No make up. No pyro. No Hair Spray. Circus Of Power was a Godsend to us no bullshit rock n' rollers of the late 80's. The 80's as far as commercial music goes sucked. If you dug deep enough under the Poison, Cinderella, Whitesnake aqua net drenched jack asses, you could find yourself some good metal in the likes of Venom and the lot........ Circus Of Power was part of a new class of band in between "hair metal" and that garbage that came out of Seattle.Yes I said G-A-R-B-A-G-E.
Circus Of Power came dressed in leather, worn leather by the way, not off the rack shiny we have a promo shoot to do and the producer thinks this "kicks ass" leather. Circus Of Power came playing vintage Les Pauls, not the BC Rich flavor of the month "Hey, this makes me look cool" guitar. Circus Of Power showed up with more ink than a tattoo parlors flash book. Most important of all, Circus Of Power came with a no nonsense, belly up to the bar, plug in and play no b.s. I gotta a pocket full of power chords ROCK N ROLL.
Their classic self titled debut is still sought after on eBay and rarely a copy sells for under $30.00. When you take one of the greatest rock n roll singing voices in history and back it up with two talented guitar player/songwriters, you end up with CIRCUS OF POWER. This is Rock n Roll at its finest hour.
Tracks
Side One
1. Gates of Love
2. Desire Fire in the Night
3. Two River Highway
4. Vices
5. Don't Drag Me Down
6. Last Call Rosie
Side Two
1. Doctor Poison
2. Los Angeles
3. Got Hard
4. Temptation
5. Junkie Girl
6. Simple Man Simple Woman
..year - 1990
..label - RCA
..buy - n/a
..home page - http://www.circusofpower.net/ (Unofficial)
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Formed in 1980, and very inluenced by the NWOBHM, Karisma was possibly the first Latin American (Brazil) metal band to write lyrics and sing in English. After 26 years this albums stills catchy everyone that listen the material.. Great guitar playing. Of course a poor quality recording buut this is an historic item and you can't miss this.
Tracks
Side A
1.We Are Here to Fuck Your Ears
2.We've Got Rock
3.Far Away From Home
4.In My Bed
Side B
1.Orient Fucker
2.Honey, You Got Money
3.Too Much Drugs
4.Stairway to Heavy
..year - 1983
..label - Baratos Afins
..buy - ** out of print **
..home page - n/a
**This is a real LP Vinyl ripping. All the noises are included. This is only for historic purpose.
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This set was only available on Argentina. I bought the entire series when I was visiting Buenos Aires on the end of the 80s. Amazing cover arts. This is a very rare item and you can't miss this one.
Tracks
Side A
1.Stranger in a Strange Land
Side B
1.That Girl
2.Juanita
**This is a real LP Vinyl ripping. All the noises are included. This is only for historic purpose.
..year - 1986
..label - EMI
..buy - **out of print**
..home page - www.ironmaiden.com/
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For a band that later distinguished itself for its technical proficiency, Dark Angel's arrogantly titled debut We Have Arrived is as primitive as it gets. Barely more than a full-length demo (even less than that by contemporary standards), the album collects the fledging L.A. thrashers at their garage band rawest. Besides "Welcome to the Slaughterhouse," which had given them their first exposure via Brian Slagel's Metal Massacre VI compilation, the band also belts their way through such primitive, demonically obsessed moshers as "Falling From the Skies," "Hell's on Its Knees," and the seriously dated title track (replete with piercing falsetto screams). [Reissued on CD with different cover art in 1997 by French label Axe Killer, the album will only interest serious thrash enthusiasts.]
-- by Ed Rivadavia, allmusic.com
Tracks
Side A
1.We Have Arrived
2.Merciless Death
3.Falling From the Sky
4.Welcome to the Slaughter House
Side B
1.No Tomorrow
2.Hell's On It's Knees
3.Vendetta
**This is a real LP Vinyl ripping. All the noises are included. This is only for historic purpose.
..year - 1985
..label - Axe Killer Records
..buy - ** Out of print **
..home page - n/a
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Saxon are an English heavy metal band, formed in 1977 in Barnsley, Yorkshire. As leading lights in the New Wave of British Heavy Metal they had huge success in the 1980s with 8 UK Top 40 albums including 4 UK Top 10 albums. Saxon also had numerous singles in the Top 20 singles chart. Between 1980 and 1987 Saxon established themselves as one of Europe's biggest metal acts, they also had success in Japan and in the USA. In Japan the single "Motorcycle Man" stayed in the charts for over 5 months. They still tour heavily and regularly. Their latest tour is their largest in the UK since the late 1980s. Saxon have sold more than 10 million albums worldwide and heavily influenced bands such as Metallica, Megadeth, Mötley Crue and Ratt. They are considered as one of the strongest live acts in the heavy metal genre.
