourite Songs: ‘War Ensemble,’ ‘Blood Red’ ‘Skeletons Of Society’ & ‘Seasons In The Abyss.’ (Four of the best ever Thrash songs)
Not For Me: Nothing really, its pretty consistent.

 

Slayer – A Decade Of Aggression (1991).
This double album is one of the best live albums released in the actual Thrash era (There’s plenty of amazing ones from later, like Testament’s Live In London from 2005), with a longer and deeper, and more representative tracklisting than most live Thrash releases from the time and a really decent sound and mixing job.

You can imagine why an 8-track Exodus live album seemed a bit too short after this.

 

 

Slayer – Divine Intervention (1991).
With the exclusion of the opening track, Killing Fields, I absolutely love the drumming on this album and have a little bit of a drummer crush on Paul Bostaph. I also like the fact that Dittohead is faster than anything on Reign In Blood although the band weren’t in their fast-fast-fast period at this time. There’s a few tunes on this album that are slow and groovy with a sort of insidious menace and very different vocals than usual from Tom. I think that although I don’t know very many people who dislike this, I still feel its underrated. I don’t know if I’d call it my hands-down unarguable favourite Slayer album, but I definitely wouldn’t want to be without it. If you only have the three most famous Slayer albums, consider adding this to your collection.

Favourite Songs: ‘Dittohead,’ ‘Sex. Murder. Art,’ ‘Circle Of Beliefs’ & ‘Fictional Reality.’
Not For Me: ‘Killing Fields’

 

Sodom:

Sodom – In The Sign Of Evil (1985).
I have to say I don’t like this; never have, probably never will. Part of it is the style, part of it is the execution. My gut reaction is to say crap music made crappily but that feels so harsh and unfair to say. When judging it purely on the merits of comparison to other Heavy Metal albums and not taking into account things like people’s feelings, legacy, influence or budget, or the fact that I’ve never made anything better, and just going on a scale of ‘If we’re comparing this to everything else in the same league as Master Of Puppets and Reign In Blood’ then I have to say that this really is the worst Thrash album I own, the one I like the least as well, and one which I’ve found very offputting. Buying this made me take less chances buying Thrash albums because I never expected I could dislike one so much before I tried this one out.
I’m sure if you have Blaze In The Northern Sky bedsheets and you dog’s name is Sarcofago then maybe you’d enjoy it but for me, it really doesn’t do it. I got into this music for Caught In A Mosh and Battery and Peace Sells. Sorry if that makes me a wimp.

Favourite Songs: Nothing stands out.
Not For Me: Nothing stands out.

 

Sodom – Obsessed By Cruelty (1986).
I’m not a fan of this. I know its held as a classic by Extreme Metal fans but nope, it really isn’t what I like about Thrash or Metal. I don’t want to be harsh or critical because I know its dear to many people, but as a pure personal taste issue I just can’t get along with this and it distorted my view of the whole band for a while. Its hard to call myself a fan of a band when I dislike this so much.
Years later I see much more value to it but when I first bought this I thought it was pretty much garbage and struggled many years trying to get any enjoyment of it at all. I used to actually feel guilty for having wasted money on it. Which with my current brain I think is a pretty stupid way to feel and would hate to say out loud or hurt the band’s or fan’s feelings about…but when I was a teen I’d tell anyone who’d listen that this album royally sucked and any time I see this album in my collection that is the first thing that flashes across my mind. I guess its not fair to complain that a young band on a budget were making mistakes or not making masterpieces but at the time it seemed like such a big deal… I mean, Metallica were young guys too once and they managed to Make Kill ‘Em All.

You know when you’ve got Thrash on shuffle though, and you hear a run of something like ‘Bonded By Blood,’ ‘Hit The Lights,’ ‘Rotten To The Core’ and ‘The Mechanix’ and you couldn’t be musically more satisfied and then ‘Witchhammer’ vomits over the speakers and snaps you back to reality and all you can do is wonder if you should delete it from the playlist but then you get guilty about wasting money and can’t do that and then you look in the mirror and you are me. I hate when that happens. Or you like it, but then Sarcofago sheds his fur all over your Darkthrone bedsheets, and that’s a nuisance too.

Favourite Songs: Nothing stands out.
Not For Me: Nothing stands out.

 

Sodom – Expurse Of Sodomy (1987).
This little EP shows the band expanding their sound, honing their skills and producing some memorable material. Hey, didn’t Cradle Of Filth cover ‘Sodom And Lust’ …I knew I’d heard that somewhere before. Its brief, but it works.

Favourite Songs: ‘My Atonement’
Not For Me: Nothing really, its pretty consistent.

 

 

Sodom – Persecution Mania (1987).
This album is a huge improvement over the debut. Its a lot less murky, a lot better played and more professional sounding, the tones are more to my individual tastes and there’s a lot more ambition in the structuring and songwriting. If I was being critical I’d point out that its perhaps a bit too samey and it doesn’t have many real stand out moments but that’s only if I’m being really harsh. I wasn’t that keen on it when I first got it and sometimes have to overcome a bit of mental prejudice against it but I actually enjoy it rather a lot these days.

Favourite Songs: ‘Conjuration,’ & ‘Outbreak Of Evil.’
Not For Me: Nothing really, its pretty consistent.

 

Sodom – Agent Orange (1989).
Ah, now this is what I wanted. This is everything the band had been missing… complex and intriguing songs, memorable lyrics and patterns, melody in the leads, variety, clear production. On top of it all, its not just stylistically more to my tastes but actually better as well. This is actually one of the best Thrash albums in my opinion, overall, when you take every individual marker into account. Oh and the punky ‘Auesgbombt’ is such fun. Damn, even the album art is good!

