Saturday, May 26, 2007

RAGE: (86) Reign of Fear (Noise)

Although vocalist/bassist Peter "Peavey" Wagner and his crew had already waxed both an album and EP the year before (when they were still known as Avenger), 1986's Reign of Fear represented their proper debut with the Rage name. In fact, even at such an early stage, the German outfit's sparsely melodic, high-precision take on speed metal is already fully intact, and it's interesting to note that, for all their attempts to improve and refine this formula throughout their career, it's arguable that -- with the exception of 1988's career-best Perfect Man -- they hardly ever topped this release. Some bands are simply not meant to evolve, and the proof is certainly in the pudding here given the clear superiority of no-fuss thrashers like "Scared to Death," "Deceiver," and "Echoes of Evil" over their more elaborate but ultimately less satisfying counterparts, which include the plodding trad metal workout "Chaste Flesh" and the excessively belabored, nine-minute misfire that is "The Scaffold." Besides exposing Wagner's still limited range as a songwriter, these ill-advised asides also place too much emphasis on his hit-and-miss abilities to carry a proper tune, as opposed to his perfectly adequate work when simply shouting his way through. And as would become a strange habit, Rage inauspiciously sneak what is possibly the album's best track, the fan-favorite "Suicide," into the album's second half. Such questionable decisions would indeed plague Rage's entire career, which was given to more abrupt creative ups and downs than most any heavy metal band and resulted in their appeal becoming both very selective and divisive thereafter. But for now, Reign of Fear qualifies as a worthy midlevel entry into the era's strong sampling of Teutonic thrash. [Noise/Sanctuary remastered, repackaged, and reissued Reign of Fear in 2002, adding five live and unreleased bonus cuts to boot.] Ed Rivadavia, All Music Guide

1. Scared to Death
2. Deceiver
3. Reign of Fear
4. Hand of Glory
5. Raw Energy
6. Echoes of Evil
7. Chaste Flesh
8. Suicide
9. Machinery
10. The Scaffold
11. Suicide (Live)
12. Refuge (Live)
13. Baby, I'm Your Nightmare (Live)
14. Light into the Darkness (Live)
15. Invisible Horizons

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RAGE: (88) Perfect Man (Noise)

German metalheads Rage had decided to disband after their disappointing second album, Execution Guaranteed; but it took band prime mover Peter "Peavey" Wagner less than a year to have second thoughts, so he proceeded to rebuild from the ground up. First by penning a new batch of quality songs, then by bringing in new musicians in guitarist Manni Schmidt and drummer Chris Efthimiades so as to reconfigure Rage from a quartet into a trio, making them "stronger, faster, better than they were before," as the saying goes. Sure enough, the resulting LP, 1988's exemplary Perfect Man, became the most successful and enduring of their career. With undeniable winners like "Wasteland," "Don't Fear the Winter," and the title track fueling its charge down the heavy metal autobahn, Perfect Man boasted a perfect combination of razor-sharp brutality and crisp production values. Even when they ease off the velocity meter, classic metal-inspired tunes such as "In the Darkest Hour" and "Sinister Thinking" exude a leaner, meaner front of attack, neatly avoiding the pitfalls of needless synthesizers and overbaked songwriting that together had crushed the life out of Execution Guaranteed. What's more, by weighing in at a hefty 14 tracks, Perfect Man is quite the model of productivity and value for money in the pre-CD age -- even if its high compositional standards take a noticeable dip toward the second half. So what's the final verdict? Well, in a career that by all accounts was seriously devoid of unquestionable highlights, Perfect Man shines as Rage's greatest achievement. [Noise/Sanctuary remastered, repackaged, and reissued Perfect Man in 2002, adding five live and unreleased bonus cuts to boot.] Ed Rivadavia, All Music

1. Wasteland
2. In the Darkest Hour
3. Animal Instinct
4. Perfect Man
5. Sinister Thinking
6. Supersonic Hydromatic
7. Don't Fear the Winter
8. Death in the Afternoon
9. A Pilgrim's Path
10. Time and Peace
11. Round Tip
12. Between the Lines
13. Symbols of Our Fear
14. Neurotic
15. Shame on You
16. Don't Fear the Winter
17. Certain Days
18. Last Goodbye
19. Not Forever

D-load album File 1 :-)
D-load album File 2 :-)
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RAGE: (89) Secrets in a Weird World (Noise)

Energized by the surprising popularity of Perfect Man, Rage sought to capitalize on their good streak, with 1989's Secrets in a Weird World. And to their credit, the German trio remained spot on from a stylistic standpoint, rehashing the melodic thrash formula that seemed to best suit their talents. Unfortunately, vocalist/bassist Peter "Peavey" Wagner neglected to bring any decent songs with him. Maybe his creative juices had been sapped by the sheer volume of material committed to this album's heralded predecessor, but whatever the reason, semimemorable moments like the great riff behind "Light Into the Darkness" or forceful thrashers "Time Waits for No One" and "Invisible Horizons" are few and far between here. Instead, the listener is castigated by overwhelmingly mediocre fare such as "Make My Day," "The Inner Search," and "Talk to Grandpa" (excuse me?). Never mind the nine-minute whatchamacallit that is "Without a Trace" -- not exactly an epic landmark in German metal history, and let's just leave it at that. So once again, it was back to the drawing board for Rage, who modestly began their slow crawl back to respectability with the following year's Reflections of a Shadow. [Noise/Sanctuary remastered, repackaged, and reissued Secrets in a Weird World in 2002, adding five bonus cuts, including live tracks.]... by Ed Rivadavia, All Music

1. Opus 32 Nr. 3 (Intro)
2. Time Waits for Noone
3. Make My Day
4. The Inner Search
5. Invisible Horizons
6. She
7. Light into the Darkness
8. Talk to Grandpa
9. Distant Voices
10. Without a Trace
11. Lost Side of the World
12. Law and Order
13. Mirror
14. Invisible Horizons (Live)
15. (Those Who Got) Nothing to Lose
16. Shame on You

D-load album file-1 :-)
D-load album file-2 :-)
(( pw = heavymetalbreed ))

Friday, May 25, 2007

ARMORED SAINT: (85) Delirious Nomad (Chrysalis)

Having launched their career in promising fashion with the very well-received March of the Saint album, Los Angeles-based Armored Saint now seemed poised to take things to the next level and become one of the '80s biggest metal stars. Further buoyed by widespread critical approval, the band and their label, Chrysalis, were especially careful when planning to record 1985's all-important follow-up, Delirious Nomad. Enlisting the services of top metal producer Max Norman was supposed to be the final piece of the puzzle, and all involved were confident that this would be the band's "career" album. But while Delirious Nomad was certainly a more refined, more confident effort than its predecessor, it also felt somewhat less vital and spontaneous -- contrived even. Standouts like "Over the Edge," "For the Sake of Heaviness," and "In the Hole" are meticulous studio creations which proved the band's songwriting talents were indeed improving from strength to strength. But while the band was convinced that they'd successfully captured their "live sound" for the first time, many old-school fans flatly disagreed. For these, Delirious Nomad was missing that certain elemental spark of excitement which had made their debut so memorable, and the off-the-cuff looseness of rehashed older material like "You're Never Alone" and "Released" arguably proves their point. Still, the stunning beauty of the epic "Aftermath," with its glorious smorgasbord of harmony guitars, represents a career peak by any standard. Finally, for a band which always took itself perhaps a bit too seriously, Armored Saint was approaching maximum paranoia here, with songs like "Nervous Man" and the aforementioned "Over the Edge," both brimming with high-strung tension. Apparently, so was the band, who parted with founding guitarist Phil Sandoval as soon as the album was completed... by Ed Rivadavia, All Music

