Category: Album Review


StormwitchHalloween is right around the corner my friends!  I like to keep myself busy during the Halloween season in a number of ways.  First of all, I like to prepare for the big night by putting razor blades in all the candy I’ll be handing out to the kids.  That’s a given.  But, I also like to get in the mood by watching old eighties horror movies (here’s a choice selection).  And, of course, I like to listen to some old school heavy metal with a scary vibe.  In this case, anything by Stormwitch will suffice.

Stormwitch was a German metal band that released a handful of albums in the eighties.  They wrote songs about spooky stuff like witches, werewolves, and vampires.  They dubbed themselves “The Masters Of Black Romantic”.  I’m not exactly sure what the f*ck that means, but just trust me when I tell you all of Stormwitch’s songs were about creepy stuff.  You could also always count on Stormwitch to have a cheesy (but awesome) album cover, emblazoned with their kick-ass logo.

Sonically, one could consider Stormwitch somewhere betwixt early Iron Maiden and late-eighties Running Wild (but not quite).  Fans of lesser-known German metal bands like Gravestone, Veto, and Attack may find themselves mildly obsessed with Stormwitch after just a few spins.  There’s plenty to love — twin leads, crisp vocals, and catchy hooks galore.

Stormwitch’s third album was 1986’s Stronger Than Heaven (Scratch Records).  Nice production by the folks at Scratch, as per usual.  Stronger Than Heaven features one of Stormwitch’s best songs, Ravenlord.  This little gem was covered splendidly by Hammerfall many years later.  Another killer tune is the epic, 7 minute plus, Jonathan’s Diary (based on Bram Stoker’s Dracula).  Pretty much a classic chunk of traditional eighties metal right there.

So come on, get in the Halloween spirit!  Throw some candy corn in your slovenly suck hole, inhale that olden rubber Halloween mask smell, and crank a little Stormwitch on the ol’ stereo.  ‘Tis the season!  My score: B+

 

LP

LP

ExtremeNuno Bettencourt!  Extreme’s debut album may sport a shitty-ass cover (nice shirt Gary!) but the music inside is a roller coaster ride of axe pyrotechnics and sing-along hooks.  Bettencourt was one of the best guitar talents to arrive on the scene in the late eighties (maybe THE best).  Like Eddie Van Halen or Vito Bratta, Nuno’s rhythm guitar tracks alone were enough to electrify the ears.  Tons of tasty flourishes, nasty squeals, and creative licks peppered his rhythm tracks.  And the solos?  Perfection of course.  Nuno also provided backing vocals and harmony vocals to beef up the excellent work of lead vocalist Gary Cherone.  My favorite track is probably Mutha (Don’t Wanna Go To School Today) which features some mammoth riffing (in the Eddie Van Halen style) and an unforgettable chorus.  Other highlights include Teacher’s Pet, Big Boys Don’t Cry, and Play With Me (a song famously used in Bill And Ted’s Excellent Adventure).  Lyrically, the Extreme album is a bit curious.  Perhaps Extreme is a loose concept album of sorts, because almost all the songs are centered around being a kid, or more specifically, growing up as a boy in America.  The song Little Girls is a little creepy though, because as far as I can tell it is about statutory rape!  (And that’s the very first song on their very first album — what a strange way to start off a career!)  Anywayz, this album is a really strong beginning for Extreme, one of the very best bands to come out of the late eighties.  Of course, Extreme’s second album, Pornograffitti (1990), was even better!  As for Nuno, these days he can be found touring with… of all people… Rihanna!  WTF!  Why is he slumming with that no-talent hack?  I don’t think I want to live in this world anymore.  My score: A

House Of LordsSahara may sound a little more scrubbed and corporate than one would typically prefer, but this album is not without merit.  I would put this album on par with House Of Lords’ previous eponymous release (1988), but with the added bonus that Sahara contains the exquisite cover of Blind Faith’s Can’t Find My Way Home.  This song is probably one of my favorite covers EVER, and although it did get some radio airplay at the time, I think it should have been a SMASH hit.  House Of Lords’ best weapon was their powerhouse vocalist James Christian.  With just the right amount of rasp, he possessed a voice tailor-made for melodic hard rock.  His performance on Can’t Find My Way Home is absolutely stellar.  Another solid cut is Chains Of Love.  However, Sahara does suffer from some of the typical pitfalls of the hair band era.  That is, the glossy production and overuse of keyboards (by Gregg Giuffria) give the album a certain vanilla quality that softens the impact of the heavier rockers (like Kiss Of Fire) and relegates the balladry to drippy soap opera status.  But for one shining moment, with Can’t Find My Way Home, House Of Lords reached the highest of highs.  Salute!  My score: B

SacrificePure grain, golden era… THRASH!  This is that ugly brand of old school thrash that permeated the underground in the mid to late eighties.  These guys were Canadian, and sort of early on the scene (Forward To Termination was Sacrifice’s second album).  Melody was a four letter word to ol’ Sacrifice.  They prided themselves on chaotic thrash breaks, punishing riffs, and acid reflux vocals.  A little too extreme for my taste, but I can’t deny it’s kind of fun (in a B-level horror movie kind of way).  Nevertheless, I would prefer to keep my dosages of Forward To Termination to a minimum, thank you very much.  No need for a headache today.  If you are currently wearing sleeveless denim, however, you may want to get your ass in here.  My score: C

AerosmithOnce on the brink of extinction in the early eighties, Aerosmith were back in the saddle by 1989.  Aerosmith surpassed the blockbuster success of 1987’s Permanent Vacation with the 1989 album Pump.  You would think that would put a smile on Joe Perry’s perpetual “bitchy resting face”, but nay.  Bruce Fairbairn oversaw the production, which is brimming with meticulous detail.  There’s lots of extra instruments, vocal tracks, and special effects piled on.  (Can they pull this off live?)  Pump is best remembered for the hits Love In An Elevator, Janie’s Got A Gun, The Other Side, and What It Takes.  Stephen Tyler litters the place with an endless barrage of double (and single) entendres.  He seems a bit enamored with himself — he thinks he’s more clever than he actually is — but I never decry AC/DC for the same juvenile behavior, so I won’t do it here to the man with the gaping pie hole.  It is, after all, rock ‘n roll.  (But he’s kind of exhausting, ain’t he?)  Honestly, I like Permanent Vacation a bit more than Pump.  Aside from the aforementioned singles, the remaining songs seem somewhat underdeveloped in comparison.  Aerosmith has never been one of my pet bands, but I can appreciate a good tune (or four) when I hear ‘em.  My score: B+

Turn the clock back to 1988, and you’ll find another stellar year for “hair” metal.  Hysteria and Appetite For Destruction, both released in ’87, were still burning up the charts.  Meanwhile, a plethora of new releases became big sellers, including albums by Winger, Lita Ford, David Lee Roth, Van Halen, Poison, Cinderella, Bon Jovi, and Guns N’ Roses.