There is another incarnation of Saxon featuring two former band members who hold the legal rights to the name - "Oliver/Dawson Saxon".
Tracks
Strong Arm of the Law
1.Heavy Metal Thunder
2.To Hell and Back Again
3.Strong Arm of the Law
4.Taking Your Chances
5.20.000 ft
6.Hungry Years
7.Sixth Form Girls
8.Dallas 1 PM
9.20,000 ft. (Live)
10.Dallas 1 PM (Live)
11.Hungry Years (Live)
12.Strong Arm of the Law (Live)
13.Heavy Meatal Thunder (Live)
Wheels of Steel
1.Motorcylce Man
2.Stand Up and Be Counted
3.747 (Strangers in the Night)
4.Wheels of Steel
5.Freeway Mad
6.See the Light Shining
7.Street Fighting Gang
8.Suzie Hold On
9.Machine Gun
10.Judgement Day (Live)
11.Wheels of Steel (7'' version)
12.See the Light Shining (Live)
13.Wheels of Steel (Live)
14.747 (Strangers in the Night) (Live)
15.Stallions of the Highway (Live)
..year - 1997
..label - EMI
..buy - Amazon
..home page - http://www.saxon747.com/en/itl/
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Surfing With the Alien was Joe's first successful record, and after listening to it just once you'll understand why. Joe eschews needless self-indulgence like most 'guitar heroes' and just plays rocking songs with interesting melodies. My favorite songs are "Crushing Day" -- an exhilarating song with mind-bending solos and some good hooks -- and "Echo" -- a great track that flows naturally and beautifully. Every other song here is excellent, from the epic and orchestral-sounding "Hill of the Skull" to the pretty ballad "Always With Me; Always With You."
I highly recommend this album to guitar players and rock fans alike.
Tracks
1.Surfing with the Alien
2.Ice 9
3.Crushing Day
4.Always With Me, Always With You
5.Satch Boogie
6.Hill of the Skull
7.Circles
8.Lords of Karma
9.Midnight
10.Echo
..year - 1999
..label - Sony
..buy - Amazon
..home page - www.satriani.com/
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Anyone who has ever heard the infamous album LAST CONCERT IN JAPAN must listen to this brand-new 2 CD set. It is a true eye-opener to hear this complete Deep Purple show, recorded with the Mark IV lineup including Tommy Bolin in Tokyo on December 15, 1975. Received wisdom has long held that Bolin's playing was severely hampered this evening due to a drug overdose or sleeping on his arm funny--take your pick. As a result (the story goes), he could only play basic chords while Jon Lord held down the sonic fort on a painfully abbreviated set list. Listening to LAST CONCERT IN JAPAN would seem to bear this out, but this new album shows that LCIJ was a heavily edited, at times misleading affair.
No, this is not a superior Purple performance, or even a great one. Still, the band played a full set that night, with a fairly frantic energy level and seemingly good spirits. Bolin played well enough that evening, although arguably his performance on the King Biscuit CD (recorded 2 months later) is better from a technical standpoint. His guitar is louder in the mix here than on LCIJ (and yes, he did actually play the main riff to "Burn"), and his solos are often quite exciting (especially on "Gettin' Tighter" and "I Need Love.") In fact, it can be argued that Bolin always sounded good on his own material from COME TASTE THE BAND, while the earlier Blackmore stuff was treated with a much more tentative hand. It doesn't help that Bolin had ostensibly no background in classical music, unlike Ritchie "I had classical training for a year when I was 11" Blackmore.