If you only own Obsessed By Cruelty and therefore think that the band suck, try this, you’ll be very surprised.

Favourite Songs: ‘Agent Orange’ & ‘Tired And Red.’
Not For Me: Nothing really, its pretty consistent.

 

Sodom – Better Off Dead (1990).
This is one of the newest Thrash albums I own, not like, it is released newest, but like, the one that I bought the most recently. I just had the first three Sodom albums for yeeeears and finally got around to getting the fourth recently and damn, I was missing something. This album is totally to my tastes and I really, really recommend it to Thrash fans. It is the professional, well written and immensely catchy Sodom album I’d been waiting for. I wish I’d heard this before I’d heard Obsessed By Cruelty and I’d probably have had a much better opinion of the band all these years. Hey, if you aren’t yet keen on this band just check out ‘The Saw Is The Law’ …no, Black Metal Fans, it aint exactly Witchhammer, but it works for me.

Favourite Songs: ‘The Saw Is The Law,’ ‘Never Healing Wound’ & ‘Capture The Flag.’
Not For Me: The Thin Lizzy cover doesn’t really fit.

 

S.O.D:

SOD – Speak English Or Die (1985).
I like Anthrax, I like Nuclear Assault. This album is Scott Ian and Dan Lilker (yeah I know he was on Fistful Of Metal too, but still…) so I was all geared up to like this and bought it with excitement (mental note, in the same Omagh CD & Record’s fair where I got that Death Angel boxset, the same year as I got Mastodon’s Leviathan). I don’t actually really like this album very much at all though. The humour isn’t for me, the songs aren’t as memorable as Anthrax songs or Nuclear Assault songs, the singer isn’t to my tastes and in general its just a bit forgettable. There are some seriously great Scott-Ian’s-Wrist riffs in there, but that’s not enough on its own to save this for me. I’ll listen to it quite often to try and get my money’s worth because I don’t WANT to dislike it, but I don’t get much out of this one, sorry, I know its got its share of fans who’d call it a classic but sadly I’m not one of ’em.

Favourite Songs: I like a few of the very Scott Ian mid paced riffs here and there.
Not For Me: Most of it

 

Testament:

Testament – The Legacy (1987).
Arguably the darkest and heaviest Testament album (definitely of the ’80s at any rate) and one of the most relentless Thrash albums on the go, The Legacy is definitely a must-have for any Thrash fan and not just in a ‘people say that but its not my cup of tea’ way, I genuinely recommend this, it is a master-class in heavy metal music.

I really enjoy the performance on this album, its incredibly tight for a debut and there’s a certain edge to the playing.

Favourite Songs: ‘Apocalyptic City,’ ‘Alone In The Dark’ & ‘Raging Waters.’
Not For Me: Nothing really, its pretty consistent.

 

Testament – The New Order (1988).
Well this is just jam packed full of concert favourites and perennial compilation inclusion choices, now isn’t it? How could anyone who likes this type of music fail to enjoy this? I’ve heard a few people complain about the production but for me, its not an issue at all. The songwriting, singing and playing are all absolutely excellent and how can anyone mess with the absolute anthem ‘Disciples Of The Watch’ ? I’m tempted to throw out some ‘if you don’t like it, you don’t like Thrash’ type hyperbole, so much is it amazing.

Side note: I recently re-arranged the track order so it opens faster and goes slower as it progresses and it works a bit better. I think the instrumental, the Aerosmith cover and the slower tracks feel better as a conclusion than interrupting the fury.

Favourite Songs: ‘Disciples Of The Watch,’ ‘The Preacher’ & ‘Into The Pit.’ (Three of the absolute best Thrash songs ever)
Not For Me: The Aerosmith cover is an odd choice. ‘Hypnosis’ is a bit pointless.

 

Testament – Practice What You Preach (1989).
A bit more melodic than the previous two, and boasting a ballad (imaginatively titled The Ballad) some greebs back in the day might’ve cried sell out (back in the day when people though having lyrics about Black Magic constituted something being Black Metal, rather than the now recognised separate musical genre). I don’t know, if you don’t want to give an even catchier Testament a chance then your loss, but for me this is exactly the right balance of heaviness and tunefulness and what I’d argue good Thrash is all about. It doesn’t sound like a compromise, it sounds like an improvement. Anyway, I reckon its only the real nitpicky Burzum t-shirted folks who make a distinction between this an the rest of the Testmanet work. Sorry, sounding a bit defensive there …old resentments. Any-old-way – This is heavy, punchy, memorable Thrash with all the lead guitar heroics, chugging and crunch you need.

Favourite Songs: ‘Practice What You Preach,’ ‘Sins Of Ommision’ ‘Nightmare (Coming Back To You)’ & ‘Perilous Nation.’
Not For Me: Nothing really, its pretty consistent. Yes, even The Ballad!

 

Testament – Souls Of Black (1990).
Criminally underrated. Criminally. I often read people say this album was rushed, or that it is repetitive or doesn’t live up to their previous albums. For me, this is one of, if not the best Testament album and I don’t know why anyone wouldn’t like it. If feels like the perfection of everything they’d been building to at this point.

Side note – the album cover is one of my all time favourites, I want to get a vinyl copy and get it framed and put it up on my wall as art.

Favourite Songs: ‘Souls Of Black,’ ‘Seven Days Of May’ ‘Face In The Sky’ & ‘The Legacy.’
Not For Me: Nothing really, its pretty consistent.