1. Long before I die
2. Nervous Man
3. Over the Edge
4. The Laugh
5. Conqueror
6. For the Sake of Heaviness
7. Aftermath
8. In the Hole
9. You're Never Alone
10. Released

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ARMORED SAINT: (84) March of the Saint (Chrysalis)

Throughout the '80s, you'd be hard-pressed to find an American heavy metal band which sounded more British than Armored Saint. While most of their contemporaries seemed preoccupied with the fast-growing thrash metal movement, here was a group of committed purists who were simply updating traditional metal at its best for the '80s generation. By the same token, the band was never able to benefit from the perks of being associated with a "scene" per se, which might explain their relative obscurity despite consistently issuing such quality material. But, for the record, with the exception of 1990's also stellar Symbol of Salvation, never was the group's bombastic style better represented than on their 1984 debut March of the Saint, which is so straightforward a metal record, it's almost hard to describe. An orchestrated guitar theme introduces the memorable title track, and further highlights such as "Can U Deliver," "Madhouse," and the astonishing "Take a Turn" are as commendable for their maturity and power as they are for their sense of economy. The dual-guitar team of Dave Prichard and Phil Sandoval is simply incredible considering their young ages (too bad they would soon fall out), dueling it out for solo after amazing solo throughout the disk. The album's second half isn't quite as strong as the first, but March of the Saint still qualifies as an overlooked classic of American metal... by Ed Rivadavia, All Music

1. march of the saint
2. can u deliver
3. mad house
4. take a turn
5. seducer
6. mutiny on the world
7. glory hunter
8. stricken by fate
9. envy
10. false alarm

D-load album :-)
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LIMBONIC ART: (02) The Ultimate Death Worship

The demise of Emperor left a chasm in the black metal scene, so it's no surprise that Nocturnal Art -- the label started by Emperor guitarist Samoth -- signees Limbonic Art would take a step towards filling the hole. And while Emperor is indeed a touchstone of Limbo's sound, fifth album The Ultimate Death Worship offers enough convincingly strange, avant-garde horror to stand on its own crooked, cloven-hoofed legs. The relatively lo-fi, but still clear, production lends the songs a grainy nastiness that's integral to the overall feel of the record, which strongly represents the ugly, pockmarked side of symphonic black metal. Weirdly effective spoken word interludes and soundtrack-ish elements mesh with blast beats and a horde-of-locusts guitar sound/riffing approach on proudly wretched cuts "Suicide Commando" and "Interstellar Overdrive"; the ten-minute "Towards the Oblivion of Dreams" sports an appropriately labyrinthine arrangement complete with rumbling tympani and grandiose keyboard exclamations, and the redundantly redundant "Funeral of Death" (snicker) closes the album with a chorus of clashing gongs and piercing feedback. Also notable is the tortured snarl of vocalist Daemon, who howls with enough natural, throaty conviction to make one believe he was stretched taut on the rack while recording, therefore lending the record an honestly chilling quality, where most other acts sound sterile and predictable. The only complaint is the keyboards, which often slice through the mix, threatening to blot out the guitars and occasionally offering the goofy pomposity of bad neo-prog rock -- but it's forgivable within the relatively adventurous context of the record. Non-fans of the genre will find more fuel for their fire, Limbo drenching themselves in their egocentric, Norwegian heritage, but black metal enthusiasts will no doubt enjoy a long soak in the blood-filled tub that is The Ultimate Death Worship.... by John Serba, All Music

1. The Ultimate Death Worship
2. Suicide Commando
3. Purgatorial Agony
4. Towards the Oblivion of Dreams
5. Last Rite for the Silent Darkstar
6. Interstellar Overdrive
7. From the Shades of Hatred
8. Funeral of Death

D-laod album :-)
BITRATE: 192kbps

PRETTY MAIDS: (99) Anything Worth Doing is Worth Overdoing (Import)

1. snakes in eden
2. destinatino paradise
3. hell on high heels
4. when the angels cry
5. back off
6. only in america
7. with these eyes
8. anything worth doing is worth overdoing
9. scent of my prey
10. face me
11. love shine

D-load album :-)
(( ))

PRETTY MAIDS: (00) Carpe Diem (Massacre)

1. violent tribe
2. carpe diem
3. tortured spirit
4. wouldn't miss you
5. clay
6. poisoned pleasures
7. until it dies
8. the unwritten pages
9. for once in your life
10. they're all alike
11. time awaits for no one
12. invisible chains

D-load album :-)
(( ))

PRETTY MAIDS: (99) First Cuts...and then Some (Massacre)

1. city light
2. fantasy
3. shelly the maid
4. bad boys
5. children of tomorrow
6. nowhere to run
7. in santa's claws
8. a merry jingle
9. eye of the storm
10. red hot and heavy
11. rock the house
12. far far away

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(( ))

PRETTY MAIDS: (87) Future World (Epic)

After achieving regional success with their first three records, Danish rockers Pretty Maids released Future World. Fueled by constant airplay on MTV's Headbanger's Ball and fresh off of a Scandinavian tour with Black Sabbath, the band finally had a record that connected with American audiences. The blistering title track boasts a killer guitar riff, a driving rhythm section, and lead vocalist Ronnie Atkins' full-throated Klaus Meine-like snarl. Keyboardist Alan Owen punctuates Ken Hammer's licks with a refreshing urgency that's the direct antithesis of wimpy contemporaries like White Lion and Night Ranger. Even requisite '80s power ballads -- a painful genre unto itself -- like "Love Games" and "Eye of the Storm" sound less contrived than anything that Europe ever recorded. That's not to say that Future World doesn't fall into the same traps that have ensnared past metal bands taking a detour into pop. "We Came to Rock," a diluted facsimile of Ronnie James Dio's superb "We Rock," shrivels beneath inane lyrics like "Can you feel the fever burnin'" -- with a five-second delay on the word "burnin'" -- and showcases the group's weakness for lame rock posturing... by James Christopher Monger, All Music

1. future world
2. loud 'n' proud
3. love games
4. yellow rain
5. rodeo
6. we came to rock
7. needless in the dark
8. eye of the storm
9. long way to go

D-load album :-)
(( ))

PRETTY MAIDS: (90) Jump the Gun (Sony)

1. lethal heroes
2. don't settle for less
3. rock the house
4. savage heart
5. young blood
6. headlines
7. jump the gun
8. partners in crime
9. attention
10. hang tough
11. over and out
12. dream on

D-load album :-)
(( ))

T.REX: (1971) Electric Warrior (Reprise)

The album that essentially kick-started the U.K. glam rock craze, Electric Warrior completes T. Rex's transformation from hippie folk-rockers into flamboyant avatars of trashy rock & roll. There are a few vestiges of those early days remaining in the acoustic-driven ballads, but Electric Warrior spends most of its time in a swinging, hip-shaking groove powered by Marc Bolan's warm electric guitar. The music recalls not just the catchy simplicity of early rock & roll, but also the implicit sexuality -- except that here, Bolan gleefully hauls it to the surface, singing out loud what was once only communicated through the shimmying beat. He takes obvious delight in turning teenage bubblegum rock into campy sleaze, not to mention filling it with pseudo-psychedelic hippie poetry. In fact, Bolan sounds just as obsessed with the heavens as he does with sex, whether he's singing about spiritual mysticism or begging a flying saucer to take him away. It's all done with the same theatrical flair, but Tony Visconti's spacious, echoing production makes it surprisingly convincing. Still, the real reason Electric Warrior stands the test of time so well -- despite its intended disposability -- is that it revels so freely in its own absurdity and willful lack of substance. Not taking himself at all seriously, Bolan is free to pursue whatever silly wordplay, cosmic fantasies, or non sequitur imagery he feels like; his abandonment of any pretense to art becomes, ironically, a statement in itself. Bolan's lack of pomposity, back-to-basics songwriting, and elaborate theatrics went on to influence everything from hard rock to punk to new wave. But in the end, it's that sense of playfulness, combined with a raft of irresistible hooks, that keeps Electric Warrior such an infectious, invigorating listen today... by Steve Huey, All Music