The others turn in decent performances for the most part. Paice is incapable of a bad night, it would seem; Lord never fails to impress; Hughes--although occasionally in need of a muzzle--is a vastly underrated bassist with a robust sound. Coverdale does not deliver one of his penultimate performances, but he carries a lot of conviction throughout, and his stage introductions are often a hoot. And no one will ever hear as many "Domo Arigato, Tokyo's" in one place ever again!
Other pluses include the packaging and the liner notes, although the latter seem to be missing a chunk of the story for the earlier parts of the 1975-76 tour.
-- by C. Clark
Tracks
Cd 1
1.Burn
2.Lady Luck
3.Love Child
4.Gettin' Tighter
5.Smoke on The Water & Georgia On My Mind
6.Wild Dogs
Cd 2
1.I Need Love
2.Soldier Of Fortune
3.Jon Lord Solo
4.Lazy & Drum Solo
5.This Time Around
6.Owed To G
7.Tommy Bolin Guitar Solo
8.Drifter
9.You Keep On Moving
10.Stormbringer
11.Highway Star
..year - 2001
..label - Sanctuary Records
..buy - Amazon
..home page - www.deeppurple.com/
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After a previous full length CD and a couple EPs, the Canadian based trio's power is undeniable. A ferocious live act, they combine the wallop of Van Halen with the more angular sonics of Metallica. Incredibly tight, they can turn on a dime, wrapping muscular chords and pile driving rhythms around the front man whose name is also the band's moniker. Jones can shriek and scream, but never without some potent reason to have done so (such as on "Home to Hell"). The band also knows how to craft flat out irresistible hooks, albeit with the weight of flying anvils. "I Want You" mixes in the pop smarts of Cheap Trick, but with twice the decibels. -- David Greenberger
Tracks
1.Forget My Name
2.Dance
3.I Love Living in the City
4.I Want You
5.Heartbreaker's a Blessing
6.Wait A Minute
7.Strut
8.Home to Hell
9.Hot Damn Woman
10.The Cross
11.Love Travel
12.We Sweat Blood
13.Woogie Boogie
..year - 2004
..label - Highlight Sounds
..buy - Amazon
..home page - www.dankojones.com
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AC/DC's mammoth power chord roar became one of the most influential hard rock sounds of the '70s. In its own way, it was a reaction against the pompous art rock and lumbering arena rock of the early '70s. AC/DC's rock was minimalist -- no matter how huge and bludgeoning the guitar chords were, there was a clear sense of space and restraint. Combined with Bon Scott's larynx-shredding vocals, the band spawned countless imitators over the next two decades. AC/DC were formed in 1973 in Australia by guitarist Malcolm Young after his band, the Velvet Underground, collapsed (Young's band has no relation to the seminal American group). With his younger brother Angus as lead guitarist, the band played some gigs around Sydney. Angus was only 15 years old at the time and his sister suggested that he should wear his school uniform on-stage; the look became the band's visual trademark. While still in Sydney, the original lineup featuring singer Dave Evans cut a single called "Can I Sit Next to You," with ex-Easybeats Harry Vanda and George Young (Malcolm and Angus' older brother) producing.
The band moved to Melbourne the following year, where drummer Phil Rudd (formerly of the Coloured Balls) and bassist Mark Evans joined the band. The band's chauffeur, Bon Scott, became the lead vocalist when singer Dave Evans refused to go on-stage. Previously, Scott had been vocalist for the Australian prog rock bands Fraternity and the Valentines. More importantly, he helped cement the group's image as brutes -- he had several convictions on minor criminal offenses and was rejected by the Australian Army for being "socially maladjusted." And AC/DC were socially maladjusted. Throughout their career they favored crude double entendres and violent imagery, all spiked with a mischievous sense of fun.
-- by Stephen Thomas Erlewine, allmusic.com
Tracks
1.Let There Be Rock
2.Problem Child
3.Hell Ain't a Bad Place to Be
4.Whole Lotta Rosie
5.Bad Boy Boogie
6.Rocker
7.T.N.T.
..year - 2008
..label - Koalla
..buy - Amazon.com
..home page - www.acdc.com/
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Entombed is a Swedish death metal band which formed in 1987 under the name of Nihilist. Though Entombed began their career as an early pioneer of Scandinavian death metal, by the early 1990s their sound had broadened to include hardcore punk and other influences. This new style would eventually be described as death 'n' roll. Entombed have been influenced by bands such as Slayer, KISS, The Misfits, Motörhead and Discharge.