 

Testament – The Ritual (1992).
This album feels like a missed opportunity to sell out and become millionaires. I mean; Metallica had the Black Album, Megadeth had Countdown’ and Anthrax had Sound Of White Noise, so it seems like Testament could’ve gone down a more hard-rock route and made tonnes of cash, but that was not the case.

At the same time, it wasn’t business as usual either. They doubled the number of ballads from the previous two records (both are decent though, and neither are particularity commercial or cynical), they added a few slow tracks, made more progressive song structures and had a few really good single type songs.

You can’t argue with the likes of ‘Electric Crown’ on its own but the album suffers slightly a lot from a very jumbled track order that doesn’t flow very naturally.

Favourite Songs: ‘Electric Crown’ ‘Agony’ & ‘Let Go Of My World.’
Not For Me: ‘So Many Lies’

 

Vio-lence:

Vio-lence – Eternal Nightmare (1988).
‘Vio-lence;’ that name always slightly annoys me and is difficult to say out loud. Why not just ‘Violence.’ Well, legal reasons probably. Anyway, every time I listen to this, my main though is how much heavier and angrier than Reign In Blood it is without being remotely Death or Black Metal sounding. Sodom or Possesed or Sarcofago may be super influential to extreme Metal, but this is one of the angriest Pure-Thrash albums I’ve heard.

The album was notable at the time of my purchase for featuring Rob Flynn from Machine Head on guitar and then even more interesting when Phil Demmel on this album also joined Machine Head (and ever since as he became more than just a fill-in guitarist and turned into a star in his own right). When I read the phrase ‘Bay Area Crunch’ the two things that imediately flash across my mind are Exodus’ Fabulous Disaster and This, before I start thinking about whoever else.

Favourite Songs: ‘Phobiaphobia’ & ‘Calling In The Coroner.’
Not For Me: Nothing really, its pretty consistent.

 

Vio-lence – Oppressing The Masses (1990).
This album isn’t as constantly fast and blisteringly heavy as the previous one, there’s a lot more meaty and groovier sections and a much better vocal performance. It feels a bit longer and if you aren’t in the right mood, maybe a bit samey, but there’s some seriously good lead guitar work and a very crunchy production that makes the riffs sound perfect.

I don’t feel like I listen to this often enough, but its one of my go to albums to listen to when I feel like I’m not listening to something enough, so I’ve listened to it more under those circumstances than properly.

Favourite Songs: Nothing stands out.
Not For Me: Nothing stands out.

 

Vio-lence – Torture Tactics (1991).
This quick three-track EP focuses mainly on comedy lyrics and silliness. Musically its the same ballsy Bay Area Thrash as the previous two albums, but with stupid lyrics like “12 Inches Of Dangling Doom” …not to my taste, even back as a teenager. I have this as bonus tracks on Oppressing The Masses, but there’s a certain vibe to these songs that doesn’t fit with the songs from that record, so nowadays I have it as a separate entry in iTunes. I don’t listen to this one that often but have nothing against it per se.

Favourite Songs: Nothing stands out.
Not For Me: Nothing stands out.

 

Voivod:

Voivod – Killing Technology (1987).
Killing Technology is the Progged-out Canadian Thrash band Voivod’s third album. My clearest memory of it, is my first listen when I was building a flatpack CD shelf from B&Q, my first ever attempt at furniture assembly. I can’t say I really like this, but I’ll go into more details below.

Favourite Songs: Nothing stands out.
Not For Me: Nothing stands out.

 

Voivod – Dimension Hatross (1988).
Of the two Voivod albums that I own, this one is less specifically Thrash, but more good (wow, my writing skills amaze me sometimes.) The song that made me check out the band, ‘Tribal Convictions’ is on here, but its about the only song on here I like all the way through. There’s loads of good parts on the album, and the production is a lot clearer than the previous album, but all the dissonance, weird music and unpleasant scratchy music is bigger, longer and more prominent. The things that actual Voivod fans would probably go gooey over aren’t really for me. Despite being a big fan of bands like Van Der Graaf Generator and King Crimson, the gnarlier side of Voivod just isn’t for me. I listen to this album (and the previous one) quite a lot to give them a fair shot, feel like I didn’t waste my money and try not to feel intellectually inferior to imaginary bullies in Burzum t-shirts, but try as I might, this band and album just aint for me.

Favourite Songs: ‘Tribal Convictions.’
Not For Me: It really doesn’t need a Batman theme-tune cover.

 

 

 

Obviously, there’s more to Thrash than that. But this article’s gotta end some time, hasn’t it?

Anthrax – For All Kings Review

220px-anthraxforallkingsAfter a brief cinematic-sounding instrumental intro, the East Coast Thrash Metal legends Anthrax’s eleventh full-length studio album kicks into gear with the stompy upper-midpaced ‘You Gotta Believe’ calling to mind the longer tracks on their Persistence Of Time and State Of Euphoria albums; the clicky drum production serves to balance the modern with the classic, the repetitive but not hypnotic song structure harkens back to State Of Euphoria even further, but when the lead guitar kicks in it is apparent that Dan Spitz and his unique and singular style are nowhere to be seen, nor can we hear the warm feel of the excellent Rob Caggiano. New man and former Shadows Fall member Jon Donais has some big shoes to fill.

Joey Bellandona, back for the second studio album since rejoining the band, sounds a little more at home here than on 2011’s Worship Music, which makes sense since the songs weren’t written with someone else in mind first. He still tries a bit more of the Bush-aping choruses which were a weak point on Worship Music since the two very different vocalists had different strengths, but there’s a bit more umph to the verses this time. A bit more of a spitting delivery. A bit more bite. Ironically, on this one he sounds more like he has something to prove, incumbent though he may be.