Here’s a list of my personal favorite hair metal albums from 1988…

10. Cinderella – Long Cold Winter

CinderellaThere are a few really good tunes on Long Cold WinterGypsy Road and Don’t Know What You Got (Till It’s Gone) bring back some great memories.  Coming Home and Fallin’ Apart At The Seams are also winners.  The rest I could take it or leave (to be honest).  Cinderella went for a definite blues-rock twist on this album that didn’t really match up with their mega-glam appearance.  With that in mind, one can’t help but feel a lack of authenticity with Cinderella.  If they wanted to be taken seriously as heavy blues musicians, why dress up like drag queens?  The faux-raspy croaks of Tom Keifer are particularly distracting.  Listening to a whole album’s worth of Keifer faking it can become very tiresome.  This is a band best taken in small doses.  Certified triple platinum.  My score: B

9. House Of Lords – House Of Lords

House Of LordsThis is a very solid album of AOR-tinged hair metal.  House Of Lords was formed by members of the band Giuffra.  They changed their name upon signing with Gene Simmon’s imprint, Simmons Records.  A new singer was recruited (James Christian) and House Of Lords was released in 1988.  Keyboards abound, and the production is very glossy, but the songs are pretty strong on House Of Lords.  Though there are a few hard rockers in the vein of bands like Whitesnake, it is the AOR oriented tunes that seem to grab my attention most.  Tracks like Hearts Of The World and Call My Name soar like prime Survivor.  Most of the songs on House Of Lords would fit perfectly into any number of those classic eighties movies montages.  That’s a good thing.  It’s also worth mentioning here that House Of Lords’ second album, Sahara (1990), featured one of the best cover songs I have ever heard — Can’t Find My Way Home (originally by Blind Faith).  My score: B

8. Van Halen – OU812

Van HalenIf you don’t like 5150, then there’s little chance you will enjoy OU812.  Personally I love 5150, but I will concede that OU812 is a step down from that record.

Sandwiched between the exquisite 5150 (1986) and the very good For Unlawful Carnal Knowledge (1991), OU812 seems to be the odd man out in the “Van Hagar” catalog.  Truth is, Van Halen didn’t change much approach-wise with OU812 relative to 5150, but while 5150 consisted entirely of songs I would classify as very good to perfect, OU812 was much more of a hit and miss affair.  The album’s opener is Mine All Mine, a curious choice for an opener, given the bounty of keyboards on display (and we learn right away that Alex’s questionable electronic drums have returned for another album).  Nevertheless Mine All Mine is a good song, though it would not necessarily be my first choice for track #1.  Other notable cuts include Finish What Ya Started (a tasty acoustic retreat) and the pounding Black And Blue.  And of course, Sammy Hagar began his journey to Jimmy Buffet land with the sunny Cabo Wabo, my favorite track on the album.  However, tracks like A Apolitical Blues, When It’s Love, and Source Of Infection can’t exactly be classified as top-shelf Van Halen material.  My score: B+

7. Poison – Open Up And Say… Ahh!

PoisonPoison’s best songs were almost exclusively the ones they released as singles.  That is to say, Poison’s albums weren’t exactly overflowing with deep tracks.  Open Up And Say… Ahh!, Poison’s second LP, contained four legitimate hits in Every Rose Has Its Thorn, Fallen Angel, Nothin’ But A Good Time, and Your Mama Don’t Dance.  These are four of the best five tracks on the album.  The fifth, in my opinion, would be Love On The Rocks.  The worst?  Look But You Can’t Touch.  Yikes!  Yes, Poison were easy to hate.  But their music was fun, stupid, and unapologetically glam.  My score: A-

6. Bon Jovi – New Jersey

Bon JoviThis is a pretty decent album… if you can forget for a moment the overwhelming fraudulence on display.  To be clear, I’m not saying  Bon Jovi wasn’t talented, it’s just that they had about as much credence, as much soul… as a bastard ginger baby.  Jon Bon Jovi was a shrewd businessman, that’s undeniable, and the Bon Jovi enterprise was a money printing machine.  Jon sure knew where to go to butter his bread.  Teenage girls.  They bought into the Bon Jovi enterprise in full force.  Sparkling (over) production and outside writers (Desmond Child alert!) helped feed the machine.  But a good song is a good song, and Lay Your Hands On Me and Bad Medicine are two damn good songs.  (Though I could do without Jon going full retard at the end of Bad Medicine when he asks for another repeat of the chorus).  A Bon Jovi album is like the facts of life; you take the good and you take the bad.  The good being big, juicy hooks and a fair bit of rockin’.  The bad being fake cowboys, second rate Springsteen-isms, and scripted studio banter (re: Love For Sale).  My score: A-

5. Ratt – Reach For The Sky

RattSure, Stephen Pearcy had the emotional range of a cigar store Indian.  But hey, slippery tracks like City To City and What I’m After astutely combine infectious hooks with sleazy ‘tude.  You gotta tip your cap to the boyz.  Incidentally, this album marked the beginning of Ratt’s decline in popularity (though Reach For The Sky did go platinum), so maybe some fans out there never gave Reach For The Sky a fair shake.  Time to revisit, I say.  With all the crap passing as music these days, old Ratt is sounding sweeter than ever!  My score: A-

4. Dirty Looks – Cool From The Wire

Dirty LooksAfter a handful of indie releases, Dirty Looks finally appeared on a major label when Atlantic Records released Cool From The Wire in 1988.  I consider this album, and Dirty Looks’ 1989 follow-up Turn Of The Screw to be two sorely overlooked sleaze metal triumphs.  The heart and soul of Dirty Looks was Danish born Henrik Ostergaard.  He formed the band in the mid-eighties and continued to record music under the Dirty Looks banner up until his early demise in 2011.  The formula was a simple one; greasy blues-based riffing and palm-muted chugging over palatable, pulse-pounding beats.  Henrik’s raspy voice was tinged with a bit of that Bon Scott magic, and the result was sleaze city.  The incomparable Max Norman (best in the biz) produced Cool From The Wire.  Norman was a genius producer, and this record sounds perfect, as it grooves like a son-of-a-bitch.  Ostergaard’s lyrics of sex, drugs, and rock n’ roll were delivered with a conviction that only a man who lived and breathed the lifestyle could do.  And it seems Henrick was the genuine article, hence his unfortunate death at an early age.  Check out Ostergaard’s spot-on Bon Scott impression during the middle part of Oh Ruby.  Highlights of the album include Cool From The Wire, Tokyo, and (my favorite) It’s A Bitch.  R.I.P. Henrik Ostergaard.  Thanks for the awesome tunes.  My score:

3. Seduce – Too Much, Ain’t Enough

SeduceSeduce!  Those searching for the holy grails of American glam/sleaze metal, here’s one for ya!  Seduce was a Motor City trio that never broke through to mainstream success despite kicking some serious ass.  Too Much, Ain’t Enough (I.R.S. ) was a gritty, heavy offering that flew in the face of conventional glam metal at the time by forgoing the typical over-polished approach for a raw, loose n’ lethal sound.  Too Much, Ain’t Enough features down-tuned, heavy riffing courtesy of David Black, erratic drumming from Chuck Burns, and excellent vocals by Mark Andrews (also bass).  Side one of this album is damn near perfection!  Seduce painted a picture of a somewhat sad Detroit existence in a world of junkies and fast-fading dreams.  Check out Watchin’, and No Use if you want your tits toasted.  If I had one complaint about Too Much, Ain’t Enough (besides the weak cover art), I would say that Chuck Burns made some really unorthodox choices with his drumming.  At times his drumming can be a bit distracting, and he doesn’t always keep time.  Then again, I much prefer this wild style to the boring and over-produced drum sound found on so many late eighties glam/sleaze banquets.  Side two drops off just a hair from the insane awesomeness of side one.  Accusations is probably the least godly track on the album.  The finale of Too Much, Ain’t Enough is The Slider, a T. Rex cover.  My score: A

2. Guns N’ Roses – G N’ R Lies

G N' R LiesEight songs graced this Guns N’ Roses platter.  G N’ R Lies was released in 1988 while Appetite For Destruction was still selling like hot cakes.  The first four songs were from the 1986 Live ?!*@ Like A Suicide EP, which was a pretty rare release (so most fans hadn’t heard the songs).  These cuts were studio tracks with crowd noise dubbed in to make them sound as if they were “live” recordings.  Reckless Life is the highlight of side one.

The last four songs (side two) are the real reason that G N’ R Lies is an essential album.  Patience is probably the best known (as it was a hit single).  This beauty features one of the best uses of whistling I can remember in a rock song (Scorpions’ Wind Of Change came out two years later to challenge the title).  The acoustic version of You’re Crazy included here trumps the faster, electric version on Appetite For Destruction (IMO).  As for the controversial One In A Million?  What can I say?  Axl had humongous balls of steel, that’s for sure.  There is no way in hell that Geffen would ever release a song with such incendiary lyrics today.  No way.  Times have changed.  We live in a world where everyone is just waiting to be offended.  The G ‘N R Lies album shows that, in 1988, Guns N’ Roses were so insanely popular that they could do whatever the f*ck they wanted.  That’s rock ‘n’ roll!  My score:

1. Kix – Blow My Fuse

KixThe high point of Kix’s catalog is also (IMO) one of the greatest hair band albums ever made!  Blow My Fuse is loaded with great party metal from start to finish.  Cold Blood has to go down as one of the best songs of the hair-era!  It was a “classic” in our house back in the day, as it was repeatedly broadcast loudly from the stereo in my older brother’s room.  There’s so much to love about Blow My Fuse.  For example, the lyrics on this album are really quite clever.  I particularly like She Dropped Me The Bomb (which compares getting dumped to getting shot down in an aerial dogfight) and Red Lite, Green Lite, TNT (about a street-walker; “she has to water all the flowers in our town”).  Of course, Steve Whiteman’s vocals were sleaze-city awesome, and chief songwriter (and bassist) Donnie Purnell shat out an awesome set of tunes with AC/DC-esque riffs and killer hooks.  Often, the verse sections were just as catchy (if not more so) than the actual choruses (examples include Piece Of The Pie and She Dropped Me The Bomb).  The album’s biggest hit was the superb ballad Don’t Close Your Eyes, a song I love to sing along to, although I can’t hit any of Whiteman’s high notes.  No Ring Around Rosie is another fave o’ mine.  My score: A+

The CultThe Cult reached their apex with 1989’s Sonic Temple.  This album was the follow-up to the successful Electric album of 1987.  Electric consisted of skeletal hard rock designed to appeal to the commercial masses.  Electric was produced by Rick Rubin.  Personally, I found Electric to be a rather weak and derivative album (with a couple of good songs).  Rubin always had a fondness for AC/DC’s bare bones approach and I think he pushed The Cult too far in that direction, resulting in a record that was little more than a second-rate AC/DC rip-off.  Sonic Temple, by contrast, was more original, more varied, and more powerful.  Bob Rock took care of production duties this time around.  The album spawned a handful of rock radio singles including album opener Sun King, the mighty Fire Woman, the elegant Edie (Ciao Baby), and the soaring Sweet Soul Sister.  Fine deep tracks like American Horse and Soldier Blue helped to make Sonic Temple a well-balanced album.  This disc can be played from start to finish without any need for the skip button.  If you don’t have it, GO GET IT!  My score: A

Nitro – “O.F.R.” (1989)

NitroRidiculous!  How else can one describe Nitro’s O.F.R.?  Nitro took glam metal to the extreme, offering up what I can only assume was a tongue-in-cheek satire of heavy metal in the late eighties.  Everything Nitro did was preposterous and over the top.  In a way, Nitro did to glam what Manowar did to traditional metal — taking the tropes of their chosen genre and exaggerating them to a point of absurdity.  Their hair was out-f*ckin-rageous, their vocals were out-f*cking-rageous, and their guitar playing was out-f*cking-rageous.  In case you haven’t figured it out by now, O.F.R. stood for Out-F*cking-Rageous.

Of course, we can’t go any further without first discussing Jim Gillette’s dog whistle vocals.  The man possessed a jaw-dropping vocal range, much like King Diamond.  But just because you can hit glass-shattering high notes doesn’t mean you should do so all the time.  But Gillette does so about 90% of the time!  Like King Diamond, this becomes laughably idiotic about 30 seconds into the album.  And like K.D., when Gillette goes for the real low notes, he sounds cartoonishly awful.