Entombed's debut album was Left Hand Path, a cult favorite that established the band as a popular death metal band. The follow-up, Clandestine, was just as popular. These first two albums were unique in that they featured what was sometimes referred to as an "electric saw" guitar sound. It was created using the Boss Heavy Metal distortion pedal and a Peavey amplifier. It appeared on their debut, Left Hand Path, but was improved and refined on the follow up, Clandestine.
After the Gods of Grind tour, Entombed began changing their sound into a mix of hard rock and death metal often referred to as death 'n' roll.[citation needed] Although this may have turned off many fans, it established their mainstream and critical reputation. Wolverine Blues and Hollowman are widely considered classics of early 1990s death metal, but were followed by problems with various record companies.
1998's Same Difference was the band's first album without drummer and founding member Nicke Andersson who left to concentrate on The Hellacopters. He was replaced by Peter Stjärnvind. In 1999, Entombed released Uprising, which was much of a continuement to the "death'n'roll"-sound. The follow-up, Morning Star returned to the style of Hollowman and Wolverine Blues.
In 2001, the band worked with performance artists Carina Reich and Bogdan Szyberb, and the Royal Swedish Ballet. The production was entitled Unreal Estate.
They have since released 2003's album Inferno, a continuation of the death 'n' roll style that has become their trademark sound. 2006 saw the release of new music from Entombed, with the When in Sodom EP on June 6 (or 06/06/06), and the full length album Serpent Saints - The Ten Amendments was released on July 9th, 2007. This album is the group's first release with drummer Olle Dahlstedt (of Alpha Safari and ex-Misery Loves Co.), who replaced Stjärnvind in 2006 and a first without Uffe Cederlund who is now part of Disfear.
Tracks
.But Life Goes on
.Shreds of Flesh
.The Truth Beyond
..year - 1989
..label - self released
..buy - Amazon.com
..home page - www.entombed.com/
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With their monumental debut album, Left Hand Path, Entombed crashed through the gates of the international death metal scene and foreshadowed the pivotal role that Scandinavia would soon play in the evolution of the then-burgeoning genre. These Swedes had earlier made ripples throughout the underground with their But Life Goes On demo (1989), as well as their prior demos as Nihilist, which had gotten them signed to Earache. Left Hand Path did more than make ripples upon its 1990 release, however — it came crashing like a tidal wave. Beyond doubt it raised the bar for death metal, significantly challenging American trailblazers like Death, Obituary, and Morbid Angel. What Entombed did was take the extremity of Earache's stable of British grindcore bands (Napalm Death, Carcass, and Godflesh) and apply it to the elaborate songwriting structures of the aforementioned American death metal bands. It was the best of both worlds — over the top extremity complemented by intricate songwriting — and it wasn't more than a year or two later that everyone and their brother were following Entombed's lead (e.g., Carcass' Necroticism [1991], Napalm Death's Harmony Corruption [1990]). But no one did it quite as well as Entombed does here on Left Hand Path; in fact, even the band itself struggled to follow up this album and quickly moved on stylistically. As for the album itself, few of the songs stand apart from one another, apart from the epic title track, which opens the album and is highlighted by an eerie, unforgettable ambient break; rather, the album plays like a 40-minute wall of sound, one that is downright relentless. The band grinds away on song after song as monstrous vocalist Lars-Göran Petrov growls away like a caged, dying beast. The songs are fairly complex — they're only a few minutes long, granted, but they don't follow clear-cut patterns and are interwoven with numerous guitar solos, which particularly set Entombed apart from the grindcore bands of the time. The band's dual-guitar attack allows for heavy soloing without ever forsaking the nonstop riffing, and everything — from the guitars to the vocals — sounds slightly overdriven, to the extent that the instruments blur into a swirling tide of noise yet remain slightly distinct. By the time you reach the end, you have to let out a big sigh — it's surely not an album you want to end, but then again, the finale does admittedly come as a calming relief. As aforementioned, Left Hand Path is a monumental accomplishment, not only for Entombed but for death metal in general. The band would go on to record many more fine albums, but none would be quite as epochal and seminal as this one. [Earache reissued the album with two bonus tracks: "Carnival Leftovers" and "Premature Autopsy." These tracks don't sound out of place, but to an extent they do dilute the succinct impact of the album as it was originally intended.]