So far so good. The end of the songs when a few more double kicks let fly and the guitars get a bit busier are always good. The guitar solos are always entertaining. The musicianship is great in general on all the instruments all the way through. The mix is good, and you can really separate the bass drum for the bass guitar or concentrate on whatever you chose, be that a ride cymbal or an individual guitarist’s part.

There’s a few pretty damn enjoyable songs worth pointing out too, such as the speedy politically-charged closer ‘Zero Tolerance’ as well as the aggressive ‘Defend/Avenge’ and the complex and entertaining album highlight ‘Blood Eagle Wings.’

Sounds like a good album to me. The only problem is that it lacks a wow factor. It’s a bit repetitive, a bit unadventurous, a bit ploddy and a bit dull. The song tempos could use a boost. There could be a bit more variety (especially in the vocal department, the choruses sort of blanket over the tracks and make them feel a bit too safe, too samey and too slow). The song lengths could do with a trim. Heck, some of the songs could do with being trimmed altogether… there’s value for money and there’s quality control. ‘Suzerain’ is a perfect example of the whole album, it has a great verse recalling the best parts of the likes of ‘What Doesn’t Die’ or ‘Discharge’ but then the chorus comes in and you just start planning your groceries, looking out the window at the fat guy with the interesting shirt or checking your phone messages. Not even on purpose. Its not like its even bad, its not like you want to lose interest, its just that musically and vocally For All Kings just isn’t special enough to keep your attention. Where’s the choruses like ‘Fueled’? Or ‘Metal Thrashing Mad’? Or ‘Lone Justice’? Where’s the drama of ‘This Is Not An Exit’ or ‘Indians’ ? Where’s the damn excitement?

Its one of those albums where no song is bad and there’s nothing actually even bad or objectionable on there, but overall its just not that great. I like the album, but I don’t love it. Much like the recent Slayer or Megadeth albums, you don’t initially want to compare them to the past, but they just don’t have the same spark and you can’t help but feel that no-matter how objective you would prefer to stay. Its more an album of ‘Ooo, that’s a cool drum part’ rather than ‘Ooo, that’s a cool song.’ Its more, ‘wow, this is slick’ than ‘wow, this is awesome.’ Its good, but its good in the wrong way. It doesn’t grab you. It doesn’t speak to you. I don’t hear too much on here I’d love to hear in concert. I don’t hear too much I want to run out and show my friends. I don’t hear too much to even discuss at all. It one of those classic 6/10 albums that you’ll have in your collection, but never actually love, you might even listen to it more than an actual great one to try and get something more out of it. Overall; It feels like Anthrax are on the right path, but they just haven’t gotten all the way to the desired destination.

Get (Into) What You Paid For: Round 4 – Day 52

Hello and welcome once more to yet another edition of my blog series, Get (Into) What You Paid For; a series in which I blog about music and media I own, to distract myself from the fact that I am sworn off buying anything new for a month (or in this case, two months).

Its day 52. 52 days without buying myself anything. I think that’s a new record. I don’t think, since getting my first job at 16, ten years ago, that I’ve ever went this long without buying something along the lines of a book, cd, dvd, videogame etc. for myself. I’m a big old spoiled Western consumer of the hardest core.

I’m also tempted to break my pledge not to buy anything because Batman Contagion is on eBay at the minute for only £4 and that’s been on my wishlist for a year now. Time will only tell if I break my resolve and buy it. Maybe someone else will buy it first and the problem will go away.

I’ve also saw in town a shop selling In The Court Of The Crimson King on Vinyl. Its £17 though, and for my use of it as merely a poster for my wall, that’s not worth it. Why is no one selling it used for £3? Anyway…

Its been an excellent few weeks. I’ve been eating super healthy (constant soups full of dozens of veg, and smoothies full of dozens of fruit and veg, adding spinach to normal meals, eating less meat, massively reducing my intake of junk food, almost giving up chocolate completely) and I’ve been exercising a lot (going for walks almost daily, lifting weights frequently). Most of this was in the sun and away from the city, but even this last week when I did return to the city, I’ve kept it up. I even kept it up yesterday on my first day back at Uni. Next week, with a return to work, and full-week Uni, will be the real challenge.

At any rate, everyone is telling me I’ve lost weight. To the point where I actually believe it. Take home message: get more vitamins and go for walks = Thin Jim. Hopefully I can keep it up.

During this time, I’ve been experiencing the delights of Manowar, the new Down EP, a whole heap of Accept, some early Savatage, and trying out Minor Threat.

I’ve also been gifted a butt-load of comics related stuff which I shall try tonight after weightlifting. Those two things, lifting and comics, (with a healthy dose of Hammerfall in the background), should help me stay off eBay and avoid breaking my pledge.

Also, my house mates got me the newest Judas Priest and Trivium albums, as well as Ozzy’s Tribute live album with Randy Rhodes, and Soundgarden’s recently reissued debut EP, Screaming For Life/Fopp. I’ll deny myself these goodies now, and open them in a month, so I have something to look forward to in a month, and hopefully that will stop me buying any new music between now and then. Even if buying Raven or Tank albums on iTunes is tempting….

Anyway; here’s what else I’ve been up to, in order to distract myself from my materialism.