1. Mambo Sun
2. Cosmic Dancer
3. Jeepster
4. Monolith
5. Lean Woman Blues
6. Bang a Gong (Get It On)
7. Planet Queen
8. Girl
9. The Motivator
10. Life's a Gas
11. Rip Off

D-load album :-)
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T.REX: (72) The Slider (Mercury)

Buoyed by two U.K. number one singles in "Telegram Sam" and "Metal Guru," The Slider became T. Rex's most popular record on both sides of the Atlantic, despite the fact that it produced no hits in the U.S. The Slider essentially replicates all the virtues of Electric Warrior, crammed with effortless hooks and trashy fun. All of Bolan's signatures are here -- mystical folk-tinged ballads, overt sexual come-ons crooned over sleazy, bopping boogies, loopy nonsense poetry, and a mastery of the three-minute pop song form. The main difference is that the trippy mix of Electric Warrior is replaced by a fuller, more immediate-sounding production. Bolan's guitar has a harder bite, the backing choruses are more up-front, and the arrangements are thicker-sounding, even introducing a string section on some cuts (both ballads and rockers). Even with the beefier production, T. Rex still doesn't sound nearly as heavy as many of the bands it influenced (and even a few of its glam contemporaries), but that's partly intentional -- Bolan's love of a good groove takes precedence over fast tempos or high-volume crunch. Lyrically, Bolan's flair for the sublimely ridiculous is fully intact, but he has way too much style for The Slider to sound truly stupid, especially given the playful, knowing wink in his delivery. It's nearly impossible not to get caught up in the irresistible rush of melodies and cheery good times. Even if it treads largely the same ground as Electric Warrior, The Slider is flawlessly executed, and every bit the classic that its predecessor is... by Steve Huey, All Music

1. Metal Guru
2. Mystic Lady
3. Rock On
4. The Slider
5. Baby Boomerang
6. Spaceball Ricochet
7. Buick Machine
8. Telegram Sam
9. Rabbit Fighter
10. Baby Strange
11. Ballrooms of Mars
12. Chariot Choogle
13. Main Man
14. Cadillac
15. Thunderwing
16. Lady

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T.REX: (73) Tanx (Get Back)

By 1973's Tanx, the T. Rex hit-making machine was beginning to show some wear and tear, but Marc Bolan still had more than a few winners up his sleeve. It was also admirable that Bolan was attempting to broaden the T. Rex sound -- soulful backup singers and horns are heard throughout, a full two years before David Bowie used the same formula for his mega-seller Young Americans. However, Tanx did not contain any instantly recognizable hits, as their past couple of releases had, and the performances were not quite as vibrant, due to non-stop touring and drug use. Despite an era of transition looming on the horizon for the band, tracks such as "Rapids," "Highway Knees," "The Street & Babe Shadow," and "Born to Boogie" contain the expected classic T. Rex sound. The leadoff track, "Tenement Lady," is an interesting Beatlesque epic, while "Shock Rock" criticizes the early-'70s glam scene, which T. Rex played a prominent role in creating. Other highlights include one of Bolan's most gorgeous and heartfelt ballads, "Broken Hearted Blues," as well as the brief, explosive rocker "Country Honey." Tanx marked the close of what many consider T. Rex's golden era; unfortunately, the bandmembers would drift off one by one soon after, until Bolan was the only one remaining by the mid-'70s... by Greg Prato, All Music

1. Tenement Lady
2. Rapids
3. Mister Mister
4. Broken Hearted Blues
5. Shock Rock
6. Country Honey
7. Electric Slim and the Factory Hen
8. Mad Donna
9. Born to Boogie
10. Life is Strange
11. Street and Babe Shadow
12. Highway Knees
13. Left Hand Luke
14. Children of the Revolution
15. Jitterbug Love
16. Sunken Rage
17. Solid Gold Easy Action
18. Xmas Message
19. 20th Century Boy
20. Free Angel

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T.REX: (70) T.Rex (Castle)

The fifth Tyrannosaurus Rex album was also the first T. Rex set, as Marc Bolan abbreviated the band name at the same time as enlarging everything else -- most notably the group's sound. Transitional through and through, T. Rex is the obvious successor to Beard of Stars, but it's clearly looking toward Electric Warrior, a point proven when the band hit the tour and TV circuits early in 1971. But "Jewel," "Sun Eye," "Beltane Walk," and "One Inch Rock" are all bona fide Bolan classics and, if T. Rex itself was to be overshadowed by the simultaneous success of the "Ride a White Swan" single (pointedly not included on the album), then that only allowed Bolan more time in which to plan his next move. In many ways, this is the quintessential Bolan album, the last to be made before his entire life was swallowed up by superstardom, but the first to begin imagining what that could be like. Certainly he has an awful lot of fun revisiting one of his earliest ever compositions, "The Wizard," while his ambition is writ large throughout the opening and closing snippets of "The Children of Rarn," excerpts from a full-fledged concept album that he was then contemplating. You also get "Is It Love?," one of his most contagiously underrated compositions ever, but really, there's not a sour moment to be found all album long. And it might just be the last Bolan album that you could say that Dave Thompson, All Music

1. The Children of Rarn
2. Jewel
3. The Visit
4. Childe
5. The Time of Love is Now
6. Diamond Meadows
7. Root of Star
8. Beltane Walk
9. Is It Love?
10. One Inch Rock
11. Summer Deep
12. Seagull Woman
13. Sun Eye
14. The Wizard
15. The Children of Rarn

D-load album :-)
(( heavymetalbreed ))

Friday, May 18, 2007

LIVING DEATH: (1984) Vengeance of Hell

Living Death punched their way into a record deal with the release of their 3 song demo: "Living Death", "Nightlight", and "My Victim".
When Vengeance of Hell was released it did quite well despite its poor production, most notibly the terribly produced drum sound. It was later remixed with drummer Andreas Oberhoff; I'm not sure if this happened in the same year or the next. This album, with its moody atmosphere, rolls along at a moderate to fast speed with thick -sounding guitar work and classic LD lead. The song styles vary, unlike later Living Death albums such as Metal Revolution, Back to the Weapons and Protected From Reality, all which have a "tighter" style. Thorsten's vocals have yet to develop to their classic style, on this album sounding fairly clear and somewhat monotonous. The track "Hellpike" with remastered drums appears on the 1985 Speed Kills II compliation.
*This album was reissued by the Mausolum label in 1995 as a "reissue classic" on CD. I believe it is now (again) out of print. Though it was reissured the drums were not remixed and therefore the CD still possesses the weak sounding drums.