-- by Jason Birchmeier
Tracks
.Left Hand Path
.Drowned
.Revel in Flesh
.When Life Has Ceased
.Supposed to Rot
.But Life Goes On
.Bitter Loss
.Morbid Devourment
.Abnormally Deceased
.The Truth Beyond
.Carnal Leftovers
.Premature Autopsy
..year - 1990
..label - Earache Records (Licensed by Combat)
..buy - Amazon.com
..home page - www.entombed.com/
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Entombed's second album, Clandestine, is cut from the same cloth as its predecessor, the epochal Left Hand Path (1990). Released during the formative period of death metal — that is, the early '90s, when American bands like Obituary, British bands like Carcass, and Swedish bands like Entombed were all flourishing creatively thanks to supportive labels like Earache and a multiplying international fan base — both Left Hand Path and Clandestine set the stage for successive generations of death-rooted Scandinavian metal bands. Entombed's most distinguishing characteristics during period, their buzzsaw guitar riffs and varied tempos, are showcased well on Clandestine. The intertwined dual-guitar assault of Uffe Cederlund and Alex Hellid is downright brutal; the intermittent lead guitar breaks do serve as brief moments of respite, granted, though their tone of eeriness is more foreboding than it is actually relieving. The two singles released from Clandestine ("Crawl" and "Stranger Aeons") are indeed the standouts, boasting monster riffs that are perhaps the most memorable moments of the album. Despite the similarity between Left Hand Path and Clandestine, there is a couple key differences. For one, vocalist Lars-Göran Petrov is missing in action here, though, to be fair, he's not necessarily missed. That's because drummer/songwriter Nicke Andersson takes over for him, and does such an impressive job, it's easy to mistake him for a full-time death-growler. In fact, the liner notes of Clandestine falsely credit Johnny Dordevic for vocals (technically, he was a member of the band at the time of the album's release, just not at the time of the album's recording sessions). Secondly, the production of Clandestine — always a crucial aspect of music this overpowering — is a notch or two better than that of Left Hand Path. Tomas Skogsberg produced both albums, as he did all of Entombed's early recordings, but he got a more cutting sound this go-round, with the guitars particularly standing out, along with the multi-tracked vocals. Too, the songwriting here is more distinctive than on Left Hand Path, which was comprised largely of reworked Nihilist (i.e., the band's pre-Entombed moniker) material. Everything considered, Clandestine might be a better album than Left Hand Path — for sure, some fans favor it — if not as historically significant nor as raw-sounding as that monumental debut.
-- by Jason Birchmeier
Tracks
.Living Dead
.Sinners Bleed
.Evilyn
.Blessed Be
.Stranger Aeons
.Chaos Breed
.Crawl
.Severe Burns
.Through the Collonades
..year - 1991
..label - Earache Records
..buy - Amazon.com
..home page - www.entombed.com/
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After coming off the successful Gods of Grind tour in 1992 and seeing bassist Johnny Dordevic return to the band, the Swedish heavy metal band Entombed decided to release a six-song EP as their major-label debut (on Earache/Columbia). When the Hollowman EP appeared in 1993, it was shocking just how much the band's songwriting and overall sound had improved. The songs remained brutally heavy, but there was also a fresh originality now present. The EP contains a total of six tracks and is a mandatory purchase for Entombed fanatics, since four of them are exclusive non-album tracks. Highlights include an instrumental version of the classic Entombed song "Wolverine Blues" (it would become the title track of the band's next full-length album), the fast and furious "Bonehouse," and another instrumental, the Black Sabbath-like dirge "Hellraiser." Both of the instrumentals use spoken word dialogue to great effect, while showing off Entombed's talents as musicians in the process.