As for guitarist Michael Angelo (Batio), the man could play insanely fast, and he was obviously a word-class shredder.  He sometimes played a special “quad-guitar”, too.  Check him out in this video for the song Freight Train.  His rhythm playing on O.F.R. was pretty straightforward, but his solos were awe-inspiring (even if they weren’t exactly “musical”).

An album like O.F.R. is pretty immune to any objective criticism because it shouldn’t be taken seriously in the first place.  The only thing I can do is ask myself whether I enjoy listening to it or not.  The answer, surprisingly, is “yeah”.  I particularly like the song Long Way From Home.  It is the closest thing we get to a legitimate song on the album.  The vocal harmonies are actually really cool!  Another song that kind of kicks ass is Shot Heard ‘Round The World.

You have to be in the right mindset to even attempt to listen to O.F.R., but when the mood strikes it can be a guilty pleasure.  Just make sure nobody overhears you listening to it.  That would be embarrassing.  My score: B-  

In HeatBlack ‘N Blue originally emerged with a really strong debut called Black ‘N Blue in 1984.  But despite the promise delivered by that first record, Black ‘N Blue’s career never took off.  Fast forward to 1988 and Black ‘N Blue’s fourth album In Heat.  By this time, Black ‘N Blue had hitched their wagons to none other than certified asshole Gene Simmons.  Gene took the band under his (bat) wing — producing In Heat, co-writing a few songs, and generally steering the band towards “success”.  But of course, relying on Gene Simmons to help you succeed musically is like asking Helen Keller to babysit your kids.  The man was wholly and hilariously without a clue.  Let’s face it, Gene’s musical acumen in the eighties was pretty f*cking suspect.  The only thing he had mastered was the fine art of “filler”, thanks to his underwhelming contributions to the KISS albums of the eighties.  Anyway, In Heat really reeks of Gene’s miserable taint.  Gene took Black ‘N Blue’s best attribute, knuckle-headed sincerity, and shat on it with his misguided notion of what it means to make music.  What once seemed natural and endearing to Black ‘N Blue (good dumb fun), now seemed overly forced and insincere.  It is as if Gene wanted every song on In Heat to be some kind of crowd pleasing, sing-along rock anthem.   But the execution was so tepid and unnatural that it pains me to hear Black ‘N Blue reduced to this level.  Production-wise, Simmons obviously wanted to make an album like Def Leppard’s Hysteria, but of course he failed miserably.  Too bad for Black N’ Blue, because they were kind of a cool band (and there are a few nice riffs and hooks here).  Unfortunately, Gene never knew a thing about having a soul, so it’s not surprising that In Heat feels soulless and calculated.  You can taste the desperation.  My score: C+

Time for another big-ass list!

These are my personal favorite hard rock and metal albums from 1986.  These are the albums I have listened to and enjoyed the most over the years.  You may not like my choices.  Shit, you’ll probably HATE my number one!  Who cares.  Let’s roll…

20.  Waysted – Save Your Prayers

WaystedHere at PLAY IT LOUD! headquarters, we have a real soft spot for Waysted.  Led by ex-UFO bassist Pete Way, this band dished out some high-caliber hard rock from 1983-1986.  Unfortunately, not many people seemed to notice this at the time.  The consensus here at PLAY IT LOUD! is that Waysted deserved better!

Waysted’s last album (before break-up), Save Your Prayers, was quite different from the two full-length LPs and one mini-LP that preceded it.  Original vocalist “Fin” was replaced by youngster Danny Vaughn.  The two singers had completely different voices.  While Fin’s voice was like sandpaper, Vaughn’s voice was smoother than a billiard ball.  Also, Save Your Prayers received a pretty glossed-up sonic bath thanks to producer Simon Hanhart.  By contrast, Waysted’s three records with Fin had a lively, raw sound.  These two huge changes for Waysted weren’t necessarily good things.  I much prefer the rough n’ tumble sound of Waysted’s first three records.  Nevertheless, Pete Way was still writing the tunes, and that was a good thing.  This was a new, different Waysted, but at the same time, it was the same ol’ Waysted.  (Huh?)

Save Your Prayers came out on Parlophone Records.  The label took interest in Waysted thanks to their great tune Heaven Tonight, which appeared on their 1985 LP The Good The Bad The Waysted.  Parlophone wanted Waysted to re-record the tune for Save Your Prayers.  Joining Way and Vaughn in the Waysted line-up was returning guitarist Paul Chapman (ex-UFO), and some other guy on drums.  The album kicks off with its two best cuts up front; Walls Fall Down and Black & Blue.  As per usual, Way showed that he could write quality hard rock tunes that were well-balanced, with strong bridges, and great sing along choruses.  Vaughn possessed a nice voice, too.  Like I said, it was polar opposite to Fin’s, but that’s my problem, not his.  As for Heaven Tonight, the version on Save Your Prayers just couldn’t compare to the original.  But when all is said and done, this is a quality hard rock album that in no way sullied Waysted’s good name.  (Note: Save Your Prayers was released by Capitol Records in North America with the alternate cover.)  My score: A-

19.  Sword – Metalized

swordIf you can’t at least appreciate what Sword was all about then maybe heavy metal isn’t for you.  There were plenty of heavy metal sub-genres that originated in the eighties, including glam, death, thrash, and speed.  But at the beating heart of it all, there was just plain old HEAVY METAL.  And that is where Sword lived — hitting you straight between the eyes.  Some bands lacked talent, so they dressed up all pretty and made pouty, kissy faces.  Not Sword.  Some bands lacked song writing ability, so they played louder and faster to mask their deficiencies.  Not Sword.  Some bands lacked spirit and emotion, so they blinded you instead with technical wizardry.  Not Sword.  Some bands lacked a good singer, so they yelled and growled and feigned “brutality”.  Not Sword.  With Sword, there were no gimmicks, no mascots, no naked chicks on the cover, no pentagrams, no dragons, and no lady clothes.  Sword was a four piece Canadian band with pounding drums, heavy riffs, and the superb testosterone-fueled voice of Rick Hughes.  Metalized was the first of two killer albums by this overlooked quartet.  Should-be classics include F.T.W., Children Of Heaven, Stoned Again, and Stuck In Rock.  Every metal fan should know about Sword.  There were thousands of metal bands that came out in the eighties, and even I (a super-fan) will admit that most of them aren’t worth your time.  Not Sword.  My score: A-