First off, for my own entertainment, and your information, I’ve complied the following list:

Albums I Have Fallen Completely Obsessively In Love With, in roughly chronological order of it happening:

Protest The Hero – Kezia
Gallows – Grey Britain
Helloween – Keeper Of The Seven Keys Parts 1 & 2
Queensryche – Operation Mindcrime
Accept – Stalingrad
Rishloo – Feathergun
Chimaira – The Infection
Mastodon – Crack The Skye
Kiss – Alive
Genesis – The Lamb Lies Down On Broadway
Jethro Tull – Thick As A Brick
Gentle Giant – Octopus
Pink Floyd – The Wall
Arctic Monkeys – Whatever People Say I Am’
Forbidden – Forbidden Evil
Megadeth – So Far So Good So What
Anthrax – Among The Living
Pantera – Vulgar Display Of Power
Powerman 5000 – Tonight The Stars Revolt
Jetplane Landing – Once Like A Spark
The Libertines – S/T
Mudvayne – The End Of All Things To Come
Slipknot – S/T
Green Day – Warning

I also had huge Led Zeppelin, Nirvana, Napalm Death and Monster Magnet periods, but no single album ended up getting the focus of that huge obsession. Zyklon, Carpathian Forest, Mars Volta, Riverside and Gamma Ray are all almost up there for an album each (Aeon, Defending The Throne Of Evil, Ochtahedron, ADHD and Land Of The Free) but I can’t bring myself to fully commit to writing them down for some reason. Motley Crue’s Theater Of Pain is kind of getting this way at the minute so we’ll see how it pans out, its probably the newest name on the list. Some that are up there have faded, but some are as strong as ever.

Now here’s what I’ve been distracting myself with recently, excluding the aforementioned birthday gifts (I’ve been absolutely hammering Manowar, and that new Fratellis album):









I really like the Alice In Chains demo “Social Parasite” …its quite good fun.

I’m thinking of digging into some really under-listened albums next, like the Napalm Death covers albums, Anathema’s Falling Deeper, Sodom’s debut, Fear Factory’s Soul Of A New Machine and Forbidden’s Green. Then I think, maybe I listen to them so little because they aren’t good.

I remember going back and listening to all my Nu Metal albums like Static X and Spineshank and Ill Nino for a similar reason, but I never blogged about it because I was so snowed under with Uni essays at the time. I found that to be be a worthy exercise for surprise enjoyment (“Ostego Undead” is more fun than I remember), so maybe listening to records that I think of as duds may prove worthwhile too.

I’ll let you know what I chose. Right now I’m off to lift weights while watching the Justice League cartoon. See you soon…

FIRST IMPRESSIONS, Volume 76: Minor Threat – Complete Discography

FIRST IMPRESSIONS, Volume 76: Minor Threat – Complete Discography

Hello, and welcome to my Blog. Why is it called KingcrimsonBlog, the official Blog of Kingcrimsonprog?. Good question; It is called that, because I am called Kingcrimsonprog (or Gentlegiantprog). Well, I’m not. I’m called Jimmy. But, I’m called either Kingcrimsonprog or Gentlegiantprog on most websites and forums. (You know, in the way you have to choose a name or “net-handle” when you register?).

Back when this Blog was first devised, it was sort of a hub “digest” of all my various internet output, under one easy “roof.” So people could then tell that my things were not stolen from elsewhere on the internet, I kept my net-handle in the title. The name of my net-handle was simply chosen because I enjoy the Prog band King Crimson (and Gentle Giant) and is not in fact my real name. Forget about the name. Imagine its called “Music Nerd Blog” instead. You’ll get the idea.

I’ve been obsessing about music since about the year 2000. Over this time I’ve bought what must now be nearly 1,000 albums, and heard hundreds more through friends, relatives, streaming services and whatever else. I’ve also watched over a decade’s worth of music videos and heard countless individual songs on the radio, free covermounted CDs, websites and whatever else. All that, as well as read years and years worth of music magazines and websites.

I’m a nerd. Basically. Only, instead of Stephen King Novels or Vintage French Cinema, its Music that I obsess about. Lots of people are nerds and don’t even realize it. Sometimes its obvious; trainspotting, stamp collecting etc. Sometimes its less obvious due to presentation. Some (make that many) football fans’ depth of knowledge about players and transfer costs and club histories would make many tram-enthusiasts seem normal by comparison. The amount of information that some people know about Reality-TV celebrities and their sex-lives would easily overpower my knowledge of bands, or the average fisherman’s knowledge of lures and lines. Everyone has a thing they get nerdy about, whether or not they realize or admit that it is similar to the more famous nerdy things like Star Wars. I don’t particularly like Football or Reality TV or Fishing. I like Heavy Metal music. That’s my one thing. That’s what this Blog is all about.

Welcome to my First Impressions series of articles too, incidentally. In this series I (or sometimes my friends, or readers) pick an album for each entry that I will listen to for the first time. I then write in depth about what I know about that album or the artist that created it and the genre and subgenre to which they belong, before describing the experience of listening to it in real time, in a sort of semi-stream-of-consciousness way intended for entertainment purposes. I also enjoy writing reviews of albums, but when I write reviews my goal is to be helpful and provide you with information with which to aide your decision about whether to try out an album or not. When I write a First Impressions article however my goal is purely to entertain the reader, explore how much I know about music and be my own psychiatrist in the process.

I may go into some very specific detail and assume you have heard everything I’ve ever heard and perceived everything in the manner I’ve perceived it, and call out very specific sections of music and draw comparisons between things that the casual listener may find completely unrelated. Don’t worry, most of these songs are on Youtube and most of the terminology is on Wikipedia and Urban Dictionary anyway, so if there’s anything that goes over your head, you can always get clarification in a second web-browser-tab (or ask about it in the comments).

According to the aim of the series, the albums are considered by the public and music critics knowledgeable about the subject to be Classic albums within Rock and Metal, or at least within their own Subgenres. Classic albums that I’ve somehow missed out on, despite my nerdly need to hear and understand almost every piece of recorded Metal music ever.