-- by Greg Prato
Tracks
.Hollowman
.Serpent Speech
.Wolverine Blues
.Bonehouse
.Put Off The Scent
.Hellraiser
..year - 1993
..label - Columbia
..buy - Amazon.com
..home page - www.entombed.com/
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Tracks
.Eyemaster
.Rotten Soil
.Wolverine Blues
.Demon
.Contempt
.Full Of Hell
.Blood Song
.Hollowman
.Heavens Die
.Out Of Hand
..year - 1993
..label - Sony Records
..buy - Amazon.com
..home page - www.entombed.com/
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Genius. Pure genius. Way before Rage Against the Machine, before Run-D.M.C.'s collaboration with Aerosmith, and before their infamous collaboration with Public Enemy, Anthrax take the credit -- or blame -- for being the pioneers of merging rap and metal. Released in 1987, their now-classic I'm the Man is a funny tribute/parody/attempt at hip-hop that is not only pulled off successfully, but it's also the first release that showcases Anthrax's sense of humor -- the latter of which was also a first for the genre of speed metal. There are also three live tracks -- one of which is the title track -- as well as a "moshable" version of Black Sabbath's "Sabbath Bloody Sabbath" -- all of which are great but will probably be overlooked. Has it been mentioned that this EP is genius?
~ ~ by Mike DaRonco, allmusic.com
Tracks
..I'm The Man (Censored Radio Version)
..I'm The Man (Def Uncensored Version)
..Sabbath Bloody Sabbath
..I'm The Man (Live)
..Caught in A Mosh (Live)
..I Am the Law (Live)
..year - 1987
..label - Megaforce/Island
..buy - Amazon.com (www.amazon.com)
..home page - www.anthrax.com/
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Hailing from Dortmund, Germany, heavy metal quintet Angel Dust originally began life in the '80s as a thrash outfit. They recorded two albums, 1988's Into the Dark Past and 1989's To Dust You Will Decay, before disbanding due to personality conflicts. However, the band's rhythm section -- drummer Dirk Assmuth and bassist Frank Banx -- spearheaded an improbable comeback in 1998, recruiting new vocalist Dirk Thurisch, guitarist Bernd Aufermann, and keyboardist Steven Banx. Sporting a similar but slightly retooled sound that drew from British power metal, the reconstituted Angel Dust toured and signed to Century Media, which released the Europe-only Border of Reality (also in 1998). Bleed, the group's first album to be released and distributed in the U.S., appeared the following year, and the group returned again in the summer of 2000 with Enlighten the Darkness. Border of Reality appeared the following spring.
~ by Steve Huey, allmusic.com
Tracks
..Into the Dark Past
..I'll Come Back
..Legions of Destruction
..Gambler
..Fighter's Return
..Atomic Roar
..Victims of Madness
..Marching For Revenge
..year - 1986
..label - Century Media
..buy - Amazon.com
..home page - http://www.angel-dust.de/
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Bleed, the U.S. debut from Germany's Angel Dust, is an interesting blend of metal subgenres that unfortunately doesn't add up to the sum of its parts. Elements of Bay Area thrash, NWOBHM, and power metal can be heard in the faster and the more melodic sections, respectively, while a sprinkling of old-school Teutonic hard rock (Accept, Scorpions) is detectable in the grainy guitar riffs. As often happens when so many colors are mixed together, the resulting shade of grey is hopelessly indistinguishable. This is the problem with Bleed's metallic sound; there's simply no pitch, no hue bold enough to define a polished recording. Vocalist Dirk Thurisch has a powerful and unique voice but, like his bandmates, the singer fails to come up with interesting melodies. When practicing a form so dependant on melodic structures to propel the music, this lack of invention is a killer. After a strong title track opens Bleed, Angel Dust fails to deliver another memorable song until the grinding gallop of the record's ninth and most original track, "Liquid Angel," which offers too little too late. From the near-thrash of its Europe-only releases to the more developed power metal of later discs, Angel Dust has outdone Bleed on many occasions.