18.  Iron Maiden – Somewhere In Time

Iron MaidenIron Maiden’s Somewhere In Time, in my worthless opinion, falls just a wee bit shy of being a truly ”classic” Iron Maiden album.  I’ll get to the reason why I feel it is flawed a little later.  First, let’s talk up the good things!  Well, I certainly should start with the cover art, which is just an incredible piece of work by the great Derek Riggs.  Tons of detail and tidbits for Iron Maiden fans to enjoy.  Something to be studied with a keen eye (quite possibly while dropping a deuce).  As for the music?  It’s still that same ol’ galloping Iron Maiden we know and love.  You’ve got Bruce Dickinson in top form.  You’ve got that trademark “Rice Krispies” bass playing of Steve Harris (snap, crackle, and pop).  And of course, you’ve got those dual metal axes of Murray and Smith.  It was Adrian Smith who wrote the album’s best track, the amazing Wasted Years.  This is one of the few Iron Maiden songs that can crossover into non-metal circles.  It is just so catchy and immediate, with lyrics that everyone can relate to.  It’s the Iron Maiden song that even your mother might enjoy!  Other faves include Somewhere In Time and Heaven Can Wait (both penned by Harris) and Smith’s Sea Of Madness and Stranger In A Strange Land.  Smith’s writing was much different from Harris’, with more of an emphasis on thick n’ chunky riffs and less upon overactive bass playing and two-guitar harmony parts.  The contrast in styles makes for a pretty well-rounded album.  (Side note: Bruce Dickinson did not have a single writing credit on the album.)

As for the album’s one true flaw?  Somewhere In Time has too much filler.  Now, I’m not talking about filler in the sense of two or three sucky songs that seem like their sole purpose is to fill up any remaining album space.  Somewhere In Time doesn’t have that.  (Every song is good or even great, except maybe The Loneliness Of The Long Distance Runner, which I don’t care for.)  In this case, I’m talking about the “filler” that seems to have crept its way into almost each and every song.  Let me explain.  You see, almost every song on Somewhere In Time could use a serious edit.  Deleting a few bars here and there would have made such an enormous difference on the album.  Intros seem to go on too long, lead breaks go on too long, harmony sections go on too long.  There just seems to be too much repetition within the songs, which really softens the album’s overall impact.  Eight songs clocking in at over fifty minutes just seems a little too gluttonous.  My score: A-

17.  Europe – The Final Countdown

EuropeLet’s face it, The Final Countdown was pretty much a sell-out album for Europe.  Their first two albums were more of a galloping hard rock that was very (for lack of a better term) European.  For The Final Countdown however, Europe poofed up their locks and cranked up the keyboards as they made a move towards Americanized hair metal.  But something got lost in translation, and the result was an album that encompasses all that was ridiculous and all that was awesome about ’80s rock music.

The iconic title track opens the album.  Oh the majesty!  Say what you will, but I think the track is brilliant.  Joey Tempest has one of the smoothest voices around.  It seems effortless for him.  I’ve seen video of Europe performing live during their tour for this album, and Tempest sounds exactly like he does on the record.  He always stays comfortably within his range and delivers the goods.  Other favorites include Cherokee, On The Loose, and The Time Has Come.  My score: A-

16.  David Lee Roth – Eat ‘Em And Smile

DLRAfter leaving Van Halen, David Lee Roth knew he had to strike while the iron was hot.  And by that, I mean he had to strike before his male pattern baldness really started to show.  (Baldness: life’s cruelest equalizer.)  But seriously, Roth had the wherewithal to know he needed a top-notch band to “compete” with Van Halen.  The war was on (in his mind at least), and DLR needed some heavy artillery.  Enter Steve Vai (guitar), Billy Sheehan (bass), and Gregg Bissonette (drums).  With Vai and Sheehan by his side, Roth’s band was brimming with flashy players who, like the man himself, loved to show off.  This obvious attempt at one-upmanship was a good thing for the fans.  Roth’s first full length LP as a solo artist brought us more of the same DLR we knew and loved; the lounge lizard, the showman, the egomaniac, and the comedian.  The charismatic Roth also (surprisingly) willingly shared the spotlight with Vai and Sheehan, who both had ample opportunity to spray their loads on Eat ‘Em And Smile.  Folks, it doesn’t get any better than the lead cut from Eat ‘Em And Smile, the irresistible and unforgettable Yankee Rose (accompanied by a music video for the ages, for both good and bad).  The Sheehan-penned Shy Boy, and the Roth/Vai composition Goin’ Crazy were also highlights of this fun, party record.  Of course, it wouldn’t be Roth without a bit of tackiness, which is why we have a couple of lounge tunes included for good measure.  My score: A-

15.  Loudness – Lightning Strikes

LoudnessLightning Strikes was this Japanese band’s follow-up to Thunder In The East (1985); Loudness’ first attempt to hit pay dirt in the lucrative U.S. market.  Though Thunder In The East achieved some modest success, I for one think the band deserved better.  Their lack of super-stardom here in the States only adds fuel to my hypothesis that American fans can’t (or won’t) tolerate singers with a strong foreign accent.  (Pretty sad, huh?)  Loudness, of course, featured the great Akira Takasaki on guitar.  He’s on my short list for favorite guitarist ever.  Lightning Strikes (like Thunder In The East) was produced by the master knob goblin himself, Max Norman, so you know it sounds perfect.  Faves on this fine platter include Let It Go, Dark Desire, 1000 Eyes, and resident rubber burner Black Star Oblivion.  Loudness were true pros in every sense of the word!  My score: A-

14.  Sound Barrier – Speed Of Light

Sound BarrierEveryone loves an underdog.  And in the mid-eighties world of heavy metal, it didn’t get any more “underdog” than a band full of black guys!  (Note: although Sound Barrier started off as a truly all-black heavy metal band, by the time Speed Of Light came out in 1986, Sound Barrier consisted of three black guys and a white guy.  Close enough.  Still underdogs in my book.)

After having literally zero commercial success with their major label debut, 1983′s Total Control on MCA Records, Sound Barrier was dropped from the label.  In 1984, Sound Barrier self-released an EP called Born To Rock.  Then, Brian Slagel of Metal Blade Records (and a fan of the band) took a chance on Sound Barrier and signed them to his label.  Speed Of Light was the resultant Metal Blade release.  It was to be Sound Barrier’s final album.