If you have an album that you’d like to read a KingcrimsonBlog First Impressions article about, please suggest it in the comments, I’m game, I’ll give anything a try.

So that’s the preamble out of the way, on to the article:

Today I’ll be listening to the compilation album Complete Discography, by the US Hardcore Punk band Minor Threat. It collects all their officially released studio material, including the highly influential Out Of Step. I got it for my birthday, just like the Manowar albums I mentioned in the last First Impressions article, but I’ve been saving it until now because I’ve been portioning out my gifts because I didn’t want to “lose” albums in the herd. I’ve learned my lesson. Every Christmas or birthday something loses. In 2009 Iron Maiden’s Final Frontier lost for example, and I still never feel like I listened to it enough, so this time… I’m spreading out the gifts so they all get their own brain-space.

Heck, when I got back to the city after my awesome holiday, my flatmates had gotten me four CDs for my Birthday, (what great guys, and what a prosperous Birthday this year!), which upon consideration I have decided that I am now locking out. The new Judas Priest album for example is banned until the start of next month and the rest are banned to the start of the next month… that way all this awesome stuff can all be appreciated, and none of it “lost” in the herd. Also, it will help me not buy new things if I know these new things are coming.

Now; I usually talk about the subgenre before talking about the band and the album in these articles. The genre of this one is Hardcore Punk, as I mentioned above. What do I know about Hardcore Punk?

Well; apart from groovy, Metallic, 90s NYHC, not much to be honest. All my Hardcore knowledge is pretty second hand, or Metal-informed. My history with Hardcore is pretty much that I got into Biohazard in 2001, and have loved them ever since (well, in waves, it waned for a while and came back strong in 2006 and never went away). I saw Sick Of It All’s “Scratch The Surface” on MTV2 around the same time (and later “District” too) and loved it, but didn’t get around to buying an album until last year , as part of this series. This was shortly after becoming a
Madball fan
, which I got the idea for when Jamie Jasta of Hatebreed (who I’d liked since 2001, but properly fell in love with in 2009 following my 2008 acquisition of their Live Dominance DVD causing a building love for them that exploded the following year upon the released of their suberb 2009 Self Titled album) listed his favourite albums in a magazine, including Madball’s Set It Off, and I got curious.

In that same year, I also got into Life Of Agony, who are in that world but are rather unique, and bought a Vision Of Disorder record (well, a two-in-one set of the first two V.O.D albums), and that band are within that world, but are a lot more ragged, unhinged , noisy and high pitched. Oh yeah, and Downset, who were sorta half in that world and half considered Nu Metal. In the same way Hatebreed are more in the Metalcore scene than the Punk scene.

This was all about two years or so after I’d watched the excellent documentary American Hardcore and learned all about the American Hardcore of the ’80s… the kind of stuff like Bad Brains and Black Flag and Dead Kennedys and indeed, Minor Threat. The kind of stuff Slayer covered on their Undisputed Attitude album. Since that time I’ve been really in love with the song “Fucked Up Ronnie” by the Canadian band D.O.A, which I bought individually off iTunes, but I haven’t gotten around to hearing a full album by the band yet. I also got gifted an autobiography of their singer Joey Shithead last Christmas and it was excellent. Really made me want to get into the band… which I probably will eventually. Anyway, that one song is probably my only comparable thing to Minor Threat in my whole iTunes… unless you count S.O.D, or the Punky joke tracks on any given Nuclear Assault album… but that’s really Crossover Thrash if we’re splitting hairs.

Speaking of which, after the band gave it away for free online, I also did a First Impressions in the early days about the Crossover Thrash band Cro-Mags’s debut album, The Age Of Quarrel but its not something I listen to a lot these days. I actually stuck it on out of the blue some time this week, and it was OK, but I didn’t fall in love with it or anything.

Then of course there is Gallows’ Grey Britain, which I guess is technically Hardcore, but comparing it to this ’80s American Hardcore is like comparing Tool’s 10,000 Days to Iron Maiden’s debut album. Sure, they’re technically both Heavy Metal according to some people, but lots of people will get pernickety about that, and also they sound a million miles apart because one is raw and true and the other is adventurous and genius but also way-out-of-basics so people can argue the genre.

AAAAAAANYway.

This is about Minor Threat. All I know about the band is that they are in part responsible for the straight edge scene… which I more and more can understand these days, seeing as I dislike drinking, don’t smoke, and have no interest in drugs at all. Sounds like a good enough scene to be apart of if you are so inclined. I’ve also seen straight edge people extending that idea into things like fitness and vegetarianism and the like… and my current headspace is all about fitness, and I’m also experimenting with meat reduction. Anyway…. That’s all a side-note. I’m not going to tattoo two “x”s on my hands anytime soon, don’t worry.

What else do I know? Their singer is called Ian McKaye and he is also the founder of Fugazi, who I haven’t heard, despite their massive fame and importance to my musical world. I also know Minor Threat have a song called “Guilty Of Being White” which isn’t as racist as it sounds, although it sounds even worse when Slayer cover it and then say “guilty of being right” and come across as a bit Neo Nazi for doing-so and make us all feel pretty uncomfortable. I guess that racial issues can spoil anything. Maybe that’s why Dead Kennedy’s wrote a song called “Nazi Punks Fuck Off” because it must suck to like Punk and then be associated with Nazis. Just like enjoying Black Metal means you have to put up with NSBM and their Nazism. Nazis and music maybe shouldn’t team up. Nazi’s should at least team up with chocolate instead… so then losing weight would be easier.