~ ~ by Vincent Jeffries, allmusic.com
Tracks
..Bleed
..Black Rain
..Never
..Follow Me (Part.1)
..Follow Me (Part.2)
..Addicted to Serenity
..Surrender
..Sanity
..Liquid Angel
..year - 1999
..label - Century Media
..buy - Amazon.com
..home page - http://www.angel-dust.de/
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Originally released in Europe in 1998, this comeback effort from Germany's Angel Dust was put together almost a decade after the group disbanded in the '80s. While the band's previous work had a distinctly thrash sensibility, Border of Reality set the group on a more modern power metal course that paradoxically harkened back to the classic days of early-'80s European metal. Guitar riffs and verse sections reminiscent of Accept often give way on Border of Reality to expansive chorus melodies that fans of Judas Priest and Iron Maiden will find familiar, but not completely derivative. Song highlights include the speedy "Centuries" and "Spotlight Kid" along with more melodic offerings like "Nightmare" and the record's opening title track. The progressive "Behind the Mirror" is another standout that provides an impressive musical break. A powerful effort, Border of Reality is one of the more surprising metal offerings of the '90s.
~ ~ by Vincent Jeffries,allmusic.com
Tracks
..Border of Reality
..No More Faith
..Nightmare
..Centuries
..When I Die
..Where The Wind Blows
..Spotlight Kid
..Behind The Mirror
..Coming Home
..year - 2001
..label - Century Media
..buy - Amazon.com
..home page - http://www.angel-dust.de/
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Annihilator's brand of technical, thinking man's thrash metal garnered many fans with this fine debut, arguably the best release of the band's career. A brief acoustic guitar piece called "Crystal Ann" introduces the excellent title track: a psychological murder thriller supposedly based on a disturbed young girl's true story. Leader Jeff Waters takes himself a little too seriously at times (see the Edgar Allan Poe-influenced "Ligeia" and his ridiculously erudite commentary on each song's lyrics), but he is equally prone to refreshing flashes of humor on "Word Salad" and "Schizos Are Never Alone." The spectacularly named Randy Rampage proves himself to be a versatile vocalist on "Wicked Mystic" and "Burns Like a Buzzsaw Blade" (seriously). The careening closer "Human Insecticide" is magnificent for its sheer speed.
-- by Ed Rivadavia, allmusic.com
Tracks
..Crystal Ann
..Alison Hell
..W.T.Y.D.
..Wicked Mystic
..Burns Like A Buzzsaw Blade
..Word Salad
..Schizos (Are Never Alone) Parts I & II
..Ligeia
..Human Insecticide
..year - 1989
..label - Roadrunner
..buy - Amazon.com
..home page - http://www.annihilatormetal.com/
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In the 1980s and early '90s, there was often a very fine line between "hard rock" and "heavy metal." But with Annihilator, there was never a question -- this was most definitely a metal band to the core. Comparable to Metallica and Judas Priest at their heaviest, Never Neverland is a blistering gem that takes no prisoners either musically or lyrically. In fact, Annihilator's lyrics could be quite substantial, and the headbangers offer hard-hitting commentary on subjects on subjects ranging from drunken driving ("Road to Ruin") to religious fanaticism ("I Am in Command") to environmental destruction ("Stonewall"). More accessible than death/grindcore bands like Deicide, Cannibal Corpse and Hellwitch but certainly much heavier than the many pop/metal units flooding the market in the late '80s and early '90s, Never Neverland was one of 1990's strongest metal releases.
-- by Alex Henderson, allmusic.com
Tracks
..The Fun Palace
..Road to Ruin
..Sixes and Sevens
..Stonewall
..Never, Neverland
..Imperiled Eyes
..Kraf Dinner
..Phantasmagoria
..Reduced to Ash
..I Am In Command
..year - 1990
..label - Roadrunner
..buy - Amazon.com
..home page - http://www.annihilatormetal.com/
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L.A.-based Evildead was the thrash metal band founded by former Agent Steel guitarist Juan Garcia, following that group's apparent breakup in 1987. Alongside vocalist Phil Flores, guitarist Albert Gonzalez, bassist Mel Sanchez (previously his bandmate with Abattoir), and drummer Rob Alaniz, he signed with Germany's Steamhammer label, and by the close of 1989 they had released both an EP (entitled Rise Above) and a full album (optimistically named Annihilation of Civilization) of particularly brutal thrash metal.
Not too many consumers took notice, however, so after taking stock of their prospects, Flores and Garcia retooled Evildead's lineup with new members Dan Flores (guitar), Karlos Medina (bass, and another Agent Steel alum), and drummer Doug Clawson prior to recording 1991's The Underworld. Unfortunately, it too failed to impress the marketplace -- despite flirting with the day's more current death metal style -- and, after delivering a final live album with the following year's From the Depths of the Underworld, Evildead quietly shut down shop.
