The Heavy Metal Thread

They always felt more like off-brand ACDC to me.

I get that. Udo has got a kind of Brian Johnson tone to his singing. I'm not a big Johnson fan either, for exacrly the same reason I'm not keen on Udo. I much preferred Bon Scott.

Manowar - "Hail to England" (1984)

Ah, Manowar eh? If we are talking about the early years of metal then I suppose we have to talk about Manowar. Loud, crass, bouyed on by a giant, unshakeable ego and somewhat comical, Manowar were the Donald Trump of heavy metal and, as such, were equally divisive inspiring adoration and loathing in equal measure. Also, if you were a metalhead in the 80's, very much like the orange one today, you certainly couldn't avoid them. They were everywhere in the metal press because, let's face it, they were a music magazine's dream with their bold statements and distinctive (some may say cartoonish) visual aesthetic. I was initially interested in Manowar not because of any of this press hype, but because of the involvement of Ross the Boss, who had been a member of US punk / hard rock band The Dictators of whom I was a big fan and whose "Bloodbrothers" album I still spin occasionally. I actually didn't take the plunge with the band until "Hail To England" was released when I finally succumbed to the marketing and got myself a copy from my local rock and metal shop. To be honest, I wasn't particularly impressed and I certainly didn't feel it lived up to the hype and that LP has lived in the nether regions of my collection ever since, hardly ever seeing the light of day.

So, forty years on, it is time for a revisit and to see how it sits with me now, so much water having flown under that particular bridge. The thing that jumps out at me most about "Hail to England" is that it is more mid-tempo than the hi-octane riffing of the comtemporary USPM that it is usually associated with. There are few headlong charges, but rather a more hulking throb, emphasised by Joey DeMaio's basslines which, when coupled with Scott Columbus's uncomplicated, pounding drumming, provide most of the album's forward momentum. "Kill with Power" is the only track that comes close to hitting the turbo chargers, but even that wasn't going to leave the upcoming Slayers and Metallicas of the world in the dust. However, that is fine because that isn't the point here. In a metal world that was becoming obsessed with playing faster and faster with speed and thrash metal gaining in popularity daily, the title hints at Manowar's intention to pay homage to the early progenitors of metal such as Black Sabbath rather than the up and coming young bucks from their own side of the Atlantic. The opening brace of tracks, especially "Each Dawn I Die" even have a tribal-sounding rhythm track that feels almost like a native american raindance or some such ritualistic backdrop. Eric Adams is a pretty solid vocalist and he is quite adept at delivering some really cool vocal melodies, although some of his higher reaches do grind on my ears a bit.

I have to say that in revisiting this I may have been unduly harsh on Manowar in the past. Sure, I still think their whole "real men play on 10" and "death to false metal" schtick was cringeworthy, but listening to this now and with the distance of time putting all that PR bullshit to rest, this is actually a solid album of epic and melodic metal tunes that are as anthemic as they are simple, this uncomplicated infectiousness being the album's real heart and strength. I used to think that Manowar were just embarrassing metal cliches, a pantomime metal band, but truth is they were actually skilled at writing memorable metal tunes that crowds could belt out at full volume with the band at their live shows. In other words, Manowar were a band who were out to have a good time and to let their live crowds have a good time with them, presenting themselves with tongue firmly in cheek and playing with a determination to entertain. Sometimes that is enough and I stand here now, head bowed and admit I was probably wrong about them all along. "Black Arrows" is still a load of bollocks though and is the only real fly in the ointment here.

4/5

"Hail to England" is an interesting one for me personally. You see, I quite enjoy the other three of Manowar's first four albums, particularly "Into Glory Ride" which I return to semi-regularly, but I've never managed to get into their most highly praised record. My main issue with "Hail to England" is the production job which pretty much nullifies the guitars altogether & leaves me wondering where all the riffs are. I don't think it's a terrible release but it's simply not one that I get much pleasure out of so I've never been able to understand why most fans place it ahead of the other early Manowar releases. 3/5

 I don't think it's a terrible release but it's simply not one that I get much pleasure out of so I've never been able to understand why most fans place it ahead of the other early Manowar releases. 3/5

Simply put, production issues aside (and I do agree that the guitars are underwhelming), for me the songs are better. Well, better than Battle Hymns anyway, I don't recall having heard Into Glory Ride, though. I actually like how the bass rules the roost on Hail to England, weird I know, but true all the same.