1. You and Me (4:07)
2. Living Death (3:44)
3. Nightlight (5:45)
4. My Victim (4:13)
5. Labyrinth (3:18)
6. Heavy Metal Hurricane (3:43)
7. Hell Pike (4:03)
8. Riding a Virgin (4:01)
9. Vengeance of Hell (5:13)
10. Watch Out (Bonus Track)

D-load album :-)

LIVING DEATH: (1986) Back to the Weapons (ep)

This album is Living Death's second EP release and precursor to "Protected From Reality". Like the cover pictured here, the original vinyl release had an ugly white censor sticker placed in the spot where the one bitch is holding a knife to the others throat. This 4 song EP is faster, prehaps their fastest, and more agressive than its former "Metal Revolution". It has somewhat a similar sound (yet less dark) as "Protected From Reality", and Thorsten's vocals seem to be a little bit more higher pitched. Living Death were already performing live the track "The Way (Your Soul Must Go)" during support of their Metal Revolution album. This album kicks, and I feel is their third best release.
Outstanding tracks: everything, though I feel "The Way (Your Soul Must Go)" is the best song.

1. Nuclear Greetings (4:38)
2. Bloody Dance(3:29)
3. The Way (Your Soul Must Go) (4:34)
4. Child of Illusion (3:17)

D-load album :-)

LIVING DEATH: (1987) Protected from Reality

This Living Death album, and some may disagree with me, is their heaviest and most highly rated. It is definately their darkest; most songs about some sort of death and dying. All songs are quite fast except "The Galley". There are some great G-riffs here, and Thorsten's vocals are at their extream, yet tend to be buried slightly more in the background than with other LD releases. This album is German thrash at its best - fast, noisy, chaotic and I feel was the climax of Living Death's career.
* The tape and Cd version of the instrumental track "Wood of Necrophiliac" is cut off at the end unlike the vinyl which just fades off 5 sec. earlier. In compliation to this album, Living Death released a 12" picture disk called "Eisbein". I have never, myself, seen this EP or know what other tracks are included as well. (I've been told that the word 'eisbein' is German for pork hocks - just in case anybody was wondering). Some albums I've noticed list the track "Horrible Solution" as "Horrible Infanticide". I'm not sure which is the correct or if the song was later renamed on more current releases.

1. Horrible Solution (3:39)
2. Manila Terror (3:49)
3. Natures Death (4:39)
4. Wood of Necrophiliac (5:18)
5. Vengeance (4:07)
6. Intruder (4:50)
7. The Galley (5:34)
8. War of Independence (3:31)
9. Eisbein (mit sauerkraut) (2:51)

D-load album :-)

LIVING DEATH: (1988) Worlds Neuroses

Worlds Neuroses is the only album where Living Death appears to have done something radically different. A commercial move to capture a larger audience?, prehaps. Some fans I've spoke to feel it is their worst album. The music (on average) tends to be slower than previous stuff, Thorsten's vocal style is very different. His classic skreechy-screaming voice is quite changed. When I first got this album I had initially thought this was a new singer. The only time he actually sounds like his old style is in the chorus for Schizophrenia. Despite the above changes, this album is actually quite good and is their best produced. Sound quality kicks compared to their previous stuff.
The album has a cleaner, less dark sound than other releases and the song styles vary considerably throughout the album; from a heavy and techno-thrashy "Worlds Neuroses" to slow and mellow "Down", psychedelic-sounding "Schizophrenia" to a more rock-style "Tuesday". Nonetheless the music definately shows the bands talents. Definately not worth over-looking (or listening).

1. Last Birthday (3:50)
2. Die Young (3:57)
3. Schizophrenia (4:10)
4. On the 17th Floor (3:39)
5. Down (4:30)
6. Worlds Neuroses (2:29)
7. Bastard (at the Busstop) (2:43)
8. The Testament of Mr. George (5:02)
9. Sacred Chao (3:58)
10. Tuesday (6:51)

D-load album :-)

LIVING DEATH: (1991) Killing in Action

Killing in Action ends Living Death's career with a bang. Here we see the departure of Thorsten Bergmann and Atomic Steif (both, I believe, who went on to form Sacred Chao) and Frank Fricke, replaced with Gerald Thelen (vocals) and Frank Ullrich (drums). This album is similar to Protected From Reality yet less dark, more aggressive and somewhat slower. Some fans feel it is their most powerful release.
Thelen, who I was initially skeptical of, is a perfect replacement for Toto, with a very similar vocal sound (though he doesn't have the vocal lung power Thorsten has). So similar, in fact, that on a couple songs you can hardly tell if it is Gerald or Toto's vocals. On this album Living Death return to their classic thrash/speed music style, one that changed to radically on Worlds Neuroses.
This release has two instrumental tracks. Polymorphic (which is faster and more aggressive than LD's classic Wood of Necrophiliac instrumental), and a rather strange track - World Weariness.

1. Killing in Action (4:00)
2. Hang 'em High (3:24)
3. Dire Weak Up (5:00)
4. Hearteater (3:12)
5. Polymorphic (3:10)
6. World Weariness (2:00)
7. Die For (For What We Lie For) (4:05)
8. Stand Up (3:45)
9. Tribut of Gutter (3:50)
10. Daily Life (4:44)

D-load album :-)

Tuesday, May 15, 2007

HELSTAR: (1984) Burning Star

Helstar was one of America's better kept heavy metal secrets throughout the 1980s, composing a string of consummate LPs that earned the band many critical accolades, but somehow failed to sell in large quantities. Most likely, the band's constant dealings with unreliable independent labels, combined with incessant personnel turnover, were the chief deterrents. Formed in Houston, TX, in 1982, by vocalist James Rivera and guitarist Larry Barragan (the only guaranteed mainstays over the years), Helstar was soon making waves in underground tape-trading networks with their very first demo and, by 1984, released their debut album, Burning Star, for Combat Records. Produced by Rods drummer Carl Canedy (also responsible for Anthrax's first platter), the disc contained high-end classic metal and featured second guitarist Tom Rogers, bassist Paul Medina, and drummer Hector Pavon -- all of whom would be jettisoned by the time of 1986's Remnants of War follow-up and replaced by Robert Trevino, Jerry Abarca, and Rene Luna, respectively. But that album, too, failed to bolster the band's popularity, and feeling increasingly out of place amid Combat's thrash-dominated roster, Helstar relocated to Los Angeles and signed with Metal Blade for their next two efforts, 1988's A Distant Thunder and 1989's Nosferatu. Both of these featured new guitarist Andre Corbin and drummer Frank Ferreira and saw Helstar gathering more fans while touring both America and Europe with the likes of Tankard and Yngwie Malmsteen. This was not enough to keep their motivational fires burning, though, and a subsequent return to Houston soon led to the band's demise -- since only interrupted by intermittent reunions like 1995's distinctly Barragan-less Multiples of Black and a 1989 live recording released in the year 2000 as T'Was the Night of a Helish Xmas... by Eduardo Rivadavia, All Music

1. Burning Star
2. Toward of Unknown
3. Witchy's Eye
4. Run with The Pack
5. Leather and Lust
6. Possession
7. Shadows Of Iga
8. Dracula's Castle

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HELSTAR: (1986) Remnants of War (Noise)

1. Unidos por Tristeza
2. Remnants of War
3. Conquest
4. Evil Reign
5. Destroyer
6. Suicidal NIghtmare
7. Dark Queen
8. Face the Wicked One
9. Angel of Death

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HELSTAR: (1988) Distant Thunder (Roadrunner)

1. The King is Dead
2. Bitter End
3. Abandon Ship
4. Tyrannicide
5. Scorcher
6. Genius of Insanity
7. The Whore of Babylon
8. Winds of War
9. He's a Woman, She's a Man