-- by Eduardo Rivadavia, allmusic.com
Tracks
..Intro (Comshell 5)
..Global Warning
..Branded
..Welcome to Kwait
..Critic Cynic
..The Hood
..The Underworld
..He's a Woman She's a Man
..Process Elimination
..Labyrinth of the Mind
..Reap What You Sow
..year - 1991
..label - Steamhammer (UK) SPV
..buy - Amazon.com
..home page - www.myspace.com/evildead6
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Tampa, FL's Nasty Savage was a member of the first generation of American thrash metal bands, deserving credit alongside the likes of Metallica, Anthrax, and Slayer for helping the genre gain its first footholds in the underground scene, but never really threatening to follow them into fame and fortune. The band was formed in 1983 by natural-born exhibitionist and pro-wrestling enthusiast "Nasty" Ronnie Galetti, who guided Nasty Savage through a pair of demos (1984's Wage of Mayhem and Raw Mayhem -- both hot commodities on the worldwide tape-trading circles, in their day) and three and a half melodic thrash albums (1985's Nasty Savage, 1987's Indulgence, 1988's Abstract Reality EP, and 1989's Penetration Point) before their demise at the close of the decade. Through it all, the core lineup of Galetti on vocals, Ben Meyer and David Austin on guitars, and Curtis Beeson on drums remained surprisingly stable, but the bassist position seemed to have some kind of curse on it. First album bass player Fred Dreschigan was forced to quit after sustaining a hand injury; his successor for album number two, Dezso Istvan Bartha, had to choose between the band and a large inheritance, and understandably picked the latter; and EP bassist Chris Moorhouse would later die in 1991 car accident! Richard Bateman, who performed on Nasty Savage's final album in 1989, presumably had the bad luck of, well, performing on Nasty Savage's final album. At least until ten years later, when all five members of that last formation reunited for a German festival appearance that led to the recording of a new Nasty Savage album in 2004, entitled Psycho Psycho. -- by Eduardo Rivadavia, allmusic.comTracks..Welcome Wagon..Irrational..Ritual Subsmission..Powerslam..Sin Eater..Penetration Point..Puzzled..Horizertical..Family Circus..year - 1989..label - Crook'd..buy - Amazon.com..home page - http://www.geocities.com/sunsetstrip/alley/1409/savage/
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Like Tool and Type O Negative before them, My Dying Bride fuses heavy metal with the deep, foreboding sense of gloom that informed mid-'80s goth-rock. As the Flower Withers, My Dying Bride's debut album, is a self-consciously tortured set of slow, unbearably heavy and morbid heavy metal. It's an album that's not about songs — it's about sounds and textures and for fans of self-obsessed, apocolyptic metal, As the Flower Withers ain't that bad.
-- by Stephen Thomas Erlewine, allmusic.com
Tracks
..Silent Dance
..Sear-Me
..The Forever People
..The Bitterness And the Bereavement
..Vast Choirs
..The Return of the Beautiful
..Erotic Literature
..year - 1992
..label - Peaceville
..buy - Amazon.com
..home page - www.mydyingbride.org/
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Tracks
..I Am The Bloody Earth
..Transcending (Into The Exquisite)
..Crown Of Sympathy (Remix)
..year - 1997
..label - Peaceville
..buy - Amazon.com
..home page - www.mydyingbride.org/
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Tracks
..Symphonaire Infernus Et Spera Empyrium
..God Is Alone
..De Sade Soliloquay
..year - 1992
..label - Peaceville
..buy - Amazon.com
..home page - www.mydyingbride.org/
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No make up. No pyro. No Hair Spray. Circus Of Power was a Godsend to us no bullshit rock n' rollers of the late 80's. The 80's as far as commercial music goes sucked. If you dug deep enough under the Poison, Cinderella, Whitesnake aqua net drenched jack asses, you could find yourself some good metal in the likes of Venom and the lot........ Circus Of Power was part of a new class of band in between "hair metal" and that garbage that came out of Seattle.Yes I said G-A-R-B-A-G-E.