Saxon - "Strong Arm of the Law" (1980)

Saxon were on a roll in 1980. After a lacklustre debut album hadn't really gone anywhere the Yorkshiremen shed the more rock-oriented aspect of their sound and sharpened things up for its follow-up "Wheels of Steel". This, aided by the unlikely chart success of the lead single "747 (Strangers in the Night)", thrust them to the forefront of the burgeoning NWOBHM scene. Obviously surfing on a creative high and not wanting to lose any momentum "Strong Arm of the Law" hit the streets a mere five months after its predecessor and only a couple of weeks after their appearance at the inaugural Monsters of Rock festival at Castle Donnington, an event that was pivotal for the rock and metal fraternity here in England and which added extra impetus to the metal explosion taking place across the country.

"Wheels of Steel" was an album with some incredible peaks, "747..." and the title track in particular being NWOBHM classics, but taken as a whole I think "Strong Arm.." is the more consistent record with fewer dips in quality than its predecessor. Side One is a collection of four cracking staples of NWOBHM glory with riff after riff of headbanging magic, kicking off with the uptempo, fist-pumping anthem to metal fandom, "Heavy Metal Thunder" the band stick their sword in the ground and say, "on this we make our stand, who's with us?" Biff's nasal vocals soar over everything with his tales of life on the road that paint a picture of a band that genuinely love their fans and really get a kick out of bringing metal joy to a country that in those days was stuck in some very grey times. Saxon have always come over as a really genuine bunch of fellas who would probably still play even if no one came to see them and who don't need drugs because they get high on playing for their fans, as they say on the title track, and that integrity is yet one more reason to get on board with these plucky Yorkshiremen.

Side Two is bookended by two fantastic tracks in "20,000 Ft" and the Kennedy assassination-themed "Dallas 1 PM", and although "Hungry Years" is a decent, if somewhat basic track and "Sixth Form Girls", despite being a bit cringey lyric-wise, has a great main riff and an unpretentious solo, these two feel like a bit of a dip when sandwiched between two such monsters in the band's repertoire. "Dallas 1 PM" in particular sees the band stretching their wings with a little more ambition in the songwriting. The throbbing bass intro and opening bars of the riff remind me very much of The Sensational Alex Harvey Band's excellent "Faith Healer" and the solo that begins after the sample of the assassination commentary is one of my favourites from the band. This, when coupled with the striking subject matter, makes "Dallas" a bona fide NWOBHM classic and is a fantastic way to end the album on a high.

Saxon may not have had the publicity of some of the more notorious metal crews over the years and may even be seen by some as being a bit naff, but these guys were writers of great riffs, consummate entertainers and all-round good guys, which may have seen them overlooked by the more image-conscious metal fans, but the loss is their's, not Saxon's. I saw them play live many times in the early 80s and they were genuinely one of the brightest lights of the NWOBHM and deserve the respect of metalheads everywhere.

4.5/5

Reviewed as part of THE GUARDIANS: Heavy Metal - The 1st Era clan challenge (20/25 completed).

I think "Strong Arm of the Law" (4/5) was definitely Saxon's best work to the time. I quite like "Wheels of Steel" (3.5/5) but "Strong Arm of the Law" saw them indulging in more of their Judas Priest influence which made it Saxon's first genuine heavy metal record in my opinion. I've never thought much of Saxon's self-titled debut (3/5) to be honest.

Black Alice - "No Warning" E.P. (1984)

This four-song E.P. is one of the earlier releases from my local Australian metal scene & is a damn fine one too. I quite liked the Perth four-piece's 1983 debut album "Endangered Species" but this follow-up release sees them gaining additional consistency & is highlighted by the magnificent title track which has become one of my favourite Aussie metal anthems over the years. Front man Rob Hartley possesses a seriously powerful voice that would no doubt have made him a star if he'd been located elsewhere, at times seeing him sounding like a less grindy version of Accept's Udo Dirkschneider. " Running Hot, Running Wild" is a bit disappointing but the other material offers plenty of chunky heavy metal & hard rock that should appeal to all of our The Guardians members, at least those that can locate a copy as you won't find "No Warning" on Spotify or YouTube.