Other than that? They’re a short-lived Hardcore Punk from the ’80s (in the D.C. scene) and lots of Metal bands like them. I’m hardly an expert as you can tell, and this is more or less a blind-purchase (although it’s a gift anyway) based on reputation and the fact that I might like it, and even if I dislike it, I’d enjoy the learning experience and associated blogging (Nerd, remember?).

So, without further ado, I’m going to crank this.

[Play]

The album starts off with a track that I recognize from the Slayer cover; “Filler.” Its only quick at 1:32, but that’s what you’d expect from a band at that time in this scene. I think a lot of Hardcore is quite short, and that’s probably how Napalm Death got to writing “You Suffer,” – an evolution of that idea, many steps down the evolutionary road.

The production of the rhythm section reminds me of early Overkill, the production of the guitar reminds me of The Sex Pistols. The relationship between the bass and the guitar reminds me of Motorhead. The shambly guitar playing and fluffed notes remind me of The Libertines b-sides like “Mayday” and “Skag & Bone Man.”

“I Don’t Wanna Hear It” – 1:13; This is quite bouncy, a bit more catchy than the previous song. It was also covered by Slayer. The music kind of reminds me vaguely of Overkill’s “Rotten To The Core.”

“Seeing Red” – 1:02; This song reminds me of Green Day’s heavier material, like “Geek Stink Breath” or “Take Back.” Again, that d-beat in this production reminds me of Feel The Fire era Overkill. It’s a lot more up my street than the Cro-Mags album, but I couldn’t actually explain why.

“Straight Edge” – 0:45; This is what the majority of my brain tells me Hardcore Punk sounds like. If I think of Hardcore Punk… my brain makes a mental picture that sounds like this. I could do a perception of a genre by one track series, and if I did, the track for Hardcore would be this one. (Prog would be “Supper’s Ready” by Genesis, Death Metal would be “Hammer Smashed Face” by Cannibal Corpse, etc.)

“Small Man, Big Mouth” – 0:55; Quite bouncy and fun. I like it when floor toms are used in this way.

“Screaming At A Wall” – 1:31; Nothing particularly new here. Its just another song in the same style as those before. Not a favourite of mine. The fast snare rolls are fun though. Oh, cancel that, I should have waited until the end before I said that, it gets quite different at the halfway point and has a slow middle-eight. It in fact does have an identity of its own. Fair dos, Minor Threat.

“Bottled Violence” – 0:53; This is short and energetic, but I can’t really talk about it in any other way. It reminds me of grasshoppers? This song was responsible for Henry Rollins painting his fence back in ’82? This is the Scottish National Anthem? I got nuthin….

“Minor Threat” – 1:27; This is a bit of a change of pace. It is more mid-paced, and has a lot more melody than everything else so far. Until it speeds up in the middle, but still, this is one of the more distinct tracks so far. It has more tuneful singing than you’d expect too. I can see how Punk got from Sex Pistols to this, to Descendants to Green Day, to My Chemical Romance. This is what I love about going back… I want to buy a Saxon album and inadvertently learn something new about Pantera. I want to go to the past and understand the present and even predict the future. I love the jigsaw aspect of all of this.

“Stand Up” – 0:53; Well, this is certainly a song in the Hardcore Punk style, other than that I can’t really comment. For some reason it is rather fun, sort of reminiscent of Metallica’s “Motorbreath” in some weird way.

“12XU (Wire Cover)” – 1:03; The band are experimenting with dynamics here, going between open chords, chugging, then cutting the guitar out. Well, I don’t know if Minor Threat or Wire are experimenting, I haven’t heard the original.

FIRST IMPRESSIONS, Volume 76: Minor Threat – Complete Discography

“In My Eyes” – 2:49; This starts with a straight four-four Hard Rock beat and super messy bass fumbling and then purposely jumbles and ends and the real song begins… I can hear the Nirvana in that intro. Then its got a fun tom-build-up part. This is also a highlight so far for me.

“Out Of Step (With the World)” – 1:16; hmmm… it isn’t in my iTunes… I don’t know what happened here. Oh well, moving on…

“Guilty Of Being White” – 1:18; Ok, I mentioned this before. Musically, I can see why Slayer covered it, it is a quite fun song, lots of energy, and a bit of a hook to it. Just a shame about the lyric thing. Also I don’t like listening to it in this neighbourhood in case I look like some sort of BNP person. I’ll turn this one down and close my windows…

“Steppin’ Stone [Paul Revere And The Raiders Cover]” – 2:12; Ok. Back to full volume. A lot more variety here, reverb on the cleaner vocals, but then it is a cover. I can here Monster Magnet in this, in a way. I bet Dave Wyndorf likes it.

FIRST IMPRESSIONS, Volume 76: Minor Threat – Complete Discography

“Betray” – 3:02; The production here is a lot better. There’s melody to the singing. This is the Out Of Step album’s opening track. It sounds a bit more professional, again I hear Motorhead in it in a way… mostly the high guitars over rumbly bass. Its quite a long track for this band as well! Hey, they even throw in a slow section just before the end.

“It Follows” – 1:50; Not quite as fun as “Fucked Up Ronnie” but it kind of reminds me of it. Also, I can now see why Green Day are pop Punk. Like, I can here the connection between this and something off Kerplunk or ‘Slappy Hours… or whatever.

“Think Again” – 2:18; Quite a different sound for the band, a more distinctive riff than the usual thrashing. A bit mid-paced. Quite soft in parts compared to the all out thrashing of the first few tracks.

[A quick break to go on a nice date with my lovely gal to The Handmade Burger Co, which incidentally is awesome! Go there if you can. Their spicy bean burgers are sublime! Be warned however, chips portions are so generous two people should never buy two separate portions, if they don’t want to burst!]

