Pretty Boy Floyd – “Leather Boyz With Electric Toyz” (1989)

pretty-boy-floydTotal glam to the max!  Pretty Boy Floyd were trying to extend the glam metal legacy that was passed from Hanoi Rocks to Motley Crue to Poison.  You can hear the influence of all three bands on Leather Boyz With Electric Toyz.  Whether this record is the product of Pretty Boy Floyd’s reverence to past masters or a shameless rip-off is up for debate.  The optimist in me hopes for the former.

Obviously, to enjoy Leather Boyz With Electric Toyz, you’ll have to view glam metal as a bona fide genre worthy of consideration.  I do, and I do.  It’s all about the bubble-gum bop of the melodies crashing against over-driven guitars.  It’s candy sweetness and degenerate sleaze all at once.  Songs glide like lipstick over the pouty gobs of our fair boyz.  Not quite as good as its forefathers, but a solid entry into the glam metal Olympiad.  This album is heavier than it looks — though it looks gayer than Liberace’s cape closet.  Pretty Boy Floyd’s cover of the early Motley Crue highball Toast Of The Town is the standout of the record.

Leather Boyz With Electric Toyz comes not without its share of controversy.  Turns out that most of the songs where written by ex-member Aeriel Stiles — who was not given any credit in the album’s liner notes.  Here’s the scoop.

Leather Boyz With Electric Toyz actually made it on to Rolling Stone‘s “50 Greatest Hair Metal Albums Of All Time“.  Not that Rolling Stone has any credibility whatsoever — it’s a pinko commie rag and it totally sucks.  However their “50 Greatest Hair Metal Albums Of All Time” list ain’t half-bad at all.  They even have Lord Tracy’s Deaf Gods Of Babylon on there!  I thought I was the only person who had ever heard that album!  My score: B

Sacred Rite – “Is Nothing Sacred” (1986)

sacred-riteHawaii’s Sacred Rite released their third album on Medusa Records in ’86.  Is Nothing Sacred also saw release by the Dutch label Megaton Records.  This would be the last Sacred Rite release of the band’s initial eighties run.

Sacred Rite’s self-titled debut was excellent — a cogent bit of metal sorcery that conjured bits of prog, U.S. power metal, and the NWOBHM.  Sacred Rite stirred them all together in a bubbly cauldron to create a powerful witch’s brew.  Their sophomore effort, 1985’s The Ritual, was not as good — though solid.  Unfortunately, Is Nothing Sacred continues the trend of diminishing returns for Sacred Rite albums.

Is Nothing Sacred has a nice, live sound.  All the instruments are well separated and the bass work of Peter Crane is particularly impressive.  Though Sacred Rite maintained their unique sonic blueprint on this record, this particular Sacred Rite banquet is a pretty dreary set.  The eight-song track list includes a sleepy ballad, an instrumental, and a pair of soggy, moody cuts that close out the album.  Surprisingly, the standout cut is a deft cover of Eleanor Rigby by The Beatles.

Props to Sacred Rite for maintaining their musical identity at a time where many of their ilk were turning to a harsher metal style in accord with the metal trend of the day.  Sacred Rite always came across as a well-oiled foursome sincere in their metal conviction.  They were much darker than one would expect from a band out of Hawaii.  However, Is Nothing Sacred is a little too sluggish for my taste.  My score: C+  

Trixter – “Trixter” (1990)

trixterGroup these guys with Slaughter and Firehouse as bands debuting in 1990 with a clean and crisp brand of prefabricated commercial rock.  By 1990, the template for “hair bands” had been pretty much set in stone.  Slaughter, Firehouse, and Trixter adhered closely to the established rules.  They took few chances, stuck to the formula, and were rewarded with healthy sales.  I guess you could say they took the corporate route, but there’s no denying that talent played a part in their success, too.