For fans of Accept, Judas Priest & Taist of Iron.

4/5

Running Wild - "Gates to Purgatory" (1984)

Whilst prepping a review for this I noticed the inexplicably low score it has on the site. So, I looked through the reviews to see if I could fathom how I could have got my own judgment so wrong when it is at such odds with people whose opinions I respect. One criticism seems to be that it's too satanic and not "piratey". Oh no, I can only imagine the "Metal Band Sings About Satan" scandal that must have been splurged all over the front pages of the german tabloids. Thank heavens for the PMRC! Seriously though, I hate that whole pirate bullshit that soils their later albums, so this really ain't a problem for me. Why have "Pirates of the Caribbean" when you can have "The Exorcist"?

The second criticism is, essentially, that it is too simplistic and samey. Well, I guess that is where being a neanderthal when it comes to music appreciation works in my favour because I don't have any issue with the lack of subtlety or variation on the album at all and, in all honesty, there is all the variety I need on offer here. I honestly don't think they are any more repetitive than a whole slew of bands from around that time, particularly on the speed metal front. Anyway, here's my review:

I have only listened to a handful of albums from Running Wild, from various points in their career and with mixed results. Of those I have heard, for me, this stands head and shoulders over the rest. Their later "pirate metal" schtick doesn't really track and feels a bit too goofy to take seriously, whereas "Gates to Purgatory's" speed metal influenced, occult-themed trad metal is much more to my taste. They appear to have been initially influenced by the early-80s metal coming out of the UK, particularly Venom who, considering their influence here and on the likes of Sodom and Kreator, must have been huge in Germany around this time. They sound more technically adept and tighter than the Geordie trio for sure, but the influence is definitely there. Another obvious touchpoint for me is Tank with Rock 'n' Rolf's vocals sitting very firmly in the same ballpark as Algy Ward. However, with their more melodic sensibilities, twin guitar attack and proficient soloing, the additional influence of english heavyweights Iron Maiden and Judas Priest can't be understated either. In fact I suspect they are named for the Priest song of the same name from "Killing Machine" which seems to be exactly the kind of track that this album's foundations are built upon. For me this dichotomy makes for a nice balance that lends the hooky riffs and proficient guitar work a suitably raw edge that pushes it into the more aggressive regions of the speed metal world and away from the pomposity of power metal.

It isn't all headlong speed metal charging, though, with the pounding and hulking "Preacher" having more of a doomy riff and slower tempo, putting the brakes on and allowing a pause for breath after the opening dual salvo of "Victim of States Power" and "Black Demon" before diving right back into the even more adrenaline-fuelled headrush provided by "Soldiers of Hell" and "Diabolic Force". Meanwhile "Genghis Khan" does sound awfully Maiden-esque and I may be imagining it, but it feels a lot like the spiritual successor to the identically-titled instrumental from the Irons' "Killers" album. It is, however, one of the album's weaker tracks, sounding a little bit messy at times. I'm not convinced by the closer, "Prisoner of Our Time" either. I like the anthemic chorus and the soloing, but the verses just feel a bit flat in comparison.

So how does it stack up then? You know what, I am actually a bit pissed off that I never got wind of this album at the time of its release because tracks like "Diabolic Force" and "Adrian S.O.S." were exactly the kind of burnt rubber, fuel-injected riots that a bike-crazy, speed junkie like I was back then would have absolutely drooled over. A couple of misfires aside I really like this and I would certainly take it over the band's later stuff. Maybe I would be a bit more disparaging of it if I had a history with the band, but I don't so I unashamedly give this a thumbs up.

4/5 (85/100)

I will definitely be looking to score a copy of this soon.