In many ways, Speed Of Light has all the trappings of the typical lower rung Metal Blade release.  The sound is tinny and thin, and the singer ain’t so great.  Is this just another cheap and forgettable scrap metal release from the mid-eighties junkyard?  Not exactly.  After just one or two listens, I started to pick up on something special with Speed Of Light.  Maybe my love of the underdog has swayed my objectivity here?  Could be.  Nevertheless, I have to say I really enjoy this speed metal relic.  Featuring a loose garage sound, lots of frenetic bass playing, and a touch of the progressive, Sound Barrier delivered a winner.  Speed Of Light is an unassuming record with simple but inspiring lyrics (about fighting to reach the top), and a memorable hook in every song.  Faves include Aim For The Top, Gladiator, On The Level (Head Banger), and a cover of Thin Lizzy’s Hollywood (Down On Your Luck) from the oft-forgotten Renegade album.  My score: A-

13.  TT Quick – Metal Of Honor

TT QuickNew Jersey’s TT Quick followed up their stellar debut EP of 1984 with this loud n’ proud full length hardware (Megaforce Records).  The first four tracks on Metal Of Honor are something to behold — a venerable murderer’s row of stainless American steel.  Metal Of Honor, Front Burner, Hard As Rock, and Child Of Sin collectively kick off the album in a no-frills, ballsy style that you’ve just gotta love!  TT Quick spilled lots of blood, sweat, and beer on the East Coast club circuit back in the eighties, and I’m sure it helped shape their tough-as-nails, no bullshit brand of metal.  The first side of Metal Of Honor is so good I just want to crawl inside it and take my pants off.  After Metal Of Honor‘s first four cuts, the album falls back to Earth with a string of so-so, not-as-memorable tunes.  Things end on a high note however, with the album’s stirring finale Siren Song.  Raise a glass to these guys, TT Quick deserve to be remembered.  My score: A-

12.  Veto – Veto

VetoDude, Veto ROCKED!  You may be asking yourself right now, “Who the f*ck is Veto?”.  Well, let me tell ya, Veto was a German band that did what many a German band did in the ’80s; delight your ears with traditional metal awesomeness.  Lots of groove, lots of grit, lots of power, and lots of melody.  The list of such bands is a mile long.  (It usually starts with Accept.)  Veto were just another one of these killer German bands carving out classic metal under a shroud of obscurity.  The album Veto (Scratch Records) was the first of two for Veto (the second was Carthago from 1988).  Highly potent tracks include… well… ALL OF THEM.  Ain’t no time like the present to check out this long forgotten band.  I picked this up on CD as a 2-on-1 disc with Carthago.  It was released by a Mexican label called Blower Records.  Nice!  My score: A-

11.  Tesla – Mechanical Resonance

TeslaIf you haven’t found the time to get into Tesla, you are missing out!  These guys knew how to rock hard.   Mechanical Resonance was the strong debut for Tesla, though a tad frustrating at times.  Mechanical Resonance contains a handful of great Tesla tunes, but also mixes in a couple of turds.  On the awesome side, there is Ez Come Ez Go, Little Suzi, and two of Tesla’s all time best songs in Getting Better and Modern Day Cowboy.  As for the duds, I’ll let you find ‘em.

Tesla, maybe more so than any of the bands associated with the “hair” era, had a more universal hard rock sound.  This, along with the fact that they weren’t at all glam or sleaze, allows them to be taken a little more seriously through history’s lens.  Tesla didn’t do a whole lot to embarrass themselves back in the eighties.  They put together a pretty impressive catalog from 1986-1994, with all of their albums going platinum except for one (which went gold).  It all started here.  I highly recommend this great band!  My score: A-

10.  Tension – Breaking Point

TensionTension!  Take heed all ye fellow treasure hunters out there, Breaking Point is the real deal!

American metal maniacs Tension dropped Breaking Point on unsuspecting skulls in 1986 via the Torrid Record label.  It’s hard to describe Tension’s forceful brand of metal.  Was is thrash?  Speed?  Power metal?  Progressive?  I really don’t know… so let’s just call it AWESOME and be done with it!

This is one of the few albums I have heard that comes close to matching the ferocious, raw, underground mentality of the great Ample Destruction by Jag Panzer (1984).  Tension mercilessly water-boarded poseurs with their architectures of aggression.  Frenetic speed attacks like One Nation Underground and the amazing Wrecking Crew are textbook examples of how to combine tricky, technical playing and irresistible hooks.  Side one of the album is pretty much flawless, with the aforementioned tracks buttressed by the crushing Reach For The Sword and the sinister gem Angels From The Past.

Interestingly, Tension was not at all happy with the album.  They were disappointed in both the production and the art work on Breaking Point.  Tension was right about the art work (boring cover), but I actually love the production on Breaking Point, which really boosts the bass guitar high up in the mix.  As such, we can hear every note that bassist Tim O’Conner played.  As I follow O’Conner’s bass lines, I realize just how quick and nimble one had to be to play bass in a band like Tension.  It makes me appreciate the often overlooked role of the bassist in the world of break-neck metal.  My score: A-

9.  Ozzy Osbourne – The Ultimate Sin

OzzyOzzy!  I’m not sure what to think of Ozzy Osbourne the man, but Ozzy Osbourne the band?  Well that’s just some kick-ass shiznit!  There were several key figures that had a hand in making the Ozzy Osbourne band so great (guys like Randy Rhoads, Bob Daisley, Jake E. Lee, Zakk Wylde, and Ozzy himself).  The Ozzy Osbourne discography of the ’80s stands as one of the best of the decade.

The Ultimate Sin has often been cited as Ozzy Osbourne’s worst album of the ’80s.  Though I agree it is not a perfect album, I still have a very favorable opinion of The Ultimate Sin.  As for flaws, it does seem (at least to these ears) that Ozzy’s performance on this album was less inspired than in previous years, and the glossy production by Ron Nevison (same guy who did KISS’ Crazy Nights in ’87) did not totally suit Ozzy Osbourne’s style.  I often skip two tracks when I listen to The Ultimate Sin, Killer Of Giants and Thank God For The Bomb, leaving seven tracks that I would rate as good or great.  Bassist Phil Soussan was responsible for writing the album’s best song (and biggest hit) Shot In The Dark, a truly memorable tune.  I also really like Lightning Strikes, Secret Loser and Fool Like You.  At the end of the day, Ozzy could always be counted on to deliver a great melody and have a top-notch guitarist by his side (Jake E. Lee on this one).