Trixter were young and good looking.  (Except maybe for the drummer Gus Scott — it looked like he had a Chia Pet growing out of his scalp.)  Those boyish pin-up looks certainly helped Trixter get their foot in the door.  They had a couple of popular videos on MTV and girls swooning for them.  Trixter was released by Mechanic Records, an imprint of MCA Records.  Usually, MCA flopped with hard rock acts.  They couldn’t organize a sock drawer.  But Trixter went gold in 1991.

For the heaviness quotient, Trixter were on par with the likes of Bon Jovi on the Richter scale.  That’s pretty much one step above AOR.  They had an air of positivity that suited their smiling faces.  The song Give It To Me Good best exemplifies the good vibrations Trixter were toting along.  In fact, I would go as far as to say that Give It To Me Good is a gem of a tune — and by far the best song on the album.  (Here’s the video for Give It To Me Good.)  One In A Million would be my second choice.  It’s no coincidence that these two tunes were two of the three “hit” songs from Trixter.  They are the cream of the crop for sure.  The rest of the album is okay, but there’s a couple of ballads that drip like a leaky faucet, as well as a few generic rockers.  All in all, Trixter is not an inconsequential release, but with the exception of its two strong singles, it’s not essential either.  My score: B

Queen – “The Game” (1980)

queenThe Game is one of my favorite Queen albums.  This album is like a pot-luck dinner — each member of Queen brings something different to the table.  Freddie brings the bean dip, Brian brings the chicken wings, Roger brings the Swedish meatballs, and John brings the rice pudding.  The Game is all over the place — but it’s still highly entertaining.  It’s a smorgasbord of ideas from four distinct writers — each coming from a different head space.  Each song on The Game is credited to a single Queen member.

The Game spawned two number one hits in the United States — Freddie Mercury’s rockabilly tune Crazy Little Thing Called Love and John Deacon’s disco-funkster Another One Bites The Dust.  These two monster hits help catapult The Game to multi-platinum sales (currently certified at quadruple platinum in the United States).  Other well-known Queen “classics” found on The Game include Play The Game (by Mercury), Need Your Loving Tonight (by Deacon), and Save Me (by Brain May).  Truth be told, every single song on The Game is a good one.  The only cut I sort of question is the silly Don’t Try Suicide — but even that one has grown on me!  Chalk it up to the “Freddie Mercury effect”.  The man had the Midas touch.

It should be noted that The Game was the first Queen album in which synthesizers were used.  However, the synthesizers were used sparingly and subtlety.  Future Queen albums would over-use synths to a toxic degree.

Though Queen could be wildly inconsistent at times, on The Game they were firing on all cylinders.  They were taking chances (as they often did) — but succeeding at every turn.  My score: A+

Queen – “Flash Gordon” (1980)

queenQueen signed on to record the soundtrack for the sci-fi film Flash Gordon.  The album and movie were both released in 1980.

I saw Flash Gordon when I was really young — maybe eight or nine.  Needless to say, it blew my f*cking mind!  I was already a Star Wars nut at the time, and Flash Gordon was probably the closest thing to Star Wars I had ever seen.  Years later, I re-watched the film and realized it wasn’t exactly the cinematic masterpiece I remembered, but it is still a cool movie.  When I was young, I took Flash Gordon at face value.  Now, I see it differently.  I see the humor in it, as well as the cheese and the camp.  I also appreciate how much Queen’s soundtrack enhances the viewing experience.  Queen’s music was an integral part of Flash Gordon.

