*Helstar - Burning Star. 1999 Century Media (CD) (1984). Collection revisit (Dec). Helstar were one the classic metal bands that I got into about 20 years after their debut. Coming from nearby Houston, I probably should have shown more Texas pride and picked this up upon release. But funds were short in my early days of college, and I didn't read anything that stated they were that much more original than any of the other bands emerging during that era. In hearing this CD for only the second time, I can understand that sentiment from the metal journalists of the day. However vocalist James Rivera (known here as Bill Lionel) could scream with the best of them, and his unique approach definitely adds points. The guitar tones and production aren't particularly heavy, even for the era, but the riffs and solos are inventive. And they do manage to throw a few ideas in per song. One could argue that Fates Warning simply took Burning Star as a blueprint and upped the ante on the complexity for their breakout The Spectre Within release. Early classic metal like this still has a place in the collection.
Casus Belli - In the Name of the Rose. 2005 Limb (CD). One of many from that 2016 buy I still haven't heard. I feel that 2025 will be the year I finally conquer my backlog. More on that topic later. Casus Belli are from Greece and they play... European power metal. So - SO many of these bands like this from that era. I give them credit, they start off with two fast paced numbers to get one's attention. No messing around with arty pretension. I like their tones too. But they're about as original as the rest of them. Vocalist has nailed the Bruce Dickinson tenor, and Judas Priest's Painkiller is front and center for the rhythm section. Man, no one wants this stuff today, each cheaper than the last one. Hype sticker says "Power Metal. ...combines murderous riffs* and rhythms with compositorial elegance**, garnished*** with an incredible vocalist and an exceptional guitar player." OK fine, it is a hype sticker after all. *I'm not sure I'd want my riffs to be murderous though, especially live in concert. **Compositorial is a new word for me, so I looked it up, and it's not used correctly here. ***-Sounds like a fine dining table layout. (Dec)
Legend - The Dark Place. 2013 Workshop (CD). Collection revisit (Dec). In the first entry of this journal I bemoan the fact that Legend's comeback effort was well done, true to their early albums, yet it somehow felt too safe and planned out. The Dark Place came a decade later, is their follow up to Still Screaming, and it remains their last studio effort to date. Starting out like a vintage early 80s Judas Priest album, it doesn't appear Legend are going to take too many chances here either. I do like their guitar tone and Mike Lezala has a great voice for metal (he actually sings!). Legend are to be admired for not jumping on modern metal trends in order to stay relevant. They are, pardon the expression, legends in their own right. And it is that legacy they bring forward here. However there's a dearth of ideas or catchy tunes to keep going forward with. Unfortunately. Interesting to note that the final track, though no longer in duration than any other tune, has the right idea in terms of progressing their sound further. Too little, too late.
The Mystick Krewe of Clearlight. 2000 Tee Pee (CD). Collection revisit (Dec). Instrumental side project of Eyehategod from New Orleans. The gimmick here is that one of the instruments is a Hammond organ. The music is fairly generic stoner metal fare, though not unpleasant. The organ helps with this, but unfortunately it's buried in the mix. Given the sound palette options, one would hope for more of a stylistic brush. It never really unfolds that way and after some 40 minutes, you realize not much as happened. I appreciate the willingness to expand beyond the same ol' same ol' but they hedged their bet too much and played it safe.
Cinderella - Night Songs. 1986 Mercury (LP). Another Colorado Springs pre record show grab for cheap. (Nov). Cinderella were from Philadelphia and their image was pure glam with teased hair, makeup, and standard issue 80's chasin' chicks fare. The music is really nothing of the sort, sounding very much like AC/DC, maybe Aerosmith for a stretch goal. I could have just as easily written this in the hard rock journal, but metal is where the band is generally categorized. I'm sure the band had talent and could have done far better than this effort, but such were the times to get recognized, and Cinderella cashed in just fine. It's not an embarrassing work, but rather mundane in the scheme of things. While gathering for a family Thanksgiving dinner, little Timmy finds the album buried in a nearby desk drawer, and points to the photo confused: "Did you really used to look like that, Uncle Eric?"
Lanfear - The Art Effect. 2003 Nightmare (CD). From a large metal collection I bought last year. Most were sealed as is this. So off to YouTube to check it out first to see if I might want to keep it (Nov). This looks like typical German prog metal. I'm going to read some positive reviews to get me in the mood for this... Alright found some. They enthusiastically compare Lanfear to Queensryche and Blind Guardian. Oh boy, not more of that. Oh yea, more of that. Well let's see if a melody or sequence catches my ear. Something different maybe? Nope. It's certainly well played and executed. I think prog / power metal was a cottage industry in Europe during this era, and many folks made a halfway decent living doing this. As I said in the first Winterlong review below: "They really were spitting these kind of albums out during this era, huh? I missed it all real time having moved on from this breed of prog metal by the late 90s. Looks to have been a prudent move."
Eldritch - Headquake. 2006 Limb (CD) (1997). Collection revisit (Nov). Somehow I ended up with five Eldritch albums, I think because they were deep discounted at some point. I did first hear Seeds of Rage real time, but everything else came much later. The Italy based Eldritch could be seen as the blueprint for European prog / power metal that would become commonplace in the 2000s. The raw and quirky tech thrash of the early 90s morphing into the very professional sound of Dream Theater. I do appreciate their gritty tone, much less friendly than their contemporaries. The use of synthesizers is more atmospheric than showy. Vocals (from American Terence Holler) are from the LaBrie school without the wimpy moments. It's tough to evaluate these albums at such a late stage primarily because I have so much of it already. I sense that if this was one of my first discoveries in the genre, I would have played it numerous times and many of the sequences, breaks, and melodies would be burned deep into to my soul. Super package with a slip case, a full poster of the cover, thick booklet with lyrics, photos, and a short biography. And four bonus tracks. Great value. Despite all of that, just too much of the same thing here for me to hold onto.