“Look Back and Laugh” – 3:16; This opens with a slightly Russian-sounding slow riff, that reminds me of Brent Hinds for some reason. Then it turns into a slow sunny punk song, that reminds me of people skateboarding on Venice Beach, LA, while eating Goodburger burgers and high-fiving Ronald Regan-themed cardboard cut-outs (my mind is a confused place).

It reminds me vaguely of that one Pennywise video where the guy skateboards around town and goes to a record store and paws a Black Flag vinyl but doesn’t buy it. Its quite varied and diverse and fully-realized. Its not just a quick blast of speed, its got dynamics and lots of different ideas.

“Sob Story” – 1:50 ; This song is halfway between the last one and a quick angry blast from earlier on the record. It’s got dynamics up to a point but is fairly straightforward.

“No Reason” – 1:57; Pretty much the same as the previous track but ever so slightly more aggressive, and the guitar solo segment is more melodic.

“Little Friend” – 2:18; I’m getting a bit exhausted with the formula now if I’m being perfectly honest. I haven’t stumbled across anything as noteworthy as “Fucked Up Ronnie” yet. This song is another slightly samey go around the Minor Threat wheel. The coolest thing is at the halfway point there is a slow part that feels like a “Mosh Part” as described by Scott Ian in any documentary about Thrash and Hardcore’s link.

“Out Of Step” – 1:20; This one is the one that helped spawn the Straightedge thing. (“I don’t drink, I don’t smoke, I don’t fuck, I gave up, I’m out of step with the world.”) Its ok I guess. I thought I’d identify with it more than I actually do. Its ok. It’s a bit more memorable than the last three or four tracks. I was expecting a giant anthem that I’d want to scream out embarrassingly loud and be too-into. Oh well.

“Cashing In” – 3:44; This one is probably the most musical and advanced track on the record so far. Its got lead guitar, recurring choruses, a messy prog bit and that leads into a rousing heavy metal section in the middle where he keeps saying “there’s no place like home” and they play a kind of NWOBHM part, and that’s the end. I don’t know if it is a send-up of Metal or not, I can’t really tell on initial listening. A lot of Punks hated Metal so its pretty likely, although cross-over happened too, so maybe it isn’t ill-natured. Hard to tell.

FIRST IMPRESSIONS, Volume 76: Minor Threat – Complete Discography

“Stumped” – 1:55; This is more advanced, this marks the start of the Salad Days EP, and it is a bit of a step-up in musicianship and production, but still more or less the same sort of thing. It starts off with a slow, pleasant bassline that could be Green Day or The Offspring. The chugging guitar slowly builds, then the song lilts into a soft gentle groove that reminds me of colourful pop-punk music videos from the ’90s. Rancid videos. The vocals are kind of half-assed and lazy, in an intentional punk way. The song dies, intentionally.

“Good Guys (Don’t Wear White) [The Standells Cover]” – 2:14; It reminds me of the 1950s. I don’t know the original, just like I don’t know the original bands that Poison (“Your Momma Don’t Dance”) or Motley Crue (“Smokin In The Boys Room”) cover (parenthesis, much?). Hmm… turns out they’re a garage rock band from the ‘60s, like when Heart cover “The Witch” by The Sonics. Its ok. Its quite summery and bright, it kind of reminds me of The Proclaimers for some reason. Also, the acoustic guitars with punky production thing reminds me of Smashing Pumpkins and the entire ‘90s.

“Salad Days” – 2:46; Here we go, final song. It starts with some loose strumming on a guitar, then a raucous Motorhead style rumbly bassline, and then a disco drumbeat and bells come in. When it finally kicks in, it goes into a D-beat. Its kind of their usual style, but with cleaner production and a bit more melody. Its all a bit smoother. I could see some wieners saying the band lost their edge or whatever, but it’s a decent song.

Ok. And that was that. It didn’t really make for good reading. I can’t really discover much on an album that is pretty samey. I’m not sure how I feel about this collection overall so far. Maybe I’ll love it after a few more listens. I often find that when writing about these records at the same time, I don’t enjoy them as much… Dream Theater’s ‘Scenes From A Memory being a prime example. Maybe that album was just a grower though? I’m sure I loved it in a past life or something…

I think I could take this band more in small doses. Maybe a whole discography all at once was a bit of an overkill (is that good grammar? “A bit of an overkill” ? Should it be “A bit overkill” ?) (Should I just go and listen to Overkill?). I guess that’s why most of these type of bands released EPs and singles so much. Actually that’s not true, it was because it was cheaper, it was a financial thing. Also, what band would want to limit their audience’s consumption of them? Still… I think I’d like a Nasum or Terrorizer or Agoraphobic Nosebleed EP more than a full album. So, maybe it is a small-doses situation? Maybe. If anyone knows, comment that shit!

I enjoyed this one from a historical/educational perspective… but I’m not sure how much I enjoyed it. I still really want to check out things like Black Flag’s Damaged and Bad Brains’ Self-Titled debut, and all of Dead Kennedys’ early albums, but at the same time, I can foresee them being a bit boring and not-to-my-tastes. I think it may just be the case that I’m not a Punk person. Its ok. Not everyone has an ear for everything. My housemates just can’t enjoy Metal. My brother just cannot enjoy Hair Metal. My friend just cannot like any Extreme Metal…. Maybe I just am not equipped to like Punk.

Well; that’s why God invented Crossover, Groove Metal, Stoner, Grunge and Metalcore isn’t it?

I think I’m going to go listen to Napalm Death cover “Nazi Punks Fuck Off” instead of listening to the original. And that’s Ok.