As a stand alone album, Flash Gordon doesn’t always captivate.  You really need the visual to go along with it.  That is because most of the album is comprised of instrumentals with snippets of movie dialog interspersed throughout.  There are only two full-fledged songs with lyrics — Flash’s Theme and The Hero.  These are the first and last songs on the album, respectively.  Flash’s Theme is a great Queen song.  It captures the campy essence of the movie while also delivering it with the patented pageantry and bombast of Queen.  The Hero is just as good.  It closes the album (and movie) in exhilarating fashion.  The song revisits a few motifs that are repeated throughout the soundtrack and works them into a rousing finale.  If there is a reason to own Flash Gordon, it’s because Flash’s Theme and The Hero are quintessential Queen.  As mentioned above, these two tracks are bookends of the Flash Gordon album.  What lies between them consists entirely of instrumental pieces — predominantly synth-based.  The use of synths makes sense.  This was a sci-fi movie in the year 1980, and synthesizers were synonymous with a “futuristic” sound at the time.  It is a bit ironic that some thirty-six years later, synthesizers have the exact opposite effect.  They sound positively dated in 2016.  Much of the instrumentals are very atmospheric in nature.  Lots of noodling about.  Again, without the visual context, this can make for a somewhat lackluster listening experience.  There are a couple of tunes that are more rocking in nature — Football Fight and Battle Theme.  But without the voice of Freddie Mercury to go with them, they lack the flair of essential Queen.

All in all, Queen did a fine job with their soundtrack to Flash Gordon.  It seems that they took the task seriously.  Conceptually and thematically speaking, Flash Gordon is the most uniform album of Queen’s career.  All their other albums are very eclectic — due, in part, to the different writing styles of the four members.  But on Flash Gordon, each member of Queen bought in to the same central idea of what the soundtrack should be.  The result is Queen’s most cohesive album — though far from their best.  Flash’s Theme and The Hero are must have for Queen fans.  The rest, I could take or leave.  The best way to experience this music would be by just watching the movie.  If you’re just listening to the album all by itself, it can be a little boring.  My score: C+

Queen – “Hot Space” (1982)

queenHot space?  More like “hot mess”, am I right?  Queen were once a band that refused to use synthesizers on their albums.  They went so far as to explicitly state as much in the liner notes of their records.  This changed on 1980’s The Game — where synthesizers crept in for the first time.  But on 1982’s Hot Space, Queen were positively obsessed with synthesizers, and worse yet… drum machines.  As a result, a good portion of Hot Space pretty much sucks.  The first five songs are crap.  Queen broke the first rule of rock… which is to rock.  There are so many things that I would rather do than listen to the first half of Hot Space.  I’d rather share a sleeping bag with a porcupine.  I’d rather wear a thong made of steel wool.

The second half of Hot Space is a little more bearable.  Brian May’s Put Out The Fire is the only song on the album that at least attempts to rock.  Meanwhile, lighter songs like Calling All Girls and Las Palabras de Amor (The Words of Love) house the album’s best melodies.  Hot Space‘s penultimate cut Cool Cat shows off Freddie Mercury’s smooth falsetto, though the song itself is average at best.

Queen tacked on Under Pressure, their classic collaboration with David Bowie, to the end of this record.  The song had previously been released in 1981 as a stand alone single, and had also appeared on the North American version of their Greatest Hits compilation (also from 1981).  The inclusion of Under Pressure here is a most welcome addition to an otherwise disappointing Queen release.

Queen were a home run hitting band.  Everyone knows that when you swing for the fences all the time you get a lot of home runs, but you also strike out a lot.  Most of the Hot Space album is a big swing and a miss.  The overabundance of synths and drum machines ruin a good portion of the album.  I think Queen were emboldened by the chart-topping success of Another One Bites The Dust — a disco-style tune from 1980’s The Game.  Queen tried too hard to repeat that success with more “dance” tunes.  They miscalculated what the public wanted and expected from Queen.  It was a bad idea and a waste of their talents.  On a positive note, the songs from Hot Space came off MUCH better live than in studio.  My score: C+

Toxik – “World Circus” (1987)

toxikWorld Circus was the first album by New York’s Toxik.  Featuring the impossibly high-pitched vocals of Mike Sanders and the blazing guitar pyrotechnics of guitarist Josh Christian, World Circus is an over-the-top metal extravaganza traveling at dangerously high speeds.  The album starts off with Heart Attack — a song shot like a rocket all the way from Uranus directly to your anus.  It’s quintessential Toxik — mixing speed, thrash, power, and shred metal into a high test cocktail that’ll torch your tits.  More of the same hyperactivity follows suit, though the non-stop intensity leaves me a little worn and weary by album’s end.  Sanders’ dog whistle vocals are a bit ridiculous (it’s often hard to understand the lyrics) but he’s still miles better than that clown-faced hack King Diamond!  Christian’s quick-picked guitar heroics are something to behold, but again, it all becomes a blur by the time the initial sting of Heart Attack wears off.  Seems to me Toxik flew too close to the sun on this one!  Their sophomore effort, 1989’s Think This, is a little more down to earth (and with a different singer, too).  My score: B-