Riot - "Fire Down Under" (1981)

Riot kind of passed me by at the time, never penetrating my 1980s musical bubble and, frankly, this doesn't possess the energy or aggression that is likely to to draw much of my attention all these many decades later. To me this sounds like a product of its time with way too much hard rock catchiness for my comfort. I mean, come on, "Feel the Same" and "Don't Bring Me Down" are Aerosmith tracks surely. This feels like AOR metal to me, written with US FM radio play in mind and not to provide any aggression or adrenaline as that may negatively affect record sales. Basically this is SAFE and safe is not a word I want attached to my metal listening thank you very much. I guess you want a bit more from me but, frankly, I don't want to waste too much time on this because listening to it is like staring at a blank wall for thirty-seven minutes. It gives me nothing and I shall return that with nothing of my own. If this is what was passing for metal in the US back in the early 80s prior to the thrash boom then I can understand why Def Leppard became so big over there (and you were welcome to them). I guess "Swords and Tequila" is kinda fun and "Run for Your Life" is passable, but the rest is anodyne and meaningless to me.

2.5/5

My feelings are kinda the polar opposite to yours on those two records Sonny. I find the song-writing to be pretty flat on "Gates to Purgatory" (3/5) so feel pretty similarly to how I do about Running Wild in general as they're are one of the few big name metal acts where I struggle to understand what all the fuss is about. In fact, of the eight or nine Running Wild releases I've heard over the years, I've only really enjoyed one in 1991's "Blazon Stone". I didn't like Riot's first couple of releases from the 1970's as they were both too glammy & commercialized for my taste with very little in the way of genuine metal but "Fire Down Under" (3.5/5) was a different story & became the earliest Riot record that I enjoy. While I do prefer their other 1980's releases (see "Restless Breed", "Born in America" & particularly "ThunderSteel" which is really solid & the only Riot record I find myself returning to semi-regularly), the glossy, hook-laden accessibility of "Fire Down Under" offers me a fair bit of appeal with the classy vocals of Guy Speranza being a highlight. I don't understand the links to US power metal though as "ThunderSteel" is only Riot record I've heard that falls into that category.

What can I say, I feel what I feel.

I'm glad mate because I'd be a little concerned if you didn't feel what you feel. ;)

Yeah, but when I read shit on the internet I get the impression that some people feel what they think other people want them to feel!

Mercyful Fate - Don't Break the Oath (1984)

I'm not going to get into the divisive nature of King Diamond's vocals here, I am sure I have addressed that issue elsewhere. Let's just accept for now that I actually do enjoy his idiosyncrasies and move on. The simple fact was, and remains, that Mercyful Fate wrote some absolute killer metal tracks. They gave Iron Maiden and Judas Priest-like melodic riffs a more evil bent with overtly occult lyrics, although still firmly in the literary or cinematic realm rather than the Anton LaVey serious satanism of later black metal bands. This, coupled with KD's histrionic vocals and early version of corpsepaint gave the impression that the Danes were pushing the envelope of sheer metalness ever further. MF were undoubtedly a major influence on the early exponents of extreme metal and the metal landscape may have ended up sounding quite a bit different without them.

I absolutely love the band's debut album, "Melissa" and it has several of not only my favourite Mercyful Fate tracks, but favourites of traditional heavy metal as a whole. Songs like "Evil", "Into the Coven" and "Satan's Fall" have riffs with the ability to get my head nodding and feet tapping whilst King Diamond's vocal hystrionics simultaneously set the hairs on the back of my neck on end. I think it is more than fair to say that there hadn't been anything quite like Mercyful Fate before. The band had a big task on their hands, then, to follow such an impactful record with one of similar quality that would cement their legacy as metal frontrunners. Ten months later they dropped "Don't Break the Oath" onto an expectant public and the rest, as they say, is history.

I think the first thing that hit me about "Don't Break the Oath" is that KD seems to have dialled back the vocal excesses and delivers a more controlled performance behind the mic. That doesn't mean that he took a conventional approach to his singing duties by any means and if you didn't like his vocals on the debut, then this is unlikely to change your mind as he still hits those theatrical falsettos fairly regularly, just not in as over-the-top a manner as on "Melissa". What about the riffs then? Well, DBtO is as jam-packed with riffs as a Snickers bar is with peanuts and every one registers pretty fucking high on Sonny's patented head-bangability scale. These riffs will be bouncing around your brain long after the record has ended, probably getting you very strange looks should you be using public transport at the time. On top of this Shermann and Denner's guitar work is exemplary with an energy and vitality that sounds genuinely thrilling whenever they let rip with those dynamic solos. The songwriting here also sounds more mature than on the debut, the tracks resolving themselves with a little more complexity than before. This ain't prog though and the memorable hooks are still there in vast numbers, they are just not the be all and end all on this album.