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HELSTAR: (1989) Nosferatu (Metal Blade)

1. Raphsody in Black
2. Baptized in Blood
3. To Sleep, Per Chance to Scream
4. Harker's Tale (Mass Of Death)
5. Perserverance and Desperation
6. The Curse Has Passed Away
7. Benediction
8. Harsh Reality
9. Swirling Madness
10. Von Am Lebem Desto Strum
11. Aieliaria and Everonn

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HELSTAR: (1989) T'Was the Niight of a Helish X-mas (Metal Blade)

1. Swirling Madness
2. The King is Dead
3. Evil Reign
4. Abandon Ship
5. Baptized in Blood
6. To Sleep, Per Chance to Scream
7. Harker's Tale
8. The Curse Has Passed Away
9. Scorcher
10. Angel of Death

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HELTSAR : (1995) Multiples of Black (Massacre)

The last and most obscure Helstar cd. It's also one of my favorites. 'Multiples of Black' is speed metal/thrash with loads of cool hooks and those big, classic metal vocals of America's answer to Ronnie James Dio. The songwriting is catchy and aggressive, the way good metal should be. Their cover of Judas Priest's "Beyond the Realms of Death" is spectacular, although doesn't stray far from the original. The production on this disc is very clean but also very thin, which is unfortunate due to the fact that most of this material is some of the best the band had put out. At first, I didn't like the mix at all, but the more I listened, the more it grew on me. Anyhow, despite being released under the Helstar banner, the band at this point was actually James' new band Vigalante, with only himself and longtime bassist Jerry Abarca remaining from the original Helstar. Apparently original Helstar guitarist, founder and main song writer Larry Barragan was discouraged by the lack of response to the band's 1990 demo tapes, leaving James and Jerry to forge ahead by themselves. Only two songs from the original Vigalante demos made it onto this album ("Black Silhouette Skies" & "Lost to Be Found, Found to Be Lost"), although both were re-recorded.. Unfortunately for the band, grunge ruled the day in 1995 and this disc sold very poorly, even in Germany where the band had gained a large following so Helstar disbanded. Finding this disc was a bit of a chore as it was only released in Europe, as far as I to reviewer

1. "No Second Chance (In the Angry City)" (3:11)
2. "Will I Catch It Again" (3:04)
3. "Lost to Be Found, Found to Be Lost" (4:20)
4. "When We Only Bleed" (3:09)
5. "Reality" (1:39)
6. "Good Day to Die" (3:37)
7. "Beyond the Realms of Death" (5:40)
8. "Save Time" (4:36)
9. "Black Silhouette Skies" (4:34)
10. "The Last Serenade" (1:09)

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JAG PANZER: (2004) Chain of Command (C. Media)

1. Prelude/Chain of Command
2. Shadow Thief
3. She Waits
4. Ride Through the Storm
5. In a Gadda da Vida
6. Never Surrender
7. Burning Heart
8. Sworn to Silence
10. Gavotte Io
11. When the Walls Come Down

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JAG PANZER: (2004) Casting the Stones (C. Media)

Few bands have had as successful a second chance in the music business as power metallers Jag Panzer (many had no such luck with their first and only chance, come to think of it). Having originally thrown in the towel in 1984, the Denver natives were quietly resurrected an entire decade later, and, with 2004's Casting the Stones, they amazingly arrive at their seventh studio effort since -- quite a heart-warming story, dontcha think? Toss in the fact that, thanks to their consistent and quality output, Jag Panzer are as close to power metal royalty as American bands get (along with Iced Earth), and the precedent for continued excellence is firmly established -- and thankfully delivered -- by almost all of this album. Standout songs like "Feast or Famine," "The Harkening," and "Tempest" instantly and effortlessly rekindle the group's ever-glowing heavy metal flame with the usual combination of dense riffs, tight harmonies, dynamic drums, and frontman Harry "The Tyrant" Conklin's patented air-raid siren voice. At times reminiscent of Iron Maiden's Bruce Dickinson, at others Black Sabbath's Tony Martin, his muscular delivery never has any trouble rising above the melee. And the very nice gesture of inviting short-tenured singer Bob Parduba (who briefly replaced Conklin for 1987's until recently unreleased Chain of Command LP) to provide backing vocals on first single "The Mission (1941)," and also on the excellent "Starlight's Fury," is further evidence of the familial atmosphere within Jag Panzer. Elsewhere, "Vigilant" proffers the set's first of many blinding showcases for fleet-fingered guitarist Chris Broderick, "Starlight's Fury" adds a little piano playing to the mix, and, although the promising "Achilles" is over disappointingly fast, "Precipice" makes up for it with a truly epic performance. In short, Casting the Stones doesn't pull off any miracles or anything, but makes true Jag Panzer's promise of dependable consistency... by Ed Rivadavia, All Music Guide

1. Feast of Famine
2. The Mission (1943)
3. Vigilant
4. Achilles
5. Tempest
6. Legion Immortal
7. Battered and Bruised
8. Cold
9. Starlight's Fury
10. The Harkening
11. Precipice

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Wednesday, May 9, 2007

JAG PANZER: (1984) Ample Destruction (Metal Blade)

I believe it is no exaggeration for me to claim that this Album is easily one of the all time top 10 albums, when it comes to Heavy Metal.
It has stood the test of time flawlessly, since it was first released in 1984. And it should certainly be mentioned in the same breath as when Metal Fans talk about their all time favorite albums. Meaning that it deserves to be placed in terms of ranking with such masterpieces as "Master of Puppets", "The Number of The Beast", or "Reign in Blood". The only striking difference is that it never received its deserved attention, and thus was never as popular, as the mentioned classics that all Metal fans love. Far from being popular this album is still (as unbelievable as that may be) an underground classic, that most Metal fans have never even had the priviledge of having heard.
There isen't a single thing on this CD that should have in any way been done differently. From the crisp sounding, low budget recording, that is surprisingly clear, to the superb musicianship, simply every note on this album seems just perfect. The Songs are all amazingly catchy tunes, with extrodinary lead guitars, pumping bass lines, precise and powerful drumming, and above all a singer that is simply out of this world, with his enormous, at times, high pitched vocal assaults. You will not find a single song that could not be called at least good, when really all of them are excellent hymns. Actually what Jag Panzer offered here was nothing less then a timeless classic and masterpiece, of exactly how Heavy Metal should always have sounded. The songs are filled with monster riffs, that just gab the listener and don't let him go until the entire 40 minute album is finally over. Really, here we have hymns and anthems for a whole generation ! I won't go into single songs, because as already mentioned they are all excellent. If a comparison is to be made, then the influences of these blessed musicians are great traditional Heavy Metal bands, like Judas Priest, Iron Maiden and Black Sabbath.
So if you like Heavy Metal, do yourself a huge favor and pick this CD up whenever you get a chance, because believe me you will love it. There isen't a single person that liked Metal for whom I played this CD that upon hearing it didn't immediately think that it was very good to outstanding. Unfortunately, you won't find this CD everywhere, since it has really become a rarity ! Even back in the 80s it was consistenly hard to find (then as vinyl), but believe me the search is worth every penny that you might have to invest into this true timless Heavy Metal classic.... Reviewer: Metallian "stained89"

1. Licensed to Kill
2. Warfare
3. Symphony Of Terror
4. Harder Than Steel
5. Generally Hostile
6. The Watching
7. Unnamed Interlude
8. Reign Of the Tyrants
9. Cardiac Arrest
10. The Crucifix
11. Black Sunday (Bonus)
12. Eyes of the Night (Bonus)
** Covers: (Yes)
** Bitrate: (192kbps)

