I thought about changing things up with a different article, but I was just such in a mood for more classic releases that I figured I'd just write up another one! I've also realized that there are a lot of albums from 1985 that I want to talk about, so getting a head start on those seemed like a good idea. Get out some patches for your denim jacket, because it's time for some classic metal!!
It's hard to talk about the US power metal scene of the 80s without bringing up this band. Between these guys, Omen, Riot, and Manowar, they created a style that may not have been the biggest during the decade, but certainly cemented a legacy that would inspire others around the world. However, when Manilla Road got started, they were much more in the vein of heavy space rock.
My immediate thoughts is that this is like a blend of southern-friend rock with some early Rush. I admit Mark Shelton's gruff vocals help lend the band that southern sound, but it works for the kind of stuff they're doing. Much of the riffing is on the noodly side, making me think of Alex Lifeson in particular, but the songs focus on jams more than organized sections or transitions. Scott Park's bass in particular has a tendency to drone on a rhythm or groove, letting Shelton go nuts on guitar, and the atmosphere they create is not bad. The production can be a bit rough, making the band sound muted at times, but otherwise, this album coasts along pretty well, as I was banging my head through most of it.
While it isn't quite metal, the album does have a lot of good energy, especially on "Cat and Mouse," but there are times where the spacy-ness gets a little carried away, like on "Far Side of the Sun." Meanwhile, "Centurian War Games" goes completely acoustic with a folky vibe, like something Uriah Heep would record in the early 70s, and "The Empire" is a thirteen-minute closer that goes back and forth between energetic rock and spacy interludes. It's a rough album, but they clearly had big ideas from the start, so I can see this setting the foundation for the epicness to come.
Not just content with releasing one great metal album in 1980, these Brits went back to the studio to push out another. While the first one definitely had a lot of Motörhead influence, with Strong Arm of the Law, they leaned into a bluesier style, making them sound much more like AC/DC. Still, this is some pretty solid rockin' stuff as Saxon settles into their style more.
The same lineup provides much of the same charm, with Oliver and Quinn providing some chunky riffs and even trading solos at times. Gill and Dawson remain a decent rhythm section, though I don't know if they're as dynamic this time around. However, Biff Byford remains a timeless singer, ringing out those notes with style (though I do wish he was a tad louder in the mix).
"Heavy Metal Thunder" is an immediate standout, and it's followed by "To Hell and Back Again," which keeps things moving forward. Singing about the plane-flying thrill of "20,000 Feet" adds a bit more aggression on the album. The rest of the tracks aren't bad, but lack maybe a bit of the punch that Wheels of Steel had, which makes this a bit of a let down. Overall, it's a decent chunk of classic metal, showing how vibrant the NWOBHM scene had become.
Let's start my 1985 pile of reviews with a legend. Doro Pesch has been the Metal Queen since the 80s (despite what Lee Aaron might claim), and she started with a band called Warlock. I've listened to their first album Burning the Witches, and it was alright. The songwriting was a little rough, and the lyrics were pretty cliched, but they played with good energy, and Doro's voice was immediately iconic. (For what it's worth, I've also listened to Doro's Fear No Evil, which was pretty fun, but otherwise I'm pretty new to this singer's history.) As for Warlock's second outing, the production gets a very nice boost in quality, but the songwriting remains clunky and filled with 80s metal clichés (which isn't a bad thing).
Right off, the album starts with a big chord, a cheering crowd, then into some fierce, speedy chugging for "Hellbound." It's a great, high energy start to the album, and the later track "Time to Die" right there with it. But the rest of the songs tend to settle into a typical, mid-tempo style. There's nothing wrong with that, but it gives the album a bit of an identity crisis, as if they couldn't decide to be an 80s glam metal or more of a speed metal band like Running Wild. "Earthshaker Rock" in particular shifts back and forth between these two styles rather awkwardly, though it ends in a nice speedfest. For what it's worth, the band is playing their hearts out, full of energetic playing and Doro's soaring voice.
There really is a lot to like on here. If you don't mind some messy songwriting, it's easy to get lost in the thrill and passion of what they're playing. I liked the opener "Hellbound," and I thought "Out of Control" had some interesting glam metal storytelling. The vocal harmonies on "Time to Die" also stood out to me as something pretty cool. Overall, it's a fun album, but I don't know if it will find its way into my upcoming Top 5 list.
Yup, I'm still making my way through this discography as well. After the breakout success of Balls to the Wall, the band decided to lean in more of a pop metal style for their follow up in order to keep a good thing going. While they retain much of their iconic sound, the songs do suffer a little in the songwriting department.
As for the lineup, Herman Frank steps out, so the band brings back Jörg Fischer, who sticks around for a good while after. Nevertheless, some of the songs are business as usual, such as the title track, "Up to the Limit" and "Dogs on Leads." However, they really lean into a more MTV-savvy, glam metal style for many of the other tracks, with some mixed results. "Midnight Mover" and "Living for Tonite" aren't bad, as they are, but "Screaming for a Love-Bite" and "Too High to Get It Right" are filler and don't leave much of an impression. The band then gets a bit jazzy with "Teach Us to Survive." There's some interesting drumming and a neat swing groove, both otherwise, the track does the album no favors. Fortunately, things end well enough with "Bound to Fail," with it's triumphant riffing and doomed lyrics.
I can definitely imagine fans feeling a little betrayed with this one, as their previous few had been some pretty solid heavy metal without compromise. Still, there were certainly worse records to have come out at this time as the glam took over the decade. As for Accept, perhaps it's just a victim of its circumstances, but this is definitely a step down, despite that excellent, classically-inspired title track.