Quartz – “Deleted” (1980)

quartzIn 1980, Quartz found themselves lumped in with the New Wave Of British Heavy Metal (NWOBHM) despite having debuted a full three years earlier with 1977’s Quartz (Jet Records).  1980 saw the release of four different Quartz products.  Most notably, there was their stellar full length Stand Up And Fight — a classic NWOBHM treasure.  A live album simply titled Live Quartz, and a 3-track EP/single called Satan’s Serenade were also released.  Jet Records, perhaps in an attempt to capitalize on the NWOBHM buzz surrounding Quartz, re-released 1977’s forgotten Quartz LP in 1980.  They re-dubbed the album Deleted and packaged it in a simple paper sleeve.

Deleted was produced by Black Sabbath legend Tony Iommi.  He did a fine job on this surprisingly solid Quartz debut.  Indeed, Quartz come off as a more articulate Black Sabbath on this hearty platter.  We are first introduced to the band on the standout lead number Mainline Riders.  Housing a gargantuan Sabbathian riff that could make any stoner drool (more than usual), this ode to cocaine (I think) captures Quartz at their mystical, dazed best.  Riffs abound on other potent rockers such as Devil’s Brew and Pleasure Seekers.  Quartz opt for a lighter touch on the hazy Sugar Rain and the somber Little Old Lady.  Both songs successfully find their mark thanks to Mike Taylor’s excellent vocals.  (Note: Taylor recently passed away in September, 2016.)

Deleted shows that Quartz were top-flight metallurgists well before the NWOBHM scene gobbled them up.  The re-release of their 1977 album with a crinkly brown sack over it implies some level of shame or disgrace, but with Quartz’s bowl-toking debut nothing could be further from the truth!  My score: B+ 

Billy Squier – “Signs Of Life” (1984)

billy-squier1984 was a good year.  I turned seven years old in 1984.  I was at the age where a boy starts to become more aware of what is going on around him in terms of pop culture.  Things started affecting me in a lasting, meaningful way.  I started to form interests that would last all my life.  Before 1984, I was a lump of clay.  During 1984, at age seven, the molding process began.  Seven is a strange age, you know.  Too old to eat paste.  Too young to sniff glue.  Adhesives are not a factor when you are seven.

I remember lots of cool things from 1984.  I remember the 1984 summer Olympics in Los Angeles.  The U.S. cleaned house because the Russians were a no-show.  I remember lots of free Cokes, fries, and Big Macs because of McDonald’s Olympics scratch ticket promotion — a promotion that turned out to be a marketing disaster for McDonald’s, but a major windfall for the rest of us.  I remember both Gremlins and Indiana Jones And The Temple Of Doom came out in the theaters.  I wasn’t allowed to see either.  I remember Yankee first baseman Don Mattingly won the batting title and became my hero.  I also remember really getting interested in music.  I listened to the radio and followed the charts.  I was into Twisted Sister, The Cars, and Weird Al.  We didn’t have MTV in my house in 1984, so the only music videos I saw were from NBC’s Friday Night Videos.  My mother would tape the episodes on VHS because my brothers and I weren’t allowed to stay up late to watch them when they aired.  Music videos were really becoming HUGE!

In 1984, a music video ruined Billy Squier’s life.  (Or so the story goes…)

I remember loving the song Rock Me Tonite in 1984.  It was a great single.  I am pretty sure I saw the video for it at the time, too.  It may have been on one of those Friday Night Videos tapes.  But the video didn’t really affect me.  I was seven.  I thought all videos were cool.

Billy Squier truly believes that his infamous video for Rock Me Tonite derailed his career.  Prior to the video, Billy was doing fabulous.  He was a multi-platinum artist and an arena headliner.  But the video for Rock Me Tonite stopped Squier’s career in its tracks  — at least that’s what Billy says.  Listen to Squier’s side of the story here.  He said he went from playing full houses in arenas to half-empty shows literally overnight (after MTV premiered the video for Rock Me Tonite).  Want to see the video?  Feast your eyes on THIS!  It is a video that is so spectacularly bad that I can’t believe it exists.  In 1984, rock fans were not ready for something quite this gay from Billy Squier.  Apparently they deserted him in droves.  Signs Of Life still ended up going platinum, but it would be the last platinum (or even gold) record of Squier’s career.

Signs Of Life is a fine album.  It’s not as good as Billy Squier’s star-making, triple platinum smash Don’t Say No (1981), but I think it’s better than 1982’s Emotion In Motion.  But be warned all ye hard rockers — Signs Of Life is not really hard rock.  It is more like pop rock.  This was a direct result of the flashy production job by Squier and Jim Steinman (of Meat Loaf fame).  The guitar riffs are there, but they’ve been crowded out by lots and lots of synths.  There’s also a myriad of strange percussion, samples, and sound effects.  This was largely the case with Emotions In Motion, too.  Any hard rock edge the songs may have had got polished down to a shiny nub.  Normally I would be turned off by all the pop tricks used by Billy, but I really don’t mind it so much in this case.  That may be because I have a biased, soft-spot for Billy Squier.  But a case could also be made that the songs are just damn good.  Get past the superfluous pop schmear that coats the songs and I think you’ve got some good material to work with ear-wise.  If nothing else, all the techno-pop bells and whistles make for an interesting headphone listen.

Signs Of Life spawned three singles.  The aforementioned Rock Me Tonite was the biggest hit.  Two other strong choices followed in All Night Long and Eye On You (neither were hits — possibly in part due to the Rock Me Tonite video debacle).  I like all three songs a lot.  The formula worked — big beats, big hooks, ragged guitar riffs, and Billy’s great voice.  And you can dance to ’em!  (Not that I care to — but the option is there.)  Another gem on Signs Of Life is the last song — called Sweet Release.  This is one of the best “deep tracks” in Squier’s catalog.

One last thing.  Just how is it that poor Billy was crucified for his Rock Me Tonite video while these guys got a free pass?  My score: A-


Top Ten Thrash Metal Albums of 1987

Here are my favorite thrash albums of 1987…

10. Metallica – The $5.98 EP – Garage Days Re-Revisited

As you can tell by the not-so-serious cover, Metallica were just having a little fun with this EP of cover songs.  Diamond Head, Holocaust, Killing Joke, Budgie and Misfits were all given the Metallica treatment.

A crushing version of Diamond Head’s Helpless opens the record, and it is far better than the original.  This would be Metallica’s second time recording a cover of the forgotten NWOBHMers.  They covered Diamond Head’s best song Am I Evil? for the original “Garage Days Revisited” on the B-side to their Creeping Death single/EP (more info on that record is here).  The inclusion of Misfit’s Last Caress is another highlight.  This song is hilarious for its alarmingly crass lyrics. “I’ve got something to say, I killed your baby today!”  You get the idea.

The 5.98 EP – Garage Days Re-Revisited introduced Metallica fans to new bassist Jason Newsted and also gave them some homework to do — get out and find the original records from the influential bands covered.  These were bands that many Metallica fans had little to any knowledge of at the time.  Diamond Head and Misfits seemed to get the biggest “bump” from the free publicity offered by Metallica.  Note: The CD version was titled The 9.98 EP – Garage Days Re-Revisited.  My score: B

9. Testament – The Legacy

I own Testament’s first four albums, and except for The Legacy, I’m pretty much indifferent to them all.  The Legacy is the exception!  The album boasts almost all of my favorite Testament songs from their early days.  To my ears, The Legacy has more much energy than the albums that followed.  It’s got better ideas and stronger hooks.  The guitar duo of Alex Skolnick and Eric Peterson used their fast pick hands to carve out potent thrash riffs while Chuck Billy provided his constipated, humorless vocals on top.  With this well-received debut, Testament established themselves as arguably the most popular “second wave” thrash band of the decade.  My score: B

8. Artillery – Terror Squad

Highlighted by its bone-crushing title track, Artillery’s Terror Squad hits harder than a sledgehammer to the nut sack!

Terror Squad was Artillery’s second LP.  Besides housing the incredible title track, this record pours on the heat with plenty of churning, grinding and chopped up riffs n’ rhythms.  Singer Flemming Ronsdorf screams and hollers above the thrash madness like a rabid animal.  Artillery didn’t rely on speed as much as many of their Euro-thrash compatriots.  Instead, they used a mid-paced crunch that allowed their thick riffage and heavy bottom end to penetrate the skull.  The hostilities commence with the hard-hitting In The Trash.  Eight more cuts follow — each a grenade lobbed right into your defenseless lap.  Artillery close the show with Decapitations Of Deviants, a song which contains the great lyric: “when shit turns to gold, the poor will be born without ass!”  Eat your heart out Bill Shakespeare!  My score: B

7. Laaz Rockit – Know Your Enemy

Laaz RockitAfter releasing two lightly regarded albums for the Target Records label, Laaz Rockit moved over to Enigma Records for their third outing, Know Your Enemy.  Here, Laaz Rockit joined ranks with their Bay Area neighbors among the thrash contingent. Even though almost every song on Know Your Enemy is about the world going to hell in a hand basket, the album manages to be a fun one.  The songs breathe, the singer is decent, and the hooks are fairly catchy.  In many ways, Laaz Rockit remind me of East Coast bands like Anthrax and Nuclear Assault more than Bay Area bands like Metallica and Testament.  It’s good to have a little light to shine through the often smothering thrash abyss. Last Breath, Most Dangerous Game, and Self Destruct are my favorites.  My score: B

6. Death Angel – The Ultra-Violence

Through metal history’s lens, Death Angel sit perched somewhere near the top of thrash’s second generation.  They were not innovators like the first generation, but they made their mark with this energetic thrash album that arrived smack in the middle of the genre’s salad days.

Though Death Angel would expand their musical style in subsequent releases (for better or worse), their debut The Ultra-Violence (released by Enigma Records) is straightforward, pure thrash.  It’s hard, fast, and loose.  Likely due to a lack of money and time, the final product is raw and imperfect.  It sounds as if the boys (just teens at the time) just plugged in and let it rip.  That’s a dangerous game to play — the end product could have ended up a sloppy mess.  But Death Angel had all the intangibles in place, and The Ultra-Violence captures a perfect moment where unhinged enthusiasm and burgeoning talent collide.  The opening track, the aptly titled Thrashers would not seem out of place on Exodus’ Bonded By Blood.  Three more good tracks follow — Evil Priest, Voracious Souls, and Kill As One.  Each will light you up like Christmas!  Onto side two, things gets bogged down by an excessively long instrumental and a few songs that don’t really come together all that well.  Death Angel had plenty of riffs to go around but weren’t really mature song writers (can’t really blame them, they were so young).  When all is said and done it is the high-voltage performances and the band’s sincere commitment to thrash that make The Ultra-Violence as well-regarded as it is.  My score: B

5. Tankard – Chemical Invasion

TankardI like my booze.  But it’s not like it’s my religion or anything.  Tankard on the other hand?  They were committed to the booze 100%.  Nobody could extol the virtues of alcoholism quite like ol’ Tankard.  They pay homage to their favorite elixir with high-speed, spastic songs that flare up like hemorrhoids.  But unlike many thrash tunes which are no more than a patchwork of different riffs, Tankard managed to craft actual songs with good transitions, proper continuity and a sense of resolution.  The frenzy is brought to the brink of collapse by the berserk vocals of “Gerre”.   Drunken wisdom indeed!  When he’s not railing on about alcohol (and cocaine, can’t forget cocaine) Gerre attacks other important issues such as metal posers in Traitor (the best song on the album) and no-good, dirty whores in Farewell To A Slut.  My score: B

4. Heathen – Breaking The Silence

Another Bay Area thrash debut to add to this list.  Though Heathen weren’t the best known band from the region, they were responsible for one of the best albums from the scene.  Breaking The Silence was Heathen’s ’87 debut (Combat Records).  Crisp playing, quality production, and memorable hooks were delivered with both power and finesse by this talented five-piece.

Breaking The Silence opens with its best three tracks right in a row — Death By Hanging , Goblins Blade, and Open The Grave.  Side two takes a slight downturn in quality, though the cover of Set Me Free (by Sweet) is another standout track.

Unfortunately, Heathen failed to deliver a timely follow-up to this solid debut.  Their inability to maintain a stable line-up as well as money woes kept them in purgatory until 1991, when their belated sophomore effort finally arrived.  Those were some prime thrash years that Heathen missed out on.  Perhaps Heathen would have built a bigger legacy if they had been able to hold it together and release more material.  My score: B+

3. Overkill – Taking Over

With the momentum of a wrecking ball in full swing, Overkill annihilated posers with their second LP Taking Over.  Overkill were a remarkably consistent band.  They could always be counted on to shove quality metal up your ass sideways.  Taking Over ain’t no different.  I consider two cuts on Taking Over to be excellent — Deny The Cross and Wrecking Crew.  Both hit like a freight train as they impact your pathetic skull.  Overkill always had a way of injecting their music with plenty of snot-nosed, punkish ‘tude.  They commanded respect!  It’s criminal that Overkill didn’t achieve the commercial success that they deserved.  My score: B+

 2. Accu§er – The Conviction

The Conviction (Atom H Records) was the debut album from the German band Accu§er.  Though not a very well-known act, Accu§er have been around for quite some time — having released nine more full-length albums and a couple of EPs since this debut offering.

I am really surprised I like this album.  The Conviction possesses three traits that usually turn me off from a thrash album — harsh vocals, minimal melody, and a few really long songs.  But for me, The Conviction is the exception to the rule.  What makes this so, in my opinion, is the preponderance of sharp, biting riffs executed to perfection at (mostly) high speeds by Frank Thoms.  The dry mix also helps matters.  The fidelity is such that you can pick out each instrument and zero in on what each player is doing.  The vocals of Eberhard Weyel are grim but clear.  You can understand the lyrics even though he discharges his vocals through curt, ornery barks.  Though not very melodic, Weyel does each song justice through good timing and subtle inflections.  At the end of the day, The Conviction will leave you with bloodshot eyes, a sore neck, and a kicked ass!  My score: B+

1. Anthrax – Among The Living

For my money, Among The Living is the best Anthrax album of ’em all!  Coming off the successful Spreading The Disease LP of 1985, Anthrax cemented their status as heavyweights in the world of thrash with this 1987 classic.  Anthrax were easy to like (IMO) because they were not afraid to show their sense of humor or reveal their inner-geek.  Lyrics on Among The Living take their themes from comics (I Am The Law), as well as Stephen King fiction (Among The Living and A Skeleton In The Closet).  Other interesting topics include the drug-fueled downward spiral of John Belushi’s last days, and the plight of the Native Americans (a matter also tackled by Iron Maiden, Europe, and others).  Anthrax’s lyrical subject matter wasn’t the only thing that made them stand out.  They also had one of the only legit “singers” in thrash at the time (Joey Belladonna), as well as one of the best drummers in the biz (Charlie Benante).  All of it was held together by guitarist and brain-trust, Scott Ian.  Favorites include Among The Living, Caught In A Mosh, and Indians.  My score: A+