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JAG PANZER: (1995) Dissident Alliance (Pavement)

1. jeffrey-behind the gate
2. the clown
3. forsaken child
4. edge of blindness
5. eve of penance
6. last dying breath
7. psycho next door
8. spirit suicide
9. GMV 407
10. the church
11. whisper god
** Covers: (Yes)
** Bitrate: (VBR)

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JAG PANZER: (1997) The Fourth Judgement (Century Media)

Its a pity that Jag Panzer are unknown apart from a tiny minority. This is probably their best album, but they are all good. Along with Iced Earth, Jag Panzer would have to be the best band going around. They combine crunching metal riffs with some really emotional passages. To top it all off, its all very ambient and orchestral, and Conklins vocals are excellent. If you are new to Jag Panzer, this is a great album to start. It has the great twin guitar attack of Judas Priest, the "old style" metal approach of Iron Maiden, and modern technology and influences. I have been listening to Jag Panzer since they released this album a couple of years ago, and they haven't failed to impress me, live or in the studio.

1. black
2. call of the wild
3. despair
4. future shock
5. recompense
6. ready to strike
7. tyranny
8. shadow thief
9. sonnet of sorrow
10. judgement day
** Covers: (Yes)
** Bitrate: (320kbps)

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JAG PANZER: (1998) The Age Of Mastery (Century Media)

Black Sabbath's "Heaven & Hell" and Dio's "Holy Diver" are one of best true heavy metal albums ever written, right? "The Age of Mastery" will be a strong copmetitor to them. I would not say it is better, even though I almost wanted to. "The age of.." is a mixture of classic heavy metal and 90's power metal with some folk influence. They dont make much such a music anymore and it would be mistake to skip such a great masterpiece. It is a straightforward heavy metal for its truest sence! Do not be afraid of any cliches, it is fresh and strong. I love it!.... Reviewer: trasher (Estonia)

1. iron eagle
2. lustfull and free
3. twilight years
4. sworn to silence
5. false messiah
6. the age of mastery
7. viper
8. displacement
9. chain of command
10. take this pain away
11. burning heart
12. the moors
** Covers: (Yes)
** Bitrate: (320kbps)

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JAG PANZER: (2000) Thane To the Throne (Century Media)

I gave this a 5 star masterpiece of rating in terms of concept albums as a rating. Don't get me wrong: the music on this is right up there with, Age of Mastery and Mechanized Warfare. But, the way Panzer put this all together, throwing in the awesome pic of MacBeth as the story, made it almost able to see the whole album as one long track musically, while still making you follow along with the story of the Shakespearian madman, MacBeth.
If you haven't read the play, this will make you want to. Murder, greed, ambition overdone, ghosts, gothic-like scenes; it's all in the play, as well as in the lyrics on this CD. I think any Panzer fan will love this, and if you're even more lucky, you'll want to spend a few bucks on a paperback and read the play. I love bands that fuse any great classic literature or classical music into power metal. If a younger fan gets into it, it opens so many other doors. The music is haunting, powerful, and grand to any Panzer fan's ears. No question on this rating: ***** 5 STAR PANZER RATING FROM SCRAGGY'S TOMB OF POWER METAL! Cheers.... Reviewer:SpacegrassMan (Forest of Black Death)

1. thane of cawdor
2. king at a price
3. bloody crime
4. the premonitions
5. treachery's stain
6. spectres of the past
7. banquo's final rest
8. three voices of fate
9. hell to pay
10. the prophecies (fugue in D minor)
11. insanity's mind
12. requiem for lady macbeth
13. face of fear
14. fall of dunsianne
15. fate's triumph
16. the downward fall
17. tragedy of macbeth
** Covers: (Yes)
** Bitrate: (128kbps)

D-Load Album :-)
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Tuesday, May 8, 2007

SCARS: Nether Hell

This is the most brutal and agressive old scholl thrash metallers here in Brazil. This albums smokes from beginning to the end.. You can't miss this one...great band , great music...

1. Creatures That Come Alive in the Dark
2. Warfare
3. Nether Hell
4. Legions
5. Return to The Killing Ground
6. Hidden Roots of Evil
7. World Decay
8. Drugs Kill
9. Mentally Murdered
10. Ruined by Hatred
** Covers: (Yes)
** Bitrate: (192kbps)

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LIVING DEATH: (2002) Metal Revolution (Expanded)

The Thrash/Speed band from Velbert was totally undervalued in their active time. So it is astonishing, that they finally release their second rerelease. After the cult debut "Vengeance Of Hell", there is now the great second work "Metal Revolution" as fantastic rerelease. Due to the 5 Live songs as bonus, one can't complain something about it. Musically, this was a great cumulation to the debut "Vengeance Of Hell" in 1984, which was a little bit thin in its sound. LIVING DEATH were at the creative top of their career with "Metal Revolution"! All songs are a combination of traditional Heavy Metal and severe Speed/Thrash. Ok, it will be not hard enough for the Die Hard Thrash fans. But hey, we talk about one of the first bands, which celebrated this sound in Germany. Imagine a Thrash Metal version of ACCEPT and CIRITH UNGOL, because the vocals of Toto are the incarnation of moodiness. His shrill voice divided the fans in the 80s, too. Personally, I liked the band because of the originally vocals and the musically area is also on the top.
After all, the Kelch brothers had been the musically leaders of MEKONG DELTA! So, technically, there is nothing to complain about, eh? The songs itself are just classics, very plausible, diversified und always wrecking your neck. Songs like the dragging "Screaming For A Chamber" or the jaunty "Shadow Of A Dream" are midwhile in my alltime-fave-list. Actually, there are just hits on the record!
Of course, I know that their following record "Protected From Reality" (previously there had been a rare Mini) was great, too. It was vitally more extreme but also very technical. There was the influence of MEKONG DELTA much bigger! (Online September 14, 2002) >>>

1. Killing Machine
2. Grippin' A Heart
3. Rulers Must Come
4. Screaming From a Shambles
5. Intro
6. Shadow of a Dream
7. Panic & Hysteria
8. Road of Destiny
9. Deep In Hell
10. You and Me
11. Living Death
12. Bloody Dance
13. My Victim
14. Nightline
** Crazy Life Music
** Covers: (Yes)
** Bitrate: (192kbps)
** Tracks 10-11-12-13-14 recorded live (Bonus)

D-Load Album :-)
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Sunday, May 6, 2007

TANKARD: (1990) The Meaning of Life

1. open all night
2. we are us
3. dancing on our grave
4. mechanical mal
5. beermuda
6. the meaning of life
7. spece beer
8. always them
9. wheel of rebirth
10. barfly
11. wonderful life (bonus track)
** Covers: (Yes)
** Bitrate: (192kbps)

D-Load Album :-)
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TANKARD: (1991) Fat, Ugly and Live

Official live album recorded on The Dierks Mobile in Frankfurt/Vobi & Bochum/Zeche on October 8th and 9th 1990.

