Discussion in 'Music Forums' started by Delmarva, Dec 10, 2018.
None at all, it
I think your memory of Lars' comment is accurate -- just listened to "Axe Crazy" and the primary rhythm scheme is very similar to that of "Whiplash", or, more accurately stated, the other way around.
Something for everyone re: these two bands, and if that don't do it, there's always Venom, heh heh, or the debut LP of Bathory.
Spot on re: the cover art. They oughtta have gone w/ the cover design as used for the "Axe Crazy" single, which is a really cool piece of cover art/design, and stuck w/ that consistently as their visual "calling card". But the (somewhat) cheesy cover does nothing to diminish the consistently brilliant material pressed into the vinyl within. An excellent and important recording, this one.
So many albums from those days had atrocious album art, but Power Games takes it to a new level. I look at it as a commentary on The Cold War and give them credit for the effort.
Their bass player, Jeff Cox did the artwork for Axe Crazy. Very talented fellow. I assume it was him. A certain J. Cox is credited on the sleeve.
This a very good lookin' logo.
Having a hard time keeping my lunch down as I digitize these albums. The recording is done and now I'm completing the editing
The Atlantic years were sooooooo bad for Raven. The only thing worth hearing is the Mad EP.
I'd like to think that there's a special place in Hell for the record company executive who did this to Raven. There's no way that they thought this was a good idea.
Am enjoying an early start to my planned "All Metal Day" (it's 11:30am @ Saturday) w/ this gem:
Rock Until You Drop
re: the number "Hell Patrol" @ Raven - Rock Until You Drop (Neat, 1981), sounds to me like Gallagher "got that super-long sustained note" w/out studio recording trickery; rather, he found a 'sweet spot' within the recording studio from which his Tele hit a hot note that he could hold/sustain w/ minimal feedback "swell". It's a trick Robin Trower, Peter Green, and Gary Moore (esp. when using the "Peter Green Les Paul") could pull off comsistently, but the trick is a relative rarity among Metal players, who by and large are more prone to "shredding" than holding single notes. Gallagher made this a priority and it paid off. Also note that Teles are famously "musical", w/ a nasal/woodie tone that's @ once piercing and bouyant, and thus lends itself to this sort of trick. Excellent examples include Roy Buchanan, Albert Lee, and Danny Gatton. Buchanan in particular could hold notes to a point @ which his Tele emulated the sound (endless sustain & the tones) of pedal steel guitars. gatton could do it as well, but not quite as consistently ("live") as Roy.
Finally getting to hear this LP through the system at a respectible (ie, LOUD) volume. This sounds like no Metal "genre" I've ever heard, its simply not categorizable. And it's really good.
Stylistically it fits in quite nicely with the huge underground heavy rock scene in England and around the world during the early 70's. Of course Bridges has his unique voice (and the whole album is all original) so that sets it off, but I could cite a massive list of bands that could generally be lumped into albums in this category. Check out Iron Claw from Scotland or "The Iron Maiden" as some examples of this early sound.
@ last I am hearing Metal For Muthas: Volume I (1980). Hope to fit this one in before being called to dinner!
Skyhooks now that's a blast from the past. I saw them open for Foghat in Niagara Falls.NY in the mid 1970's. Think Uriah Heep was on the bill too
I remember Skyhooks, have @ least one LP by them. I got to see/hear both Foghat and The Heep in the 70s, too. I loved both of 'em and IMO neither gets the respect they deserve, Foghat in particular. Shit man, Rod Price was one helluva good slide geetarist.
This comp is great.
The long sustained note that I had referenced was brother John Gallagher's high pitched vocal howl at the 3:11 mark. Lasts a good 12 seconds.
That's how I felt. That early Witchfynde music was like nothing I'd ever heard. Very mind expanding.
They were another one of those bands that I held their records in my hands at shops back in the day but purchased something else for some other reason.
Finally spun the MCA Box set CD of Canterbury. As mentioned by others, its an enjoyable album. Can see where if you were a DH fan back in the day that you'd find this release a little weaker than the previous releases and somewhat of a disappointment, but as the the years have pasted, its managed to age well.
Disc Two: Canterbury, 1983
2-01 Makin' Music 3:50
2-02 Out Of Phase 3:32
2-03 The Kingmaker 4:11
2-04 One More Night 4:11
2-05 To The Devil His Due 6:03
2-06 Knight Of The Swords 6:53
2-07 Ishmael 4:00
2-08 I Need Your Love 3:02
2-09 Canterbury 4:59
2-10 Makin' Music (Extended 12" Version) 6:11
Previously Unreleased Demos
2-11 Can't Take No More 3:29
2-12 Time's On My Side 3:59
2-13 Come To Hear You Play 4:06
Think you have to add them due to their influence on the NWOBHM scene even if they don't have the atypical sound.
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