Sadly, The Ultimate Sin has been unceremoniously “deleted” from the Ozzy catalog.  The last time it was released on CD was in 1995.  Subsequent re-releases and re-packaging of Ozzy music have always omitted this album.  You can still find used copies of the 1995 remaster out there.  Scoop it up.  My score: A-

8.  Metal Church – The Dark

Metal ChurchMetal Church’s sophomore album was another crushing metal beast.  Kicking off with the speed machine Ton Of Bricks (great lyrics!) and closing with the rampaging Western Alliance, The Dark is an album begging to be played at max volume.  This album features Metal Church’s most famous song (I think?), the brooding Watch The Children Pray, as well as my personal favorite Metal Church song (from the David Wayne years, anyway) Method To Your Madness.  It was Ton Of Bricks, however, that actually introduced me to Metal Church as a young, impressionable pre-pubescent.  At that time it was the heaviest song I had ever heard.  To that point in my life, I had been raised by the likes of KISS, Twisted Sister, Quiet Riot and Ozzy (all great, by the way).  But Ton Of Bricks showed me there was an even heavier sound out there.  Faster, louder, and meaner.  My score: A-

7.  Steel Angel – Kiss Of Steel

Steel AngelThis is a little known album out of France.  Steel Angel’s Kiss Of Steel contains some excellent melodic power metal.  I was lucky to stumble across this old relic because it is a helluva gem!  Kiss Of Steel soars on the wings of a mighty vocalist name Pat Monteiro.  Monteiro’s voice reminds me of Rob Halford’s style on early Judas Priest tracks like Island Of Domination.  Kiss Of Steel (released by Sydney Productions) was the second (and last) Steel Angel album.  The album conveys a bright atmosphere, and the songs feel uplifting (even if the lyrics aren’t always so).  For the most part, the riffs aren’t all that tricky, but the leads are pretty nice.  I like the use of vocal layering sometimes used.  Majestic heights are reached with amazing tracks like Pay For All and For The Dawn.  Highly recommended to power metal aficionados.  Pat Monteiro, take a bow!  My score: A

6.  Fifth Angel – Fifth Angel

Fifth AngelQuite possibly the best album to ever come out on Shrapnel Records (IMO) was Fifth Angel’s 1986 debut.  An album so good, in fact, that a major label (Epic Records) signed the band and re-released Fifth Angel in 1988 (with a different cover).  Epic obviously saw some commercial potential in this Washington power metal band (though commercial success never really materialized as hoped).  Fifth Angel’s style of metal was very accessible and ear-friendly.  While quite powerful and epic, Fifth Angel stuck to conventional song structures, with modest drumming and down-to-earth vocals.  Unlike many U.S. power metal bands of the era, Fifth Angel didn’t stretch out into progressive territory, or flirt with thrash.  They also didn’t feature theatrical, wailing vocals like many of their peers.  Ted Pilot’s crisp and clean vocal performance has allowed the Fifth Angel LP to stand the test of time very well.  And since Fifth Angel was originally a Shrapnel release, you can expect some solid axe work — and indeed the album contains several excellent solos.  Faves include Call Out The Warning and Cry Out The Fools.  My score: A

5.  Ratt – Dancing Undercover

RattWith their third full length LP, Ratt solidified the fact that they were a band that could be counted on!  This, despite the band members’ strained relationship with each other — not too surprising given that they were a bunch of hardcore fiends.  Somehow and someway, Ratt managed to keep an electric chemistry with the perils of rock and roll tugging on their collective leash.  Ratt’s first two LPs went triple platinum and double platinum, respectively.  By 1986, Ratt’s popularity began to wane a bit as the sleazy brand of L.A. hard rock they helped pioneer started to flood the market (meaning that Ratt had much more competition in 1986).  And although Dancing Undercover went platinum, I still view it as somewhat of an overlooked gem.  In my worthless opinion, Dancing Undercover is Ratt’s best album!  Admittedly, I’m splitting hairs here, as Ratt’s first three albums are fairly interchangeable in terms of style and substance.  But Dancing Undercover is the one I listen to the most.

With Beau Hill turning the knobs, Dancing Undercover was produced perfectly — yielding maximum groove, swagger, and strut.  Ratt’s rhythm section of Juan Croucier and Bobby Blotzer knew how to lock on to a killer groove and not let go.  Meanwhile, the biting riffs and tasty soloing of Warren DeMartini and Robbin Crosby cut through the speakers like napalm in the jungle.  I love the tone of their guitars — dripping with nastiness!  Sure, vocalist Stephen Pearcy may have been the band’s weak link technically, but it’s hard to imagine Ratt without Pearcy’s one-dimensional singing style.  Lyrically, Pearcy and Ratt were pretty lousy, but we’ll forgive them because they dropped a helluva sleazy payload on our sorry asses here.  Check out white-hot cuts like Dance, Slip Of The Lip and Body Talk for three examples of “classic” Ratt.  I also want to give a shout out to what might be Ratt’s best ever “deep track”, the irresistible Looking For Love.  I know it’s only Ratt n’ roll… but I like it.  My score: A

4.  Fates Warning – Awaken the Guardian

awaken-the-guardianGentleman, start your boners.  If you are a metal fan with a little bit of nerd in you, you’ll probably pitch a pants tent for Fates Warning’s underground fave, Awaken The Guardian.  Though many have tried, few metal bands (in my opinion) have been able to conjure such an overpowering atmosphere of fantasy quite like Fates Warning did with this 1986 LP.  From the cover art, to the lyrics, to the somewhat foggy production, Awaken The Guardian is a long, strange trip to the mysterious nether regions of metaldom.

Progressive metal.  That’s the term now used for an album such as this.  Indeed, to enjoy the album, the listener must progress a little bit with each listen, slowly building an understanding and appreciation for the music.  Training the ears and unraveling the layers… until the brain can, as they say, get it.  Wait, I sound like an asshole.  After all, its only rock n’ roll, or in this case heavy metal, right?  Isn’t heavy metal about rocking out and torching your ear drums and wrecking your neck?  Yeah, most of the time.  99% of the time even.  But here’s something just a bit different, something not as immediate.