Iron Cross. 2001 Iron Glory (CD) (1986). Collection revisit (Nov). After first acquiring the CD, in Dec 2004, I wrote: "More great vintage thrash with plenty of mid tempo pure HM. Similar to the Griffin I spoke of before, though this is clearly more bar/basement. Florida group foreshadowing the impending death metal movement that prevailed, and ultimately dominated there. Iron Cross could also be considered a tangent Savatage (another Florida group) could have taken had they explored more with thrash. Some prog moves and moods with solos closer to 70’s hard rock than 80’s hair metal pig squeal. All the songs are about death, demons, Halloween, etc… traditional bonehead metal fare. Check out the Umberto Eco-like prose on ‘S+M Medley’: “Tight Jeans well they hypnotize, you got pulled tight to the perfect size and you know you should have buttoned your shirt”". ------In hearing this CD again for the first time since, I'll pull back the thrash comment and attribute it more to US Power Metal, like fellow Floridians Iced Earth. Early Savatage remains the best guidepost here along with the classics such as Judas Priest and Iron Maiden. It's a very amateurish take on all these bands, and while I usually reward such endeavors, this one needed a bit more time in the production room. The CD adds bonus tracks from 1991 and 1999, and it appears additional ones from the original recording session. Oddly the band never improved. Were I fortunate enough to own this as an original LP, I'd likely treasure it, considering it's financially truly a treasure. But barring me from running into a copy by accident, the CD doesn't help bring this title to life. I experienced a -1 listen and will let it go.
*Iron Maiden - Somewhere in Time. 1986 Capitol (LP). Collection revisit (Oct). As noted often here, I was a big fan of Iron Maiden real time, so all of their albums from the 80s have a special place in my heart. I bought this LP when it came out in my senior year of college, and I saw them live in January of '87 in Lubbock. I found the ticket stub the other day. Considering that Powerslave was burned deep into my DNA, any album coming after that would be tough to absorb. But Somewhere in Time is a great follow up. RYM has it as their 4th highest rated behind their two recognized masterpieces: Powerslave and Number of the Beast. Seventh Son gets the 3rd spot, but I would beg to differ. I'd probably place the debut and Piece of Mind higher myself, but we're splitting hairs at this point. Generally I read that Somewhere in Time is where they embraced synthesizers. I suppose so... but Iron Maiden were always proggers at heart, something I find myself repeating often in these pages. Somewhere in Time is the first Maiden album that I didn't listen to incessantly upon release, as I was very heavy into the 70s European underground by this point in my life. Which, in a way is good, as I can still experience musical discoveries here. I also own the Sanctuary CD that offers bonus videos. I should actually watch those someday.
Haji's Kitchen. 1995 Shrapnel (CD). Collection revisit (Sep). These guys were from my old stompin' grounds of Lewisville, Texas (Dallas suburb). I bought this not long after it was released and I was quite taken with the sound at the time. I always liked the premise of groove metal, that of a slower thrash, but with heavier guitars and more bluesy solos. Vocals were often a problem, but they aren't really egregious here. The issue I have is the similarity of each subsequent track. The opener on Haji's Kitchen is 'Machine' and it's a great wake up siren. But it sort of meanders from there. They needed more something, whether it be complexity or palette of sound or not-sure-what. They do add some intriguing elements on occasion but not enough to deviate very far. This album is held in high regard for genre fans, and I can see why. But I think I'm going to move on from it.
Winterlong. 2005 Lion (Finland) (CD). Thrift shop find (Sep). From the off, this sounds like a distinct improvement on their debut Valley of the Lost. And it becomes apparent they're copying Iron Maiden rather than the multitudes of Euro power metal neo-classical outfits. And that's a good thing. Unfortunately they aren't exploring that sound further as the namesake Iron Maiden currently is. As the album rolled on, their speed metal roots came to the fore. Gotta do more than that in 2005.
*Ratt (EP). 1984 Time Coast (MC) (1983). From my buddy's garage sale (Sep). Solid debut from San Diego's Ratt, a band that rode the fence between solid traditional metal and glam. Really not that much different from their California brethren Motley Crue. Sort of an updated and metalized Aerosmith. Lots of swagger and politically incorrect sexism. You know, the good ol' days. For a dollar cassette, I think I'll hold onto this one.
Winterlong - Valley of the Lost. 2001 Lion (Finland) (CD). Thrift shop find (Aug). Standard issue neo-classical power metal from Sweden with fast chromatic scale solos and synthesizers going at about the same speed. Vocals are aggressive but non-abrasive. There's some grittiness here that I appreciate, but they're too accomplished to be that interesting lol. It's good, of course, and not painful to sit through. It's just the same ol' same 'ol. They really were spitting these kind of albums out during this era, huh? I missed it all real time having moved on from this breed of prog metal by the late 90s. Looks to have been a prudent move.
Legend - Still Screaming. 2003 Monster (CD). Collection revisit (May). Kind of a bummer that I didn't really get much out of this reunion release. I love the early Legend albums, all pioneers of the original NWOBHM movement. Still Screaming is very much in spirit with those albums too, not a change in direction. But it lacks the angst and naivety of youth. Too stale and rehearsed. It's good, yes, but I don't need more of it.
* - Keeping for the collection
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