Saxon ~ England

Power & The Glory (1983)

According to RYM, this album was released in March of 1983, meaning I was still in high school. That tells me that I had cut the cord with Saxon even before I graduated secondary school. Only a few months later, Metallica entered stage left, and the metal world would never be the same. That would include my listening approach. As noted below, I only recently picked up Power & The Glory, if only to close the book on their classic era.

Upon obtaining in 2013, I was pleasantly surprised how much I enjoyed the album. Of course at that point it was more of a nostalgic listen than anything enlightening. And that perspective remains with me tonight as I revisit for the first time. True bread and butter NWOBHM, Power & The Glory could be considered a swan song for the entire genre. The metal world was moving on, while Saxon was still releasing charmingly antiquated melodic metal with galloping guitars, sensitive vocals, and predictable sequences. You know, "This Town Knows How To Rock" "Solo!". Sure, why not? Saxon, too, were to change after this, to a more commercial based sound, which proved to be the wrong choice at the wrong time. Based on my own observation of a late 90s work, they were to course correct, long after it may have mattered, but their legacy remains secure.

Ownership. 1983 Carrere France (LP). Acquired in 2013.

11/26/13; 8/12/26 (review)
 

Saxon (1979)

If you look at the listen dates, you'd think I haven't heard this album since I was in high school. I know that's not right, but have I heard it since the late 90s? Nope, probably not.

Saxon's debut was one of the first metal import albums for me to purchase. European imports were very expensive back then, at least for a pauper like me whose sole income at the time came from a summer job working in an industrial warehouse (in Dallas no less - unbearable heat). At minimum wage which was bupkis in 1982. So every dollar spent had to count. I was looking for heavier, faster, and meaner metal on each purchase. And with that cover of a blood soaked sword, I figured I was in safe territory.

Uh, no. What a strange album Saxon's opening move is. Like I say about Manilla Road's early works, this is Saxon before they were Saxon, if that makes sense. With the opening two tracks titled 'Rainbow Theme' and 'Frozen Rainbow', you'd think they were some kind of psychy prog band. And it's not really that far from the truth. It's not until A3 that you hear the first riffs, though definitely more hard rock than anything metal. 'Judgement Day' is another song that has psychedelic overtones, and is my pick for best track, unrepresentative as it may be. 'Stallions of the Highway' is the first sign of the blueprint Saxon were to follow on their next three albums. Mid-paced biker metal with solid riffing and good solos. B4 is another example of this.

This is a very special album to me for the time and place aspect, and the history as noted above. But for musical content, it's borderline passable. I wouldn't give it much credence had I discovered this album for the first time today.

Ownership: 1979 Carrere France (LP). Acquired in 1982.

1982; 5/25/26 (review)  

Unleash the Beast (1997)

I was an early adopter to Saxon, having bought their quirky debut album, followed by Wheels of Steel, Strong Arm of the Law, and Denim and Leather. And that was it for me. Didn't even follow the band out of high school. It was only within the last seven years that I completed their early 80s classic run with a purchase of Power & The Glory (LP). What they did after that, I really don't know. I've certainly read a lot. It's apparent that Saxon made a go at "capturing" the US market, to no avail (as to be expected). And at some point in the mid 90s, got back on their (iron) horse and went about making music in their former early 80s NWOBHM style, but updated to modern heavy standards.

From my perspective, one of the issues that plagues Saxon is their image and moniker. If one didn't know better (and I didn't at first either), you'd think Saxon to be a band similar to Manilla Road, capturing the ethos of Medieval times, and creating mysterious semi-progressive heavy metal. Nope. Saxon are a biker band, through and through. A creative one, yes, but they're very much in your face metal. 

If Unleash the Beast (1997) is an example of what I can expect to hear going forward, then I'm in store for at least 11 more great albums! Band leader and lead singer Byff Byford is now 70 years old, and by all accounts, he hasn't lost a step. And right next him is his trusty aide and guitarist Paul Quinn, of which the same can be said. Right from the get of the title track, you'll know that Saxon are back from the grave, and packing heat! Every track here is classic NWOBHM music: Melodic, yet heavy riffing, with high quality guitar solos. Byford sounds like Byford, his distinctive higher pitched voice soaring peacefully (he's no screecher) over the racket underneath. Unleash the Beast is yet another pleasant surprise. Obviously I need to hang out more in the CD bins to see if I can find more of this! Interestingly enough, this is the only Saxon album I own - or have ever owned - on CD.

Ownership: 2007 SPV (CD). The hype sticker is hilarious: "Bonus Tracks, Unseen Photos, Liner Notes, Original Artwork, New Booklet!" OK, the last two are probably fair. Bonus tracks? Yes, there are two three minute live cuts. Liner notes? A very small paragraph written by Byford. Unseen photos? There's only one photo! lol. Acquired in 2021.