When I first listened to Awaken The Guardian I did not like it.  It was my first Fates Warning album.  The thing that turned me off the most was the odd vocal style of John Arch.  It just seemed like too much to digest; the way he fills up all the available space with his kind of meandering, stream of consciousness, verbal diarrhea.  Arch floats atop the music, never really touching down to earth where the more obvious melodies should live.  The second thing that seemed to make the music a bit discombobulated for me was the drumming of Steve Zimmerman.  His playing never settles into a toe-tapping, steady groove.  This, I think, kept my mind from getting a firm grasp on the music… at least upon the first few listens.  Of course, there are also the tempo changes and meter changes to deal with.  (One will find the actual guitar parts themselves are not all that complex.)  Though I did not initially like Awaken The Guardian, I was intrigued enough to keep trying.  Time would pass, I would listen to the album here and there, and then shelve it for a while.  Repeating this process over the course of years lead me to really appreciate and enjoy this album immensely.  It was quite a time investment, but well worth it in the long run, as Awaken The Guardian is truly a unique, and at times, remarkable heavy metal album.  As Arch’s melodies started to make more sense to me, I started to wonder if this guy was in fact a genius.  Were his hyper-geeky fantasy lyrics the words of an honest-to-goodness mystical wizard, or were they the ramblings of some high-horse riding, wannabe scholar with a dictionary and a Dungeons And Dragons game book?  Or… were they just nonsense from the scrambled mind of a guy that was perpetually as high as a f*cking kite?  Maybe a little bit of all three?  But even as I inhaled the vapors of his chemical haze I couldn’t help but be lifted by some of the soaring melodies Arch conjured.  In particular, the chorus to Guardian may just be the greatest thing I have ever heard in song.  Seriously.  This song is an absolute gem!  Probably in my all-time top ten.  Own this album for Guardian alone!  The acoustic intro gives way to a plodding verse that closes with the chill-inducing line; “it was all a dream… an endless dream… ah hah…” as the tempo ascends leading to an emotional chorus that just blows the doors off the place.  I never understood the song’s lyrics until I read an interview with John Arch (here’s the link) where he explained that the song pays tribute to challenged (disabled) people young and old who will never know what it is like to walk, see, or hear.  Given the context, the song takes on a very special meaning, and it only enhances the impact of Guardian for me.

Another exceptional track is the album’s epic closing number, Exodus.  Again, an exquisite chorus highlights this eight and a half-minute masterpiece.  Repeated listens are beneficial and certainly recommended, as the song seems to grow better with time.

Awaken The Guardian is an awesome monument of eighties-era heavy metal.  It is not perfect, and in my mind not yet something I would consider an A+.  (Give me a few years, I may change my mind.)  However, on account of its sheer depth and ability to open the doors to the imagination, I consider Awaken The Guardian to be an essential piece in any serious heavy metal record collection.

Patience is rewarded my friends.  My score: A

3.  Metallica – Master Of Puppets

MetallicaMetallica were reigning heavy metal champions in 1986.  They took the belt from Iron Maiden in 1984 with the release of the masterful Ride The Lightning.  When it came time to defend their championship with a follow-up to Ride The Lightning, Metallica did not fail.  The maintained their dominance with the release of Master Of Puppets, an album often considered the greatest album in the history of heavy metal.  Songs like Battery and Master Of Puppets have grown to legendary proportions — casting a shadow over everything Metallica would do in the nineties and beyond.  A bar set so high, that no mortal band could live up to it.

Though I do love Master Of Puppets, I actually prefer Ride The Lightning, and even … And Justice For All by a slight margin.  The reason being, I suppose, is that side two of Master Of Puppets isn’t something I re-visit as often as the aforementioned albums (except for Leper Messiah, that is).  But I am not one to deny this record’s rightful seat in the throne room of heavy metal’s hallowed halls.  My score: A

2.  Zeno – Zeno

ZenoZeno!  This German band got its name from their guitarist and principal songwriter “Zeno” Roth (brother to Uli Jon Roth).  Zeno released but one album in the 1980s, Zeno (EMI Records).

This is one of those Sunday morning albums.  Obviously, life demands that ’80s hard rock and metal must be played 24/7, but there are times when serenity and tranquility reign over fist-pumping and head banging.  When I need something a little lighter, a little more AOR-ish, my ears beg for Zeno, one of the most majestic and ethereal records of the whole decade.

Although Zeno was not a hit album by any means, a little investigation into the album’s back story reveals that the music industry expected great things from Zeno.  Zeno were the subject of a bidding war amongst labels, and in the end Zeno wound up receiving one of the biggest contracts ever for a brand new band.  But the story gets convoluted, with Zeno taking longer than expected to record and going over budget in the process.  When Zeno was released in 1986, it was viewed as something of a failure with respect to its over-hyped expectations.

The production on Zeno is pin-perfect.  It’s obvious that meticulous attention was paid to capturing a full, rich sound on this record (more than likely the reason Zeno was over-budget).  Roth’s guitar work is exceptional, and his compositions seem to mirror his own reputation as a spiritual and philosophical guy.  The vocals are done by Michael Flexig, a man who sings in an impossibly high register and has the pipes to give credence to these celestial and uber-melodic pieces.  The lyrics are very positive; focusing mostly on love, spirit, and the belief in a higher power.  People, Slayer this ain’t.

Zeno consists of ten proper songs (and one brief instrumental, Sunset).  I would describe nine of the cuts as exceptional or nearly so.  The only song I don’t love is Emergency.  Exquisite cuts like Heart On The Wing, A Little More Love (penned by bassist U. Winsomie Ritgen), and Circles Of Dawn always bring a cheerful smile to my otherwise hideously ugly mug.  A truly great album that flew under the radar.  My score: A+

1.  Van Halen – 5150

Van HalenWhile there are certainly a lot of Van Halen fans that spout none-too-kind words about the Sammy Hagar years, I am not one of them.  5150 is actually my favorite Van Halen album of ‘em all, as well as my favorite album of 1986!  Those unable or unwilling to accept VH without David Lee Roth at the helm are depriving themselves of a fine record of summer time tunes with big hooks, great guitar playing and, yes, great singing by Sammy.  Sure, 5150 is a little heavy on the keyboards, but such was Eddie’s passion at the time.  Whether or not DLR was around, any Van Halen album coming out in 1986 was going to have lots of keys.  Deal with it.  And don’t underestimate EVH’s guitar playing here.  I think a lot of people took Eddie for granted at this point in his career.  To me, that’s a testimony to his greatness.  Faves here include the soaring Dreams, the good time fun of Summer Nights, and my personal favorite of all, the highly underrated title track.  My score: A+   

Go back to the Top Twenty Albums of 1985

Follow

Get every new post delivered to your Inbox.

Join 146 other followers