1. the meaning of life
2. mercenary
3. beermuda
4. total addiction
5. poison
6. we are us
7. maniac forces
8. live to dive
9. chemical invasion
10. the morning after
11. space beer
12. medley (alcohol, puke, mon cheri, wonderful life)
13. (empty) tankard
** Covers: (Yes)
** Bitrate: (192kbps)

D-Load Album :-)
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TANKARD: (1985) Heavy Metal Vanguard (1º Demo tape)

The Matthäus Church is about to be torn down. The local school band from 1982 that practiced in the basement shall live on, though. Amidst a time of a thousand reunions. The inventors of "Alcoholic Metal" celebrate their twentieth anniversary in spring 2002 with the release of album number 10 – "B-Day". Let us raise our glasses to Tankard, who have continuously blessed the community with records on a regular basis. Five minimal line-up changes have done nothing to keep them from remaining an exclusive Frankfurt combo. Even the local soccer team SG Eintracht can´t keep up with that. The closest being in the seventies with dream team Grabowski, Hölzenbein, Körbel, Doctor Hammer and Doctor Kunter.
Around then a 13-year old Andreas Fritz Johannes Geremia got drunk for the first time when the Eintracht won the UEFA cup back in May 1980, their biggest success to date. Two years later future shouter "Gerre" joined forces with long haired 10th grade classmates Axel Katzmann (G) and Frank Thorwart (B), who had just founded the band we know today. At first they called themselves Vortex and Avenger until they discovered Tankard (beer mug) in a dictionary. After weeks of practice they wrote their first song, an eight minute long tune called „Ray Death"-"A boring song about nuclear war" according to Gerre.
They soon realized that they had to double the tempo. A successful formula was found and remains so until today. "Fast thrash-punk". It was the usual screaming and pounding, however with an element of pure anarchy and fun. "We wouldn't exist without humor" says Gerre.
After a year of finding themselves they played their first gig in a classroom on May 28, 1983. Since alcohol was not allowed in school they poured their beer in milk cartons which they consumed while playing. Guitarist Bernard Rapprich left the band beforehand because his conservative father did not want him hanging around a bunch of drunks. They've never heard from him since. He's probably a brain surgeon now. The first choice for his replacement turned out to be the best one. In the parallel class was an AC/DC maniac named Andy Bulgaropoulos. He was immediately kidnapped and chained in the catacombs of the Matthäus Church, finally escaping in 1999 to Berlin to rejoin with his wife and kid....continues below..

1. Incredible Loudness
2. Devil's Game
3. Arson
4. Mercenary
5. Heavy Metal
6. Death By Whips
7. Rundown Quarter
8. Alcohol
** Covers: (Yes)
** Bitrate: (192kbps)

D-Load Tape :-)
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TANKARD: (1985) Alcoholic Metal (2º Demo tape)

Back to the year 1984. Tankard played at a legendary happening in Sindlingen. Other up and coming bands present were Sodom and the southern trio Destruction-rambo outfits and all. "Manfred Schütz of SPV, who was also there, made us an offer but then withdrew it after he saw us play" says Gerre with a grin. "He had the balls to say that we weren't bad. Weren't bad? We sucked!!". The main reason was that Andy wore a blue sweater with some deer on it. Not very Metal. Sodom and Destruction signed up with SPV-Label Steamhammer and Tankard still had no contract. What the boys really needed aside from gigs and popular demos like „Heavy Metal Vanguard" and "Alcoholic Metal" was business sense.
Enter manager Buffo Schnädelbach. He gave up his job as banker because he couldn't take wearing a tie all day. From then on he took care of marketing and merchandising. At first he didn't fare to well as sixth "Beer mug" on stage ("I was allowed to sing 'Alcohol' and failed") but the Frankfurt Südbahnhof was completely sold out. There were even ten police cars parked outside waiting for trouble. At this time our heroes had their first record contract and "Zombie Attack" was in the stores. Karl-Ulrich Walterbach, owner of Noise Records in Berlin, turned out to be quite a penny pincher. During one of their studio dates he even suggested they stay the nights at the local youth hostle.
At least he recognized their potential in the mid eighties. The combination of alcoholic humor, political irony, pounding rhythm and the stage presence of front-man Gerre gained them increasing popularity. In 1988 the magazine Stern described their music in the article "Heavy Metal Subculture" as a "derailing train loaded with beer mugs".
Even prominent band Metallica, while touring Germany as support for Twisted Sister, laughed their asses off when Hetfield ("Hey, you sound like a mix between Tank and Discharge") and Ulrich read the headline on their tour poster.
On it was printed "at war with breakdancers". Venom, whose current album at the time was titled "At War With Satan", probably got a kick out of it, too.
Tankard left the fight between Posers and Thrashers to the jerks of the scene. After graduation they went to Berlin to record the debut "Zombie Attack" and were more concerned with exploding camping cookers, warmed-up ravioli three times a day, broken beds, hysterical maids and the forced vacation from a slightly demolished hotel...continues below

1. Acid Death
2. Screaming Victims
3. Intro
4. Zombie Attack
5. Deadly Intention
6. Mercenary
7. Poison
8. Alien
9. Thunder & Lightning
** Covers: (Yes)
** Bitrate: (192kbps)

D-Load Tape :-)
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TANKARD: (1986) Zombie Attack

The concept album „Chemical Invasion" was released in 1987, during the beer crisis between the EU and BRD. Also adding to their image was the artwork by Sebastian Krüger, who also worked for the magazine "Spiegel" and drew stars like Slash, Mick Jagger and Keith Richards. Another trademark was producer Harris Johns. This time for B-Day Tankard tried out Andy Classen, formerly of Holy Moses.
Back on board, though, is Krüger who after a couple of years absence decided to swing his paint brush again for the new anniversary cover. His artwork on "B-Day" will include the legendary Alien and Bomber, the beer swilling supermodel on the cover of "Kings of Beer".
The depiction of the Pope smoking a joint on the Chemical Invasion cover, much to Tankard's surprise, didn't pose any problems. At around the same time the Magazine "Titanic" portrayed the Holy one making love to a sheep and promptly had the Inquisition on their backs. Looks like even God is on their side, as was evident at the Rock Hard show in 1990 where they were the only band that played without buckets of rain pouring from above.
The Almighty has a sense of humor, though. The hobby alcoholics failed a beer test held the same day. The beer thrashers also hold diverse records. According to (own words) Germany's ugliest band they:
* were never bootlegged
* received 10,000 D-Marks from the Gema in 1991 because they were accidentally mistaken for the plastic combo "Captain Hollywood"
* were reviewed in an English article as "Fat ugly German bastards", thus the self-ironic title for their live album "Fat, Ugly and Live"
* outed Assassin in their special thanks list as "poor chocolate milk drinkers
* got only 2nd place for their 100 year Eintracht birthday hymn "Schwarz-weiß wie Schnee"
* toured Japan back in 1999. Two gigs
* Never get any groupies. The audience is mainly comprised of fat dudes with smelly vests on.
* Released two Schlager cover albums under the name "Tankwart" (gas station attendants)
* Auditioned a 50-year old guitarist called "Prince of Darkness" after Andy B. left the band. He didn't get the job. Instead the scepter was passed on to white-metaller Andy Gutjahr. (since Axel Katzmann left because of arthritis in 1995 they now only have one axeman)
* never received any recognition from the city of Frankfurt or the beer industry for their contribution to mass alcohol consumption.,, continues below...