This is certainly a worthy follow-up to "Melissa" and is arguably a better record, even though the hooks on the debut are incredible, but there feels to be a bit more meat on the bones here which, when coupled with King's more restrained performance add up to one of the best traditional heavy metal records of the 1980s.

4.5/5

There was a time when "Don't Break the Oath" (3.5/5) was my favourite Mercyful Fate release but my preferences have changed a bit in my old age & I now find some of the album's main differentiators to be a little less enticing than I did i.e. the neoclassical component, the brighter, clearer production job, the proggier structures, etc. I rarely feel like returning to "Don't Break the Oath" these days, instead finding myself reaching for Mercyful Fate's earlier material i.e. "Melissa" (4/5), the self-titled E.P. (4/5) or "The Beginning" compilation (4/5). I think it's because I place great value on the darker atmosphere that perpetuated those early compositions but I can completely understand why others may prefer "Don't Break the Oath".

Motörhead - "Ace of Spades" (1980)

Once again I apologise in advance if you think this review is overly autobiographical, but my earliest days as a metalhead were inextricably linked with this band in a way that no other has been since and I feel I must acknowledge that. Anyway, review incoming:

Ah, Motörhead. I can't tell you how heavily obsessed with this band I was in my secondary school days in the latter part of the 1970s. Lemmy, Eddie and Philthy were the absolute fucking peak of musical rebellion for me back then. Punks thought they were rebelling, but they were just glorified clothes horses. Nah, bikes, booze and speed as preached by this unholy threesome were where rejection of the system and true freedom really lay. Motörhead shows were special, they had a hardcore of fans who always showed up, particularly from the biker community and were a celebration for those who rejected and lived outside of the system. The band had been steadily growing their popularity with each release, but then, all of a sudden in '79 / '80, rock and metal became popular here in the UK and all manner of "normies" started taking notice. Pivotal in that metal explosion here was "Ace of Spades". It became popular on a level that was unprecedented for UK metal bands (even Sabbath didn't really hit this level of popularity in the general populace). Shit, the 'Head were even there on Thursday night on Top of the Pops for fuck's sake. I was a naive kid and some part of my kid's mind felt betrayed by this sudden "sell out". Of course this was a great album, but my admiration of it was a bit grudging because, much as I loved it, I resented having to share something that had been so personal to me with all these newbies who had no history with the band. Stupid and naive, but my immature mind knew no better. Rather than revelling in the fact that my love of the band had been vindicated by so many others now discovering them, my connection now felt diluted.

So now, as an only marginally more mature-minded old man, what's my take on "Ace of Spades"? Well, I don't think its influence on the future of metal can be understated. Its influence on bands such as Venom is evident and therefore, by extension, on the whole extreme metal scene. It was certainly Motörhead's most truly metal album up to this point and is a long way from the material you would find on their earliest recordings such as the heavy rock 'n'roll of "On Parole". It is also one of the band's most consistent records with few real dips in quality, unlike a lot of their albums which always frustratingly seemed to have at least one "bum" track, think "Vibrator", Step Down" or "I'll Be Your Sister".

The tempo established by the iconic opening title track is maintained pretty consistently throughout the album with tracks like "Fire Fire", "We Are the Road Crew" and "The Hammer" while they shake it up with some variety of pacing as supplied by tracks like "Shoot To Win" and the brooding "Chase Is Better Than the Catch". And over all this booms Lemmy's unmistakeable, thundering basslines whilst Philthy lays into all around him like the "Animal" for which he is named, the duo combining into one of the most devastating and charismatic heavy metal rhythm sections of all times. From what I understand Eddie Clarke was already at this point becoming a little disillusioned with playing second fiddle to Lemmy, yet he was such a consummate professional that you would never guess it as this is probably his all-time best work and his riffs and solos are vibrant and energetic, playing the lightning to Lemmy and Phil's booming thunder. Sure, I will concede, sometimes Lemmy's less-than-serious lyrics can cause the odd grimace, but I think he wrote them with tongue firmly in cheek most of the time.

I don't know if they ever suspected that the title track would become the iconic track it did. I mean it is up there with songs like "Paranoid" and "Smells Like Teen Spirit" in terms of tracks that are so well known people actually become tired of hearing them over time. Whether they did or not, it is one of the best known British metal tracks ever. Hell, even my Elvis-loving mum could be caught singing it occasionally. To be fair she did once sweet-talk a bouncer into letting her in for the last half hour of one of the band's shows at our local fleapit when she came to pick me up. It blew her mind and she always loved Lemmy after that! I digress, but the material on "Ace of Spades" is so strong that even with such a titanic track opening the record, the remainder doesn't feel even remotely disappointing and a couple such as "We Are the Road Crew" and "The Hammer" are even better for my money. Ultimately the top and bottom of it is that this is one of the iconic albums of the UK metal scene alongside "Paranoid" and "Number of the Beast" and no matter what I or anyone else says that ain't changing any time soon.

On a more sombre note, I always use metal-archives as the resource for factual information about the albums I am reviewing and, rather poignantly, I thought, the full lineup page for "Ace of Spades" which includes producer Vic Maile, engineer Trevor Hallesey and even photographer Alan Ballard has R.I.P. next to each name. Fuckin' sad man.

4.5/5

Reviewed as part of THE GUARDIANS: Heavy Metal - The 1st Era clan challenge (24/25 completed). One more to go!

Great review Sonny. I love hearing the details about your own personal experiences actually. I believe that Motörhead's "No Remorse" (4/5) may have been my very first metal-related release ever so they played a strong role in my musical development too. I found a dubbed & unlabeled cassette copy of "No Remorse" in the street & had to figure out what it was myself over a period of weeks, a task that ended when I connected what I was hearing with the video clip for "Ace of Spades" that I saw on long-standing late-night Aussie music show "Rage". I wore that cassette out over the next couple of years. "Ace of Spades" (4/5) may not be my favourite Motörhead release but it's certainly in the conversation, sitting only behind "No Sleep till Hammersmith" (4/5), "No Remorse" & "Overkill" (4/5) these days. I don't think most of Motörhead's back catalogue really sits too comfortably under a metal tag if I'm being completely honest but their importance is undeniable.

Thanks Daniel. I actually love hearing about reviewers' personal connections to releases and find the human side of music listening to be far more interesting than merely factual, but emotionally cold, reviews that only focus on the technicalities. As long as there is enough information to allow me to decide for myself if a release is something I may enjoy, then I would much rather hear about what makes it special to that person and all the better if there is a personal story attached. I know those types of reviews annoy some people and they just want the facts, but those music theory type reviews aren't my strength at all.

And what kind of fool would throw a perfectly good Motorhead cassette into the street? Good fortune for you though. Maybe things would have turned out very differently for you if it had been a Duran Duran tape!

To be fair Duran Duran were a massive band for me as a little kid getting into music. I still love ‘em today. :)

Surrender - "Surrender " (1984)

The sole release from this Sydney heavy metal/hard rock four-piece who hold the prestigious honour of producing the very first metal album to come out of my home city of Sydney. It's not a bad one either although the thin, tinny production job has likely cost Surrender an extra half mark. Vocalist Dave Crompton is an absolute star & I love his powerful, melodic voice. Guitarist Stephen Medland can certainly shred too while the keyboards of Colin play a very strong role in the album's personality too. "Technicolour Fantasy" is an incredible highlight that I still regard as one of the finest heavy metal anthems to grace these shores while "Feelings" & "Funny Man" are also very solid. Opener "Just Couldn't Take It" even predicts the European power metal sound that would develop over the next twelve months or so. I've enjoyed this revisit but it's a shame about the primitive, self-produced & financed format because these guys definitely had something here.

For fans of Rainbow, Dio & Yngwie Malmsteen.

3.5/5

Here's the YouTube link for anyone that's interested.

Metal Church - "Metal Church" (1984)

I must confess that at the time, back in the 1980s I gave Metal Church a wide berth, for no other reason than their name made me think they were a glam metal band and so were taboo as far as I was concerned. OK, yeah I know, but I have always been a bit of a dickhead, so more fool me. Even to this day this debut is the only album of theirs I have given much attention to. I have heard its follow up "The Dark" but it didn't make much imprssion on me so the self-titled remains my only real touchstone with the San Franciscan metallers. In addition to this I was never a very big fan of power metal, but since joining Metal Academy I have become converted to the joys of the US version which is less bombastic than its european counterpart and is much more to my liking.

"Metal Church" whilst often being touted as speed metal, or even thrash, is neither of those but rather a good example of USPM. Undoubtedly, when they put their feet on the gas, it is certainly pretty close to speed metal, the instrumental "Merciless Onslaught" for example, but overall the tempos are more varied and there is a bit more to it than the average Exciter album. The title track, (my personal favourite) whilst having a relentless riff, isn't an all-out blur of speed, but is a much more deliberate and considered medium-paced affair, meanwhile "Gods of Wrath" even has a balladic verse structure alongside a classic-sounding NWOBHM riff for the chorus.

Having formed in 1980, the band had been churning out demos prior to Metal Church and that experience served them well because I think they sound like a pretty tightly-knit unit here. Whilst the twin guitars of Kurdt Vanderhoof and Craig Wells are undoubtedly the star attraction, I think drummer Kirk Harrington deserves special mention for his performance which is pretty damn impressive and does a lot more than just keep time with his relentless and intricate drum patterns. Vocalist David Wayne has a tendency to become a bit screechy, but never to the point of annoyance, and he does inject some character with his voice. As I said earlier, though, it is those twin guitars that really dominate "Metal Church". Whether it is the charging of the rampaging riffs or the frantic shredding of the electrifying solos Vanderhoof and Wells impress with their energy and skill.

These were pretty exciting times to be a metalhead as the new wave of acts sweeping the metal world were stripping away the final vestiges of hard rock from their sound, pushing each other to be faster and more evil-sounding and with this debut Metal Church can hold their heads high with their contribution to the movement. In all honesty, though, I would have been perfectly happy without the "Highway Star" cover which feels like an unnecessary nod to the increasingly irrelevant old guard. By the way, is it just me, or is the title track a candidate for the "Influence or Coincidence, Inspiration or Plagiarism" thread because it sounds to me like Dave Mustaine ripped it off for the chorus of "Architecture of Aggression". It isn't like he was unaware of this album surely, they are contemporaries from the Bay Area and must have crossed paths in the 80s.

4/5

Reviewed as part of THE GUARDIANS: Heavy Metal - The 1st Era clan challenge (25/25 completed).

I have a few of their albums classified as speed metal, and this album in particular tops that chart.  This one gives me everything I want in a metal album: a healthy perspective and balance of various metal genres, a powerful mood throughout, a singer that sounds like a monster, as if Bon Scott couldn't even use steroids when this guy's all muscle and some superb riffs and solos.  As for the Highway Star cover, not as good but damn close, a better cover than Death's Painkiller.  if they're gonna cover any Deep Purple, it's gotta be that one.

The debut was the first Metal Church record I ever heard as a young fella & I quite enjoyed it too but I do have to admit that I've never found it to be any more than a passing interest. I feel similarly about its follow-up "The Dark" to be honest. It wasn't until I checked out 1989's "Blessing in Disguise" shortly afterwards that I was fully convinced by Metal Church as I find the tracklisting on the debut to be noticeably inconsistent. I absolutely adore the first couple of tracks which are undeniable classics while "Merciless Onslaught" is very solid too. I really struggle with "Gods of Wrath" & "Hitman" though as they tend to draw cringes out of me &, even if Metal Church do recover things fairly well from there, I don't think the quality level ever returns to where it was with those first three cuts. For the record, I really dig the Deep Purple cover that closes the record though. It's one of the more successful examples of its type & comfortably eclipses the previous four or five tracks in my opinion. I know I'm on my own here but I'm afraid I can't go above a 3.5-star rating for "Metal Church".

I have a huge gap in my knowledge of Metal Church's discography which begins right after the 1980's. I've really enjoyed the couple of tracks I've heard from 1991's "The Human Factor" but have never committed to the full record. That's about where my experience ends though. I think I'll commit to checking out the brand-new "Dead to Rights" fifteenth full-length at some point in order to start rectifying that.

Like I said in my review I haven't checked out anything from Metal Church after "The Dark", which I personally think is a bit limp compared to the debut. I will have to check out the couple you mentioned above, Daniel.