3/7/21 (review) 

Also own: Wheels of Steel; Strong Arm of the Law; Denim and Leather

3/7/21 (new entry)

Iron Maiden ~ England

A Matter Of Life And Death (2006)

As mentioned on The Final Frontier review, I feel like I'm hearing all of these "comeback" albums for the first time. Which is a good thing honestly. I won't rewrite the reviews below, as so many of my thoughts surrounding Iron Maiden have already been captured. More will come out from their 80s works (the ones I have yet to review) which are very special to me. These later works are all objective listens, and so I'll stick to that. Actually - one recent comment. A dear friend, who I grew up with and turned onto Maiden when we were in high school (1980), asked me recently if I was interested in seeing them play live. Nope, I said immediately. Want to preserve the memories and the time / place aspect. Don't need to see them now. No relevancy to my life as it stands today. Different era, different crowd. He agreed. But they were so important to us teens / early 20s back in the 80s. And I continue to treasure those moments.

The album opener is a somewhat perfunctory Iron Maiden track, patented galloping guitars, simplistic, and radio friendly. Seems they wanted to get that out of the way first, so they could get down to serious business on track 2). The first six songs here vacillate between their proggy ambitions and compact rocker stances. And honestly, some do go on longer than they should. The last four tracks, totalling about 34 minutes, shed their self-inflicted inhibitions, and go all in for their prog rock tendencies. We hear this often with Maiden in their post reunion efforts, and it's what makes all these albums so great. Hard to believe I'm reading reviews that the band were "coasting" during this era. One presumes they are listening to the whole album, not just the beginning. These guys are extending their abilities as far as they can, something they continued to do through recent times. Don't listen to a single naysayer. They're not plugged in properly.

A Matter Of Life And Death is yet another essential Iron Maiden album in a library full of them. These guys will be in future history books. Beyond music.

Ownership: 2006 EMI Argentina (CD). Booklet with lyrics, photos, and recording details. Acquired in 2011.

11/5/11; 9/1/15; 8/5/26 (review)
 

The Final Frontier (2010)

Already back into the Iron Maiden collection, very soon after documenting No Prayer for the Dying. Random but timely selection. As noted below, I haven't documented any of the Dickinson reunion albums save their latest Senjutsu. Looking at my database, I didn't get back into Iron Maiden until 2011. So I took a 21 year hiatus from the band after No Prayer. I then proceeded to buy all of their albums (on CD) from Brave New World through their latest at the time, which is the album I'm featuring here. To be honest, I feel like I'm hearing it for the first time, as little registered on initial impact (and a second listen four years later), other than I thoroughly enjoyed it.

The Final Frontier has a very unique opening. Mostly martial and synthesizer atmospheric, very un-Iron Maiden like until about midway through the track. I enjoy the deviation, if maybe a bit too long. Track 2 reintroduces us to the Maiden we all know and love. Galloping guitars (all three of them: Murray, Smith, and Gers) with Dickinson's piercing vocals. Harris and McBrain are always busy, moving the proceedings along at a brisk pace. 

On The Final Frontier, Iron Maiden uses the first five tracks to play to their "compact" side, and the later five to indulge their proggy tendencies. As mentioned on the Senjutsu review, I love that Maiden continues to push the envelope as they age. If you want to hear Iron Maiden in their creative mode, you could program out tracks 2 through 5, and experience a full album in that style.

Other than "The Iron Maiden sound" what else can I listen for? Memorable tracks, like the ones I recall almost verbatim from the 80s. As I listen carefully, I think it's the entire second half (to pick one, I'd go for 'Starblind'). Thinking through this further, if I heard Powerslave on a quick run through, I'd have little to recommend. But we played that album so much then, we knew every note back and forth. If I did similar here with The Final Frontier, I'd probably hold it at the same level. I suspect that many dyed-in-the-wool 80s Maiden fans (like myself) would come to a similar conclusion. But we don't listen to music that way anymore. Too many choices, not enough time. I'm enjoying my extended time with albums like The Final Frontier. Going back to my roots.

Ownership: 2010 UMe (CD). Booklet with lyrics, recording details, and "Eddie" artwork. Acquired in 2011.

7/25/11; 10/2/15; 10/20/25 (review)
 

No Prayer for the Dying (1990)

By 1990 my interest in Iron Maiden had waned. As I continued to burrow into the progressive rock underground, my only interest in metal was coming from the tech thrash side. Iron Maiden was from the old NWOBHM school, which had worn thin by then. I did like that Maiden were experimenting with prog more and more, yet it wasn't enough compared to what I was discovering from the 1970s European scene. And they weren't heavy enough either to draw my attention to them from a metal perspective. Despite all of this, I did go ahead and buy this LP not long after release. It would prove to be the only original Iron Maiden I let go out of the collection. And that was probably 30 years ago (1995). I also stopped here with the band, and ultimately dug back in on their post 2000 reunion albums some 21 years later. Much of which I still need to document.

It also seemed that Iron Maiden's interest in Iron Maiden had begun to wane by 1990. Second guitarist Adrian Smith had bolted and was replaced by Janick Gers. They seemed to be out of gas, and that their spectacular run of 1980s albums were over. Today, No Prayer for the Dying is by far the lowest rated Maiden album (on RYM at least) with Bruce Dickinson (or Paul Di'Anno) as vocalist. Though absurdly Senjutsu is not too much higher. See below for my thoughts under that LP's entry. In any case, a local buddy who gives me great deals on albums, had a newer reissue on hand. It was at a retail price, but I felt I owed him a bit, so why not try it again? If I don't like it, I can resell it for the same price and make my money back. It's been 30 years (at least) since I last heard the album. Is it really that bad? Much has changed in Genius Hans' world since 1990, when I was all of 25. Let's go in with an objective, other-side-of-the-mountain viewpoint.

As side 1 rolls on, it's easy to see why I had dismissed the album from the onset. The band had purposely moved back to a "simpler composition" style, never a good sign. That's ironic in that Maiden in its current form is going in the exact opposite direction, adding more complexity as they get older. Despite being more basic, their sound was also more lightweight. It's still metal, but on the border with hard rock. Seems the band were hedging their bet, and yet it was all the wrong choices for the times. Iron Maiden were trailblazers, the leading light, and here they aren't progressive, heavy, energetic, or particularly memorable. On this latter front, it's hard to discern the differences from cut to cut. The exception being the closer 'Mother Russia', which I recall being the only track I really liked initially.

To my initial question - is it really so bad? Oh heavens no. My rating was entirely too low, based on the emotional state of the time. Somewhere along the line I went from "it's OK" to "it blows". That is certainly not the case. The group sounds on point actually, and the newly paired guitarists are playing some nice unison lines. Harris and McBrain are also in top form from a rhythmic perspective. Only Dickinson doesn't sound right, primarily because he was asked to reign in his air-raid siren voice for something more direct and raspy. Bad decision especially considering that's one of the defining characteristics of the Iron Maiden sound, post Di'Anno. In conclusion, I am now a full 1.5 stars ahead of where I stood years ago. I do think it's a good album, not a toss away effort.

Even with the apologist stance, I would still rate this as the lowest of the Iron Maiden albums I've heard. I did miss out entirely on the rest of the 1990 decade, and I know the Bayley albums aren't held in high esteem. Nonetheless I have since picked up two of the three I was missing from that time period (still haven't heard them), and I'm sure I'll find the other. See the bottom of this post for what I still need to review.

2017 Sanctuary (LP). Lyric inner bag. Acquired in 2025. 

First copy: 1990 Epic (LP). Acquired in 1990.

1990; 1995; 9/27/25 (review)

Somewhere In Time (1986)

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. The Sanctuary CD offers bonus videos. I should actually watch those some day.

Ownership: 

1986 Capitol (LP). Acquired in 1986.

2002 Sanctuary (CD). With video. Acquired in 2006.

1986 Capitol (MC). Acquired in 2026.

1986; 1//06; 8/17/15; 10/23/24 (review)

Senjutsu (2021)

It's nigh impossible to limit the superlatives when talking Iron Maiden. There's really no precedent of a band who has remained true to their sound for 41+ years and continues to evolve and grow in a positive manner. These guys are well into their 60s now, and every album they release is as if they were still in the middle 1980s pushing the boundaries of what heavy metal can potentially be. Most groups with the stature of Iron Maiden would go on to release a perfunctory new album with ten forgettable three to four minute run throughs, then hit the road, and play all the fan favorites from 35 years ago. Not Iron Maiden. How about a triple album with 10 minute plus involved tracks with fun light reading names such as 'Death of the Celts' and 'The Parchment'? And they're so spoiled they have everybody do things for them. Ya know, like singer Bruce Dickinson flying their own 747 around the globe. Who does these things? Whatever the question or challenge, Iron Maiden wins. And yet on forums such as RYM, Iron Maiden is put through the ringer by those much younger with zero perspective. Yes, of course Iron Maiden were never the heaviest - or fastest - or most complex band ever. They are just simply the best at what they did (and do). They are legends in their own time, and that will only grow as the centuries roll on.

As for their 17th album Senjutsu, Iron Maiden continues to bring it. This isn't easy listening metal. And no there isn't anything particularly catchy about it. No different than the prog albums we adore and champion. Iron Maiden is not the latter, but is clearly influenced by the genre, and they make no bones about it either. 82 minutes is a lot to absorb, but if in a patient mood, the listener is rewarded (i.e. I've had this album sitting in the new arrivals box for over six months and just now getting to it). These are albums that are designed to outlive the band. 50 years from now, new serious young minds will want to go beyond whatever is their pop du jour, and tackle something more challenging. Iron Maiden will be one of the early bands they will learn about. On my first listen to the album, I played the first two LPs, and then flipped the 3rd one back and forth for three listens each. Not that I liked it any more than the prior material, it just seemed like a good way to appreciate the album. Honestly I couldn't tell you too much about their Version 3.0 albums starting with Brave New World (2000). This era of the band has far outlasted any other, and all their albums are consistently great. I know their 80s work far better, because I grew up with them - listened to the albums constantly - saw them live a few times - even played soccer with them. They were a huge part of my high school and college years. A soundtrack perhaps. My life post-2000 has been completely different, so I don't relate to Iron Maiden's new music in the same way. But what I do know is that every revisit will seem like I'm hearing a brand new excellent album by Iron Maiden. And that's the exciting part of music such as this.

Ownership: 2021 BMG (3xLP). Triple gatefold. Red and black marble vinyl. Acquired in 2022.

9/4/22 (review)

Iron Maiden (1980)

Iron Maiden's debut actually predicts their future better than the follow up, Killers. 'Remember Tomorrow', 'Transylvania', 'Iron Maiden', and especially 'Phantom of the Opera' are overtly proggy, while 'Strange World' is a fine ballad. The opening 'Prowler' has a strange psychedelic aura about it, though with Di'Anno singing, you're always closer to punk than psych. One track that I've always had near the top - but is widely panned by fans - is 'Charlotte the Harlot'. Despite the rather dumb subject matter, the track features some nice mood changes, and the blistering dual guitar solos coming out of the last break, are some the most pointed and fierce of their entire career. The US version adds 'Sanctuary', a mid-level song that foreshadows Killers. The only track I can do without is 'Running Free'. Iron Maiden are huge English soccer fans, and they had a tendency to slip in a "football styled" anthem every once in awhile, similar to Judas Priest in that way.

Anyway, brilliant album. You already knew that... presumably.

This came out when I was 15, so it's likely my mom took me to the record shop to buy (and it is this exact copy). Just makes me laugh when I think about it. Incidentally, she's still alive and kicking strong. 81 and as feisty as ever. Lives independently in an apartment about 10 minutes from our home here in Colorado. She'd lived in Texas for 51 years straight, so it was quite a change for her. I remind her that she's responsible for my dementia in music. We just crack up. If Mom had it her way, I'd be singing church hymns instead. On another side note, the cover of Eddie here looked like one of our neighbors back in Texas. I digress. 

Ownership: 

1980 Harvest (LP). Acquired in 1980.

1988 Capitol (CD). Acquired in 1990.

1980s Capitol (MC). Acquired in 2024.

1980; 4/28/20 (review) 

Killers (1981)

Definitely the most straightforward of the Iron Maiden albums. The band were at the crossroads here of raw heavy metal and the more elaborate composition style band leader Steve Harris seemed to prefer. Paul di'Anno was always more suited to be a punk rock singer, and the music here fits his style perfectly. That's not to say the music here isn't complex, often times it is, just more compact. Especially on Side 1 with 'Wrathchild', 'Murders in the Rue Morgue', and the instrumental 'Genghis Khan'. Eventually, though, Harris followed his instincts and recruited from fellow NWOBHM band Samson - the Renaissance Man known as Bruce Dickinson - and thus Iron Maiden were guaranteed their place in music history.

On a personal note, I had the privilege of seeing the band on the Killers tour during the summer in my hometown. I still have the ticket stub: June 13, 1981 at Moody Coliseum (Dallas - SMU campus). I was all of 16 and drove another high school buddy there in my old 1973 Chevy Impala. It was originally a three band bill with Iron Maiden opening, Humble Pie, and Judas Priest headlining. An unusual pairing, and I'm sure the promoters felt they needed Humble Pie to help fill the arenas, as heavy metal wasn't really that popular yet here in the States. Right before the show was to begin, we received an announcement that Humbie Pie had to cancel last minute due to an illness. The guy next to me was pissed! And we were elated - what a break! These were the two bands we wanted to see. So we got extended sets from each. I saw Maiden a few times after this with Dickinson, but it was great to see and hear them with Di'Anno this one time.

Ownership: 

1981 Harvest (LP). Acquired in 1981.

1988 Capitol (CD). Acquired in 1990.

1981; 5/24/12; 8/19/15; 4/22/20 (review)

Also own: Number of the Beast; Piece of Mind; Powerslave; Live After Death; Seventh Son of a Seventh Son; Fear of the Dark; Virtual XI; Brave New World; Dance of Death; The Book of Souls

4/22/20 (new entry)

White Spirit. 1980 England

White Spirit is mostly known as the answer to the trivia question: Which band did Iron Maiden guitarist Janick Gers play in? White Spirit is a very interesting album in that it mostly points to a 70s heritage, but there's no questioning its metal integrity. And that's probably Gers' doing, the only bandmember to have persisted on past this album. The rest of the group sounds like mid 70's Rainbow, and Malcolm Pearson's keyboards of choice are the trusty Hammond organ and various Moog synthesizers. They have the perfect sound - for the wrong era. Musically, one could point to Rainbow's Rising as the blueprint. Mostly straight-up rockers are offset by proggy bits, especially on the 10 minute closer 'Fool for the Gods'. But while Blackmore stayed hard rock, White Spirit jumped on the NWOBHM bandwagon. The album had pretty decent distribution in its day (though not in the States), but their sound was too rooted in the past for the burgeoning metal movement. And that was the end of White Spirit, one of those bands that really should be a household name today. Beyond trivia of course.

Ownership: LP: 1980 MCA (Germany). Single sleeve with lyric inner bag. Acquired from JL before the Austin Record show (2023).

6/18/23 (new entry)

Omega - The Prophet. 1985 England

When hearing Omega for the first time I was debating whether or not this was NWOBHM or NWOBPR. Acronym city, but it gives you a very good idea of the type of music played here. The guitars are most certainly metal, and so it's the former categorization that wins the debate. I've said it many times, but the early days of metal were the most exciting, and even though by 1985 the rules were being drawn, Omega just went about their own business. And were forgotten for many years until the reawakening occurred.

The Prophet has elements of Legend, Sacred Blade, and Manilla Road, but easy comparisons are not to be found. Neo prog is blended seamlessly with some creative riffing to generate the kind of album you want to hear over and over. The cover of The Beatles 'Day Tripper' probably could have been replaced with something better, but when you go for broke like this, you have to accept the mistakes too. It's part of the charm.

Ownership: LP: 1985 Rock Machine. Single sleeve with lyric insert. Acquired from JL before the Austin Record show (2023). Reissues exist on both LP and CD, though they've become scarce as well.

6/10/23 (new entry)

Cloven Hoof. 1984 England

Cloven Hoof's debut is my kind of NWOBHM. One of those quirky all-over-the-place releases that seemingly have no rhyme or reason. All within the confines of late 70s hard rock and early 80s metal. This was an era of great invention, but strictly in the underground. Somewhat like Legend in that way. Cloven Hoof were about 2 years too late to capture the audience they needed. By 1984, thrash was the name of the game, and antiquated pseudo proggy heavy bands were being pushed to the sidelines. Had I discovered this real time, most assuredly I would have considered this one of the greatest metal albums in my collection. 38 years later, I finally heard it. Never too late. Looking for the interesting side of the NWOBHM movement? Listen to Cloven Hoof.

Ownership: LP: 1984 Neat. Single sleeve with lyric inner. One more from my local seller friend. This will be the last one I cover until the next round of new arrival LPs. I still have a few Anthem's and Axewitch's, and hopefully a bunch of new acquisitions from him by then too.

9/13/22 (new entry)

Witchfinder General - Death Penalty. 1982 England

Witchfinder General's debut is one of the oddities of the NWOBHM movement. While most bands took the Judas Priest footprint and merged it with the energy of punk, Witchfinder General found their inspiration in Black Sabbath. And they pretty much nail it. Sabbath were still an active concern, but this isn't emulated after the Dio fronted group, but rather a lookback to the Ozzy days. It's relatively straightforward but has better songwriting than the last 2 with Osbourne, recalling Sabotage without the proggy elements. What's great about Death Penalty is that each track features breaks which contain at least 2 or more riffs. A classic of its kind, Witchfinder General ironically were ahead of their time while looking backwards to obtain their sound.

Ownership: LP: 1982 Heavy Metal Records. Single sleeve. Clear vinyl. Acquired at a record store in Kansas City while there for a buddy's wedding (1993).

This Heavy Metal Records is not to be confused with Heavy Metal Worldwide, which was also operating out of the UK at this time. The cover is really silly and should not be taken seriously. On a positive note it features Joanne Latham, a very well known "glamour model" in her day - and she certainly does capture the imagination. However in today's cancel culture world, the album most assuredly has already been declared "encouraging violence against women". If you're interested in owning it, get your copy now, because they will likely be banned for sale in the next decade. Don't believe me? You watch. Discogs has already banned the selling of certain albums for less offenses.

9/9/93; 9/13/22 (new entry)

Def Leppard - On Through the Night. 1980 England

As mentioned very recently on the High 'N' Dry post, I tell my Def Leppard story on the Pyromania review. And that story revolves all around this album actually. I won't cover that again, but will say that I truly enjoyed this +1 revisit. On Through the Night is easily my favorite Def Leppard album, and really the only one that could legitimately be called heavy metal. They were for certain a charter member of the NWOBHM movement. They left that for a more radio friendly hard rock sound, a most lucrative decision. In the short run anyway. Had they the wherewithal, they could have challenged Iron Maiden as kings of the movement. And 42 years later one band is known as an 80s relic, the other are eternal stars. I'll let you guess where Def Leppard falls. But back to this album. So many great tracks, especially 'Rock Brigade', 'Hello America', 'Sorrow is a Woman', 'Wasted', and the almost proggy 'Overture'. This album and style is not the Def Leppard most Americans remember. But I most certainly do.

Ownership: LP: 1980 Mercury. Single sleeve missing the lyric inner. Paid retail at a store in Denver (2022), but it's proven to be elusive in the wilds. 

MC: 1986 Mercury. Garage sale pickup (2024).

1980; 8/26/22 (new entry)

Def Leppard - High 'N' Dry. 1981 England

I spoke about my history with Def Leppard in the Pyromania CD review. In that overview I said this about the album in today's post: "One year later, during the summer of 1981, out came High 'N' Dry which I purchased on the spot. Had you asked me on Day 1 what I thought of the album, I would have told you it was great. But I knew it wasn't. Over the next year, my interest in the album had started to wane. As did my interest in the group in general. I was looking for heavier material, and more bands were cropping up to offer just that."

I had really no intention of buying this album again, but when a mintish copy was offered very cheaply, the decision was made easy for me. I'm not sure I've heard this album since the 80s decade closed off, but I recognized most of it by memory. That's how much I used to play records back then. I had less to do in general - and not very many albums to listen to. Hearing this again raised the rating +2, but it's pure nostalgia for me. I don't think I can objectively push this album on anybody. Def Leppard were clearly shedding whatever metal roots they had and going for a more radio friendly hard rock sound. And they were good at it. Some tracks are still part of American culture's 80s obsession, especially 'Bringin' On the Heartbreak' and 'You Got Me Runnin''. There are a couple of hidden gems in here, both close off the sides: 'Switch 625' and 'No No No'. My original assessment as a teenager was spot on. But I have room for it in the collection now.

Ownership: LP: 1981 Vertigo (Germany). Single sleeve with picture inner. Got this dirt cheap directly from a local "offline" seller, that I'm certainly going to be buying a lot from going forward (or I hope to anyway...). I'll be referencing him quite a bit. I also bought a lot from him a few months ago.

8/21/22 (new entry)

Encyrcle. 2015 Denmark

Taking a break from posting about the commodities and collection revisits. Only so much time in the day. But definitely want to point out the more unknown pieces that need attention. Like Encyrcle!

I'm always on the lookout for retro bands who capture that weird strain of 80s metal - that bizarre amateur hour way of composing and putting things together. Seemingly without rhyme or reason, but not necessarily technical either. Denmark's Encyrcle is that band, and their sole album is just a fun listen. You'll see the band tagged with the speed metal genre, but it's way more interesting and meaty than that implies. This is far more Iron Maiden than Exciter if that makes sense. Nor is this the great late lost 80s tech thrash that I've been going on about for the last few years. There's some blast beats in here, but it goes perfectly with the compositions. The singer is perfect, no death growls and barks to endure, nor does he try to be Rob Halford. A couple of good Udo Dirkschneider (Accept) shrieks here and there, which is so perfect. There's some piano too, go figure that one out. Has some really killer riffs, and they're all placed where you want them to be. The production captures the era just right. If you like the more interesting aspects of 80s metal, you'll want to explore Encyrcle.

Ownership: LP: 2015 Dark Descent (USA). Single sleeve with lyric/picture inner. This will no doubt prove to be the pick of the litter from the 25 cent each find late last year. Dark Descent, as reported on the Crypt Sermon posts, are based here in Colorado Springs. In reviewing their entire catalog last night, 98% of what they release is death and black metal, so not to my tastes. Best I can tell, Encyrcle is the only album like this from the label. According to inside sources, they have done remarkably well from a sales perspective. More power to them!

new entry

Legend. 1981 Jersey (UK/Channel Islands)

Legend are (I think they're still around) a band from Jersey, which sits in the Channel Islands. For all intents and purposes they are part of the United Kingdom, but technically are separate. And if you look at a map, you'll see that Jersey is just off the coast of France. It's all intertwined with the Norman invasion of England, and thus has a mixed history and culture.

Understanding this isolation is critical to understanding Legend as a band and their place in metal history. Because they were like none other, and yet all very familiar as well.

The album starts harmlessly enough with the very good, though nondescript, 'Bad Girl'. Even here, though, one of Legend's many great characteristics is demonstrated: The vocals of Mike Lezala. He has a pleasant and soothing high pitched voice, absolutely perfect for the scratchy metal guitar sound provided underneath. He's no screamer, and can actually carry a tune. Starting with 'Taste of Life', the music becomes increasingly complex. Perhaps not in a technical way, but each song unfolds in unexpected fashion. Legend is superb in how they craft a memorable break via a crushing riff. So the familiar names of Black Sabbath and Judas Priest are brought to the fore - but in a way that is neither. Their sound isn't particularly heavy, almost hard rock, though there's just enough distortion to easily consider it metal. The guitar soloing is more psychedelic influenced, which I consider a major plus. The rhythms are also considerably more sophisticated than the usual 4/4 thumping beats one would hear in those early days of heavy metal.

In a perfect world, Legend would have been a great companion band to Iron Maiden on their rapid trajectory through the sales charts. Legend were miles ahead of bands like Saxon, Def Leppard, and Motorhead at this point in their career, especially in terms of creative songwriting. Only Iron Maiden and Diamond Head could compete this early on in the NWOBHM sweepstakes.

Despite the small press private release, Legend were not unknown amongst the 1981 metal intelligentsia, and received very good press from the UK metals mags of the day. Why they weren't signed up immediately is one of the great music industry tragedies, and one has to think their geographic location was the primary factor. I remember Legend being mentioned often, but always in the margins of an article. 

Ownership: LP: 1981 Workshop. Single sleeve. Recent acquisition from JL (2023). This replaces the 2011 Svart reissue (which is a gatefold with lyrics). 

CD: 2002 Monster (USA). Awesome 2xCD set which includes all of the band's work from 1981 to 1983 including demos. Features fine liner notes with historical newspaper clippings and photos. Essential.

2002; 7/23/15; 12/22/21 (new entry); 4/1/23 (LP acquire)

Shiva ~ England

Continuance (1983 / 2004)

I've spoken about Shiva's sole album before (see below), as I found it to be one of the NWOBHM's more intriguing releases. A combination of heavy metal and Rush-like textures and more complex songwriting. The aptly named Continuance was ultimately meant to be the second album. The label (Heavy Metal Records) were struggling financially - as were the band - so things weren't going too well to begin with. After recording the first five centerpiece tracks found here, they excitedly played them for the label, only to be rejected. Not "heavy" enough they claimed. Ha! There's a twist from the usual not "commercial" enough. In hearing this, the label wasn't wrong, if heaviness was to be the deciding factor. If anything, Shiva had honed their songwriting skills and offers up more ear-friendly tracks. But the key ingredients of Firedance remain, that of the complex breaks and extended guitar soloing. I've read some counterpoint reviews stating that Shiva really weren't influenced by Rush. Listen to the 9+ minute 'Eden (Silent Running)' and get back to me on that. These guys have Permanent Waves and Moving Pictures written all over them, minus the synthesizers of course. Filling out the disc are two more demo tracks featuring a different drummer, and five other demos from various parts of their career - all from the earlier days. I found most of these just as good as their "two" albums proper. So if you're a fan of Firedance, you'll want this too. If unfamiliar with Shiva, then start with Firedance and go from there.

Ownership: 2004 Majestic Rock (CD). With booklet containing lyrics and a full history in microscopic print crammed onto 2 pages. With a normal font it would have been 8 pages I think! Acquired in 2021.

1/5/21 (review)

Firedance (1982)

---1/6/14

I'm such a sucker for the older NWOBHM bands, before they felt compelled to be in lockstep with the "scene", and here they just sort of made things up as they went along. Very much like my favorite progressive rock bands of the early 70s. Has more of a Rush influence than usual for a UK band from this era. There's some commercial stuff here that keeps it from a higher rating (especially on Side 2), but it's still a great listen. It'll probably grow on me over time (and it has!). File this one in the innovative early metal category next to Legend (UK), Diamond Head, Sacred Blade, and Manilla Road.

Ownership: 1982 Heavy Metal Records (LP). With lyrics. Acquired in 2020.

First copy: British Steel Russia (CD). Pirate. Acquired in 2014 (was supposed to be the original CD, but I got gypped). Replaced with the above.

1/6/14 (review); 6/11/20 (update)

6/11/20 (new entry)

Gaskin - End of the World. 1981 England

By 1983 I could tell you, with a high degree of certainty, that I knew all the primary New Wave of British Metal groups. I may not have heard them all, but at least I was aware of them. As has been the case throughout my life, I was more interested in the challenging groups verse the "I wanna rock n' roll" bands. I was on the lookout for more Iron Maiden and Diamond Head that is to say. Other than some archival groups, or those who had put out obscure tapes, that position held until... 2020. While doing some research on the greatest metal bands of the early 80s, I ran across this title. Who? No way I would have missed a gatefold cover like that! In those days, album covers, titles, and tracks lengths were about all there was to go on. And perhaps a feature in Kerrang. 

Guitarist and vocalist Paul Gaskin provides the name and leads the way here with a thoughtful metal album. It's definitely heavy in the same sense as Maiden, though it becomes clear the band is not trying too hard to be part of the metal scene. And that is by design, as Gaskin stated he was more interested in releasing a sophisticated heavy rock album. One influence you'll pick up on is that of Rush, and in this way the obscure UK prog group Trilogy comes to mind. No questioning that End of the World is a metal album verse prog, but the elements are present. Overall, an excellent album that I can't believe I'm hearing about for the first time some 40 years later.

Ownership: LP: 1981 Rondelet. Gatefold. Acquired from JL before the Austin Record Show (2023). This replaces the High Roller LP reissue that was the source of this entry. It isn't mint so I played it all the way through to be sure I wanted to swap them out, and yes it played great. The reissue offers a high quality rendition of the gatefold cover, good sound (don't think it's from the masters though), and little else. Liner notes would have been nice. The decision to keep the original was an easy one.

11/9/20 (new entry); 5/17/23

Slayer - Show No Mercy. 1983 USA

I pretty much avoided Slayer in my youth, as I was never too comfortable with satanic imagery (still not). But like a lot of these early metal bands, it was more cartoonish than serious. Besides Araya was (and is) a practicing Catholic lol. In any case, the music here is fairly primitive, a long way from the competitor's Kill 'em All, but there's much more ideas and thought here than I'd ever expected. Not really thrash at this point, more toward Iron Maiden and Judas Priest actually. Worth keeping.

CD: 2007 Icarus (Argentina)

No better way to obtain these old metal albums than via bulk buy CDs dirt cheap. Folks are giving them away, so sure I'll take them then....

Holocaust - The Nightcomers. 1981 Scotland

Even though Holocaust is frequently mentioned as one of the "big names" of the original NWOBHM movement, my memory says different. In 1980, age 15, heavy metal was my first foray into deep diving for music. Sure, I knew of Diamond Head, Angel Witch, Samson, Witchfinder General, Praying Mantis, Tygers of Pan Tang, not to mention the obvious Iron Maiden, Saxon, etc... But Holocaust? No. Metallica's cover of 'The Small Hours' put these guys on the larger map, but long after the initial group was dead and buried. I didn't first hear Holocaust until 1993 when I stumbled upon their live Hot Curry and Wine LP in a Wichita, Kansas record store of all places. Probably was Mark Shelton's old copy...

It wasn't until the mid 2000's that I finally picked up The Nightcomers based on positive reviews. After hearing the inauspicious opener 'Smokin' Valves', I was gearing up for an Ethel the Frog kind of disappointment. This woofer is nothing more than a 70s styled boogie rock track with distorted guitars. And then... ...then comes 'Death or Glory', a song that today is universally acclaimed as a stone classic of the NWOBHM movement. And no argument from me. It's exactly this kind of composition and riffs that makes this era of heavy metal timeless. 40 years after laying this down to wax, the music sounds as fresh and exciting as ever. What a riff, what a sound! And The Nightcomers never looks back either. Every track here is a winner. 'Heavy Metal Mania' being another very catchy number. My favorites are the more thoughtful and subtlety complex tracks like 'Mavrock' and in particular the title track. So yes, in retrospect, an absolute classic of an album. But not in their day, nope.

I haven't heard any of their reformation albums, but word around the campfire says they continued to push the boundaries of metal. Certainly sounds just up my alley.

Ownership: CD: 2000 Metal Blade (USA). Jewel case release with lyrics. Also includes their Heavy Metal Mania EP from 1980. This EP isn't near the standard of their album proper. Closer to the anthemic side of NWOBHM. Purchased in 2005.

12//05; 2/22/19 (new entry)

Chasar ~ Scotland

Chasar / Gypsy Roller (1983)

Yes, this. This is exactly the type of NWOBHM music I'm looking for. Ambitious, yet amateurish. A clear product of the early 80s cassette culture. Some lads from Scotland get together in a room, listen to Rush's Permanent Waves, and decide on the spot to create a band in the spirit of Iron Maiden, Saxon, et al, but with a bit more creativity and free flow of ideas. 

Perhaps a label like Neat took a sniff, but couldn't comprehend the complexity of the music, and politely declined (in the vernacular "No fookin' way you bloody wankers"). And so the band went about releasing it on cassette, where it made a name for itself among the trading set of the day. This was then picked up by the confusingly named UK based American Phonograph for LP - except they had no metal history, and less distribution skills. Finally, now four years later, the ultimate bottom feeder Mausoleum decides to release it, but with a new cover and title (Gypsy Roller). And then... off into the mists of obscurity it went. And has yet to be discovered 35 years later, awaiting a proper reissue of some kind - any kind.

As noted about the music above, it definitely wears its Rush patch proudly, as well as adding some metal crunch. Nothing too heavy mind you, and there's plenty of guitar solos in the 70s hard rock tradition. One can hear the same embryonic steps that Manilla Road were taking at a similar time, different place. Another reference would be the obscure Florida based group UHF. Easy recommendation for those predisposed to these kind of sounds. And we know who we are - don't we?

Ownership: 1987 Mausoleum (LP) 

Not reissued as I update this post (9/15/25)

4/10/18 (review / new entry)

Legend - Death in the Nursery + Frontline. 1982 Jersey (UK/Channel Islands)

Legend's second album Death in the Nursery attempts to streamline their sound a bit, and tighten up the ship. And fortunately... they failed. Legend is one of those bands that just can't seem to help themselves when it comes to creative songwriting. One gets the impression that if you told Steve Harris (Iron Maiden) to write more poppy material, he'd come back with similar compositions as found on Death in the Nursery. While no one would dare label Legend "Prog Metal", they are in fact more unpredictable than any established band in that field of music. Side 1 is a tad weaker than the debut, though almost all the material is still excellent, with 'Time Bomb' being their token "ordinary" metal track, similar to 'Bad Girls' from the debut. Side 2, however, opens up Pandora's Box, and the tunes begin to stray all over the place without rhyme or reason. Awesome. 

Still marching forward without a label deal, Legend gives it a 3rd go with Frontline, this time going with the EP format. 'Stormers of Heaven' was the track that received the accolades from the metal press of the era, and it would seem to be the best choice for a single. For Legend, however, it's a bit ordinary. The other tracks, of course, are unpredictable with fantastic breaks/riffs, and cool psychedelic solos. It is the sound of Legend, one that most of the world unfortunately was deprived of for so long. If only a single enlightened label had come along...

Ownership: LP: 1982 Workshop. Single sleeve with lyric insert. Recent acquisition from JL (2023).

CD: 2002 Monster (as Anthology). 2xCD is awesome, and it includes all of the band's work from 1981 to 1983 (including Frontline and demos). Features fine liner notes with historical newspaper clippings and photos. 

2002; 7/23/15 (new entry); 4/1/23 (LP acquire)