1. Zombie Attack
2. Acid Death
3. Mercenary
4. Maniac Forces
5. Alcohol
6. ( Empty) Tankard
7. Thrash 'Till Death
8. Chains
9. Poison
10. Screamin' Victims
** Covers: (Yes)
** Bitrate: (320kbps)

D-Load Album :-)
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TANKARD: (1988) The Morning After

Maybe this lack of recognition was due to the chaos and destruction they left behind in the television world. Gerre fell asleep with 3.3 blood-alcohol during an interview on Music Box. It was the beginning of the end for that station. For Tankard just the beginning. In the early 90s they played a band in the series "Ein Fall für Zwei". In it they were represented by Heavy Metal lawyer Rainer Hunold. The manager was played by Peer Augustinski. "We had a small gig in the Music Hall without pay that episode" says Gerre, who also played a statist in the series "Lindenstraße", "But we could drink for free. And we did just that. The production manager just shook his head the whole time".
"It is unknown how this guy must've reacted when he got the bill from the Music Hall. We took a sack of potatoes from a back room and shared it amongst ourselves". At least the scene was already filmed where Hunold, holding a Tankard cover in his hands, asks Augustinski "And this stuff sells?". Yes, it does!
Olaf Zissel recently had a severe toast on his ten year´s anniversary as TANKARD´s most irresistable drummer ever. 2004 will see Guitarist Andy Gutjahr raising a heavy pint to celebrate his personal best: six years of constant Thrash´n´Fun. Obviously the line-up of Frankfurt´s Finest looks as steady and stable as a brand new Oktoberfest mug waiting to be filled with a liter of freshly brewed German beer.
There were only two main characters who did not survive last two years´ highly successful touring season. In August 03 the beloved wooden sandals of singer Gerre fairly disappeared into the blue. The heavily built frontman desperately searched a backstage room at Swiss´ summer festival "Metal Dayz" over and over and over again, but in vain: his pals were gone
forever. The heroic, ecologically priceless hand-crafted shoes just seemed to have taken the chance of emigrating to North Americas south west coast. It´s more than just rumors that Slayer, who used to share the same chamber with TANKARD, took the occasion to lure away Gerres seven-mile-boots with promises of an eternal sun at the beaches of Malibu, delivering the service to shuffle over melting sands, carrying axeman Kerry King´s sensitive feet.
But this shattering loss remained to be the only sad footnote of TANKARD´s twentieth founding anniversary diary. A both freaky and fluffy episode, packed with lots of memorable gigs. In 02 and 03 the band was booked many times to play clubshows and festival performances: almost as many live appearances as had been listed back in the late eighties, when our friends used to hammer through their first successful golden years. And year number three of the new millennium delivered the perfect timing to experience unexpected, but deepest TANKARD mania: In Turkey and Greece the Band hotels were literally besieged by hordes of fanatic supporters. And Gerre utilized his dream of dreams to thunder away his erotically powered 135-kilo-chippendales-body by stagediving into the heart of a berserking mosh-pit during showtime in Athens... continues below....

1. Intro
2. Commandments
3. Shit-Faced
4. TV Hero
5. F.U.N.
6. Try Again
7. The Morning After
8. Desperation
9. Feed The Lohocla
10. Help Yourself
11. Mon Cheri
12. Outro
** Covers: (Yes)
** Bitrate: (192kbps)

D-Load Album :-)
(PW =

TANKARD: (1989) Alien (Mini-LP)

Smiling faces everywhere: Not only the live shows but also the album "B-Day" sold way more copies than most critics would have bet on. Plus the eleven smashers of the eleventh studio record "Beast Of Bourbon" show even more intensive moments, proving TANKARD´s original power and heaviness on their very best level. Not to forget producer Andy Classen´s brillant engineering and mixing of the spicy thrash metal brew. The sleeve rounds it up and demonstrates one more time the genius arts of Germany´s leading living artist Sebastian Krüger, well known as famous portrait painter of Keith Richards and Slash.
No doubt about that: The lyrics of the current TANKARD record hit the point as good as ever before. "Beast Of Bourbon" features a poetic and ironic spectrum, ranging from unbeatable tenderness (´Fistful Of Love´) to alcoholic aliens with some unstoppable love for German beer which has been brewed in the tradition of 1516. Gerre traces down the thugs to their third-class-planet somewhere left hand side of the Andromeda nebula and uncovers a flourishing beer industry with stolen German patents.
But there´s even more to discover:
- ´Die With A Beer In Your Hand´ shows the real thing to wimps and posers from all over the metal planet: "Sword held higher - who´s the liar? - I have the beer of fire!" - ´Genetic Overkill´ serves in the tradition of Tankards all-time-goodie ´Chemical Invasion´, shocking harmless bar patrons with a mind-boggling focus on gender manipulated beer.
- ´Under Friendly Fire´ describes American jet fighter pilots as amphetamine driven ruthless killers who don´t care for anybody as long as they´ve shot down every single human being during freedom supporting campaignes like "Operation Desert Worm". - ´We´re Coming Back´ is a cover of a singalong-superhit, originally written and recorded by British punk rockers Cocksparrer. The number found its way into the Tankard repertoire by entertaining numerous rides of supporters of Frankfurt´s football side Eintracht on away trips. Signore Geremia´s second job: travel agent of the responsible organizing company named "Anal Sex Tours". - ´Dead Men Drinking´ finally features the band celebrating themselves, meaning: We´re not dead yet. We´re more alive and well than many bad-wishers would have dared to think only a few years ago.
Did anyone try to find a decent spot for TANKARD´s final curtain yet? No way! The freshness of "Beast Of Bourbon" and now "The Beauty and the Beer" (2006) proves that the "ugliest thrash band in the world" still has all the power and all the passion to stay with us for another little while...

1. Alien
2. 666 Packs
3. Live to Dive
4. Remedy
5. (Empty) Tankard
** Covers: (Yes)
** Bitrate: (192kbps)

D-Load Album :-)
(PW =

TANKARD: (1989) Hair of the Dog

A compilation of tracks from albums : ''Zombie Attack'', ''Chemical Invasion'', ''The Morning After'' and ''Alien''.

1. the morning after
2. alien
3. don't panic
4. zombie attack
5. chemical invasion
6. commandments
7. tantrum
8. maniac forces
9. shit faced
10. (empty) tankard
** Covers : (Yes)
** Bitrate: (192kbps)

D-Load Album :-)
(PW =

Wednesday, May 2, 2007

U.F.O.: (1977) Lights Out (Chrysalis)

Despite a few generic moments, Lights Out is probably the best studio document of what elevated UFO above the '70s hard rock fray. Within a Euro-blues framework, the classic lineup that lasted from Phenomenon through Strangers in the Night incorporated challenging dynamics, epic balladry, and a more than occasional sensitivity. On Lights Out, all three of these traits come together in powerful fashion, most notably on the space rocker-cum-ballad "Love to Love," where a ridiculously heavy intro gives way to flourishing poetics. "Gettin' Ready" and an oddball Love cover, "Alone Again Or," also showcase the band's sensitive ambiguities, never compromising the group's overarching hard edge. Not enough can be said either about UFO's standout individual performances, particularly Phil Mogg's street level vocals, which no doubt greatly influenced Joe Elliot and Paul Dianno. Then, of course, there's the matter of Michael Schenker's deservedly lauded lead guitar. Expressive and bluesy with a tone nearing perfection, even the more pedestrian tunes are made worthwhile due to a Schenker solo. Lights Out holds up well; its subtleties are worth mentioning because the band always make it a point to rock hard and the playing is always on. Almost completely overlooked stateside, Lights Out is a lost Matthew Kantor

1. Too Hot to Handle
2; Just Another Suicide
3. Try Me
4. Lights Out
5. Gettin' Ready
6. Alone Again Or
7. Electric Phase
8. Love to Love
** Covers: (Yes)
** Bitrate: (320kbps)
** Metal Link :-)))
** PW: