BOLLWEEVIL (UK) - Rock Solid (7'', Ellie Jay, 1981)

RATING: ***

It took a remarkably short space of time for Bollweevil to leave a indelible (albeit belated) mark into the NWOBHM conscience. Most scholars agree that their collective existence was a very fleeting one, and the band's actual lifespan may have been limited to a single year in total, or even less. Still, the five-piece proposition from Surrey (UK) went as far as to record a couple tracks and release it as a 7'' single on the small-but-prolific Ellie Jay label. And this humble slice of vinyl (edited, as far as we know, in a very small run of a few hundred copies), though mostly ignored at the time of its release, would soon become a huge deal as soon as the NWOBHM collecting scene stablished itself in around the early 90s. Well, you all know the score from this point onwards: the "Rock Solid" single is a very rare gem that rarely comes out for sale, and it takes considerable amounts of moolah to get hold of a copy in playable condition. But is it that good, you ask me? Well, I guess everyone will have a different opinion, but I would say that the hype around it is mostly justified.

The song "Rock Solid" became something of a obscure classic for NWOBHM addicts, for both musical merits and razor-sharp irony. The production is pretty poor to be honest, with guitars seemingly plugged in a not-very-good home system and a snare drum that seriously sound like a pan - not to mention the very nasal singing of Barry Oaten, that sounds almost like a cartoon character in places. Surprisingly, such shortcomings are not enough to ruin the listening experience - quite the opposite actually, as they render the song in question even more light-hearted and funny. It's a very upbeat heavy rocker with nice guitar leads, ultra-catchy vocal lines and enthusiastic (though considerably brain-dead) lyrics about the pleasures of well, you know, rock 'n' rolling. You could listen to this track many times in a roll without ever get bored, which is quite an achievement when you keep things as simple as Bollweevil do. Flipside "Sands of Time" is a completely different kind of tune: it starts with a sedate, atmospheric intro soon metamorphosing into a mid-tempo, slightly epic composition with quite a forceful drive. Maybe not as memorable (and off-the-wall) as the A-side, but still a cool song in its own right, so it's fair to say Bollweevil's sole 7'' offers a very good return for any collector's money.

Despite being an interesting addition to the NWOBHM universe, it turned out to be a one-off. No further recordings from Bollweevil were ever unearthed (which tends to suggest this was their only visit to a studio) and there's virtually no mention to live appearances at any stage. I guess it's reasonable to think the lads played a few small-club gigs, but they probably never put that much effort into promoting themselves, opting to disband not long after "Rock Solid" hit the shops and swiftly returning to their day jobs. Not surprisingly, no one really know what happened to the guys since Bollweevil became history. Some have hinted that guitarist Steve Spencer hooked up with some indie rock outfits in the mid 80s, included an act called Jeda, but the axeman's name is such a common one that we need some further evidence before taking it as a fact. As usual, any further info on Bollweevil would be greatly appreciated, so if you happen to know anything, please kindly get in touch :)

Barry Oaten (V), Steve Spencer (G), Kevin Bezant (G), Brian Reid (B), John Cope (D).

01. Rock Solid
02. Sands of Time

Have you been involved with any of the bands mentioned here? Have any extra info and/or corrections? Please e-mail me at drequon@gmail.com and let me know!

GARBO (UK) - The Dancing Strange (7'', Rarn Records, 1982)

RATING: ***

Many dedicated NWOBHM collectors are probably well familiar with Janine, a slightly glam-oriented outfit that released quite a well regarded 7'' called "Crazy On You" (or "Crazy Onion", as some sarcastic listener once pointed out to me in quite a memorable way) before disbanding by early 1982. It wasn't the end of the line for the musicians involved though, and most of them kept their careers going at least for a while. Janine's singer Bob Hamilton, for instance, established a new band called Garbo, keeping the mike stand and also accumulating guitar duties. His old chap Andy Steele (who also took part in Janine for a while) took over the drumstool, and bassist Billy Colvin (another old friend of Hamilton, both formely associated with a youthful act called Necromancer) swiftly joined in, the trio becoming what was soon to be know as Garbo.

What comes next is not exactly a sucessful story - Garbo seemingly lasted for little more than a year with such a moniker - but at least they managed to release an EP to forever remind us of the band's existence. Released by the small Rarn label at the second half of 1982, "The Dancing Strange" is a considerably adventurous record, filled with quirky ideas and a laudable leaning towards experimentation. Actually, I must make it clear that we're not dealing with a pure-blood heavy metal record: Garbo seems to be way more comfortable as a glam rock outfit (the front cover tells no lies, you know) with generous synth rock influences - not the heaviest music you'll ever hear, but still close enough to fit the ever-expanding NWOBHM multiverse.

The title track is a semi-acoustic number with very creative arrangements and catchy backing vocals. The slightly atmospheric middle section breaks the mood quite efficiently while not overstaying its welcome, and it's another highlight on a pretty interesting song. Nice tune indeed. The other remaining songs are not that effective, I think, but are still within the required standards. "Why Don't You Call Me?" is the most unusual when it comes to song structure, and perhaps its many different parts are a bit too much for such a short track (little more than two minutes in total), as it does sound a bit confuse at first. It grows on you after repeated listens, but I would still consider it to be the less accomplished composition here, although far from being really objectionable. "Everyday Hallucinations" brings another simple-and-catchy chorus to the table (Bob Hamilton seems to have been quite good writing choruses BTW, as it was also a highlight in Janine), and it's perhaps the closer we'll get to heavy metal waters around here, though it's more of a Marc-Bolan-meets-The-Damned kind of tune. The bridge to the chorus could be a bit less freakish (the unpredictable can sometimes be a song's undoing, as we all know), but it's a song that sticks to your mind with little effort, so it's sure way more a triumph rather than a flop.

It seems Garbo went under such a name until 1983 at the very latest, then assuming a new identity as Vis a Vis and writing new material more attuned with indie rock than anything more forceful or metallic. Remarkably, Bob Hamilton and Billy Colvin remained a musical force at least until the early 90s and possibly beyond, both being active at the small-club circuit up to this day. It's heartwarming to learn that some talented musicians out there just never give up playing rock, as sometimes people are too focused on pursuiting fame and money and forget that it's all supposed to be fun after all. I'll drink to that. Thanks for all the music, lads.

Bob Hamilton (V/G), Billy Colvin (B), Andy Steele (D).

01. The Dancing Strange
02. Why Don't You Call Me?
03. Everyday Hallucinations

Thanks a ton to Heavy Metal Rarities Forum for audio files and picture scans!

Have you been involved with any of the bands mentioned here? Have any extra info and/or corrections? Please e-mail me at drequon@gmail.com and let me know!

CHALLENGER (UK) - So Sure of Yourself (7'', CMC, 1981)

RATING: ***

This little NWOBHM artifact, though not horrendously obscure, is far from being widely acknowledged as a worthy inclusion to the ranks of the movement. Still, I must say I like it quite a lot, and it's too bad these lads from Yorkshire (UK) - whoever they were, as I'm not really enlightened about that at present -  didn't manage to release further singles, as "So Sure of Yourself" (b/w "Out to Kill") presents many promising features.

Seemingly the main focus of attention, "So Sure of Yourself" is a classic rock number with reasonably catchy vocal lines (delivered with a very healthy level of finesse BTW) and a drive not dissimilar to Uriah Heep's "Look at Yourself" (a huge influence here, by the look of things), though the keyboards remind me more of The Doors to be frank. Not the most skull-crushingly metallic song you'll ever listen to in your life, but it's a very pleasant tune with decent instrumentation that will sure appeal to those who have nothing against some classic heavy/rock from time to time. Flipside "Out to Kill" is the most metallic of the pair, with atmospheric arrangements and slightly more prominent guitar work, not to mention far more thoughtful lyrics. Norman Lee Ward seems to have been quite a gifted singer, and the keyboards from Peter Whitford are very creative, going from the gloomy to the almost enthusiastic with interesting results. The production doesn't help matters though, as it takes all heaviness out of the compositions - such a shame really, as I'm sure that specially "Out to Kill" would benefit from a more metal-oriented outlook.

It has been hinted for a while that Challenger would be something of an offshot band, the musicians involved using soubriquets so to conceal their actual identities, supposedly due to their not-remotely-metal musical origins or something. I would not rule out such a possibility, but I don't think it's a very convincing one, though there's precisely zero tangible information regarding any of the musicians involved. Maybe they were just a youthful bunch who never took things that seriously and retreated to the 9-to-5 world not long after their sole vinyl release hit the shops. Whatever the story, I would surely love to know more, as I happen to enjoy the scarce musical legacy from Challenger. If you have any first-person accounts to offer, please kindly get in touch, will you?

Norman Lee Ward (V), John Wakefield (G), Martin Keighley (B),
Alistair Wiseman (D), Peter Whitford (K).

01. So Sure of Yourself
02. Out to Kill

Have you been involved with any of the bands mentioned here? Have any extra info and/or corrections? Please e-mail me at drequon@gmail.com and let me know!

LORD MANTIS (USA) - Death Mask (CD, Profound Lore Records, 2014)

RATING: ****

If there's any sort of soundtrack in hell, I think it's safe to say that Lord Mantis is getting very close to sucessfully transcribe it. "Death Mask" is their third attempt to conjure something terrible and unnamable with their music, and I wouldn't be remotely surprised if a few demons start hanging around your house after a single listen of this CD. To take the bizarre metaphors even further, I think that this album (starting from its magnificently disturbing artwork) may be very difficult for most heavy metal fans to stomach, and even those already initiated into sickening music will need some time to fully digest the foul meal Lord Mantis is serving this time around.

Their brand of blackened sludge metal is corrosive enough to dissolve generous doses of drone and doom into it, creating a pestiferous bouillon that reeks of terror and tastes like pure insanity. Lord Mantis also adds a disturbing ritualistic feel to their music, like they're invoking despicable things rather than just singing about it. It's a somewhat hypnotic atmosphere, enhanced by groovy-yet-abrasive guitars and song structures that create a sense of vertigo, a twisted kind of drive perhaps comparable to slowly sinking in fetid quicksand. And I must say that Charlie Fell's singing is one of the most raspy and desperate I have heard in quite a while. Actually, instrumental track "You Will Gag For the Fix" comes as an unusual kind of relief: though the ambiences are far from soothing, there's not a single word being shouted or muttered in it, and it gives the listener a pause to breathe before that perverted monster comes out of the speakers once again.

It's hard to mention single tracks here, as the atmosphere the album conjures is the real winner. It starts fast and desperate, then slowly submerges in unpleasant blurriness until you just realize there's no longer a way out. "Death Mask" is a cohesive unit, in such an extent that I seriously doubt any individual songs would have the same effect if taken out of the running order. Still, I think that "Possession Prayer" (with a truly scary chanting of "Blood! Rust! Incinerate!" that gets the more uncanny due to its apparent lack of sense), "Negative Birth" (some intimidating blast-beats going on, and the singing is particularly filthy here) and "Body Choke" are impressive enough to deserve special mention. "Coil" is also interesting, with some morbid spoken intro being followed by unwholesome robot-like singing, but the track as a whole is more like a long and vile interlude than a proper composition. Still it works quite well, that's for sure, thanks to the cohesive flow I mentioned above.

Lord Mantis sound twisted, repulsive, brutal and most of all unique on "Death Mask", surely one of the most disturbing (and individualistic) listening experiences in recent memory. I wonder if any other bands will dare to follow their footsteps in the near future.

Charlie Fell (V/B), Ken Sorceron (G), Andrew Markuszewski (G), Bill Bumgardner (D).

01. Body Choke
02. Death Mask
03. Possession Prayer
04. You Will Gag For the Fix
05. Negative Birth
06. Coil
07. Three Crosses

Have you been involved with any of the bands mentioned here? Have any extra info and/or corrections? Please e-mail me at drequon@gmail.com and let me know!

DEMON PACT (UK) - Released from Hell (CD, High Roller, 2012)

RATING: ***

Demon Pact came and went very quickly at the height of the NWOBHM boom: took part in a local-band compilation ("Kent Rocks", 1981), released a 7'' single (also in 1981, coupling the tasteful ode to cannibalism "Eaten Alive" with the slightly less tongue-in-cheek "Raiders") and promptly disappeared without a trace. Their very intense (and somewhat politically incorrect) music, carried along by extremely rude vocals, captured the imagination of those who enjoyed more blasphemous branches of Heavy music - and the front cover of their sole vinyl offering, depicting a scantly-clothed she-devil with huge bat-like wings, surely helped matters. It took over three decades for the world to hear all that Demon Pact had to offer - but the good old High Roller would not let us down for long, and now we have "Released from Hell", on both CD and vinyl, to show what the fuss was all about.

The instrumentation is competent enough, but don't expect any showcases of dexterity: they keep it (mostly) tight and (always) simple, their raw interpretation of the NWOBHM ethos sounding like a slightly less frantic and more riff-oriented version of Venom. I always considered Donald Meckiffe to be a fundamental part of Demon Pact's appeal: his rasp, kinda sloppy (and hardly in-tune) vocal delivery may sound a bit too jarring for some ears, but definitely adds an element of intensity to the music, sounding even a bit menacing sometimes - listen to him on "Eaten Alive" and perhaps you will get my point. It comes as no surprise to learn that his decision to leave led the band to almost immediate desintegration: his singing was unsophisticated perhaps, but it was surely unique and potentially unreplaceable.

Some songs are actually quite strong, such as the aforementioned "Raiders" (nice bass playing and a reasonably catchy chorus, my personal favourite really), "Demon Pact" and "Escape", all presenting the band at their heaviest and with some pretty respectable riffing too. But this CD also shows that the lads still had to considerably hone their songwriting skills if they really aimed to better things, as "Ain't No Woman" and "Cry Witchcraft" were both very rudimentary in terms of song structure. There was a lot of talking about an "unreleased album" from Demon Pact, but "Release from Hell" is proof that it was urban legend after all: their studio legacy is brief (only 7 songs) and the production is raw, to say the least - enough for a few demos and a semi-independent 7'' single, but I suppose they would need further visits to the studio if they ever wanted to release a full LP at the time.

But even the rough edges of the studio offering sound almost overly-produced when we get to the live section of this CD: everything is so poorly recorded that sometimes you can hardly understand what's actually going on. Donald's voice is even more crude than usual, and it's fair to say that ditties such as "Physical Feedback" and "Sick Child" (some of it recorded when the band was still called Fenris Wolf) seems to have been spawned from the very depths of hell, for good and bad. Maybe even Lemmy Kilmister would be a tiny bit shocked with the noisy version of "No Class" here featured... This album closes with two rather pointless inclusions from an ill-fated late 70s project called Rudi Mental: the connection with Demon Pact is extremely tenuous, the production is very poor and the punk rock leanings of "Plain Talk" and "Don't Bother Us" are of minimal interest for NWOBHM addicts. Well, I tend to think almost every piece of music on Earth deserves an official format to call its own, so let's assume it was the only way it would ever find the light of day and hope some more tolerant punk enthusiasts will find joy in listening to it.

All things considered, "Released from Hell" is a good compilation for NWOBHM collectors, but I tend to think those who are not really obsessed about the period in question may find it a bit less enjoyable as a whole. Not that this CD was ever meant to conquer the world in the first place, of course. Maybe Demon Pact could have achieved a higher profile if they managed to stick together a while longer, but I reckon they fulfilled their actual lifespan; let's face it, the scarce vinyl legacy and the lack of information about the band were decisive to create an aura of mystery, and this is what made them underground legends in the end.

Donald Meckiffe (V), Richard Dickerson (G), Alan Dickerson (B), Ian Finlay (D). Also performed: Simon Li (V/G/B on Rudi Mental titles), Roy Bridle (B), Phil Wickenden (D on Fenris Wolf titles).

01. Demon Pact (R. Dickerson, A. Dickerson)
02. Raiders (R. Dickerson, A. Dickerson)
03. Eaten Alive (R. Dickerson, D. Meckiffe)
04. Ain't No Woman (R. Dickerson)
05. Physical Feedback (R. Dickerson)
06. Escape (A. Dickerson)
07. Cry Witchcraft (R. Dickerson, A. Dickerson)
08. Demon Pact (remix) (R. Dickerson, A. Dickerson)
09. Eaten Alive (original mix) (R. Dickerson, D. Meckiffe)
10. Ain't No Woman (remix) (R. Dickerson)
11. Physical Feedback (live) (R. Dickerson)
12. Born to Die (live) (Demon Pact)
13. No Class (live) (Clarke, Kilmister, Taylor)
14. Losing (short version) (live) (R. Dickerson)
15. Sick Child (live) (R. Dickerson, D. Meckiffe)
16. K & F (live) (Demon Pact)
17. Losing (full version) (live) (R. Dickerson)
18. Plain Talk (from Rudi Mental) (S. Li)
19. Don't Bother Us (from Rudi Mental) (S. Li)

Have you been involved with any of the bands mentioned here? Have any extra info and/or corrections? Please e-mail me at drequon@gmail.com and let me know!

WOLFSBANE (UK) - Massive Noise Injection (CD, Essential/Bronze, 1993)

RATING: ****

You don't need to be an Iron Maiden obsessive to know that singer Blaze Bayley was strutting his stuff with Wolfsbane before joining Steve Harris' army - and that such a choice was much less based on Blaze's singing abilities than on his stage presence during a tour that Maiden and Wolfsbane made together in 1990. "Massive Noise Injection" was recorded in 1993 and it captures a very special moment for the band - not only because it was a gig at the legendary Marquee Club of London (UK), but also because the band were just voted the best unsigned act of the previous year - quite an encouragement for a band that, despite being regarded as a promising act, were just dropped by previous label Def American. "With this single moment we slice the cancer of indifference from our lives forever", celebrates the band at the booklet notes, and it is indeed the feeling that emanates from this record: a band that refuses to concede defeat, determined to go from strenght to strenght.

Wolfsbane always felt at home playing an upbeat, straight-to-the-point mix of British Metal with punk rock, glam and alternative rock 'n' roll, and "Massive Noise Injection" presents their collective talents in no uncertain terms. And if their studio input never really captured the band at their best, this live recording shows for all to hear what the fuss was all about. The CD is as live as it gets, really: the rough edges are audible, the production keeps everything simple and there's an avalanche of energy coming out of every song. Blaze Bayley himself deserves a mention, as I seriously think he is at his best here: his voice fails him in places, his range is far from impressive, but he sings all these sex-drugs-and-rock'n'roll lyrics with such an effort and such a passion that it turns out to be really funny and extremely catchy. His stage banter is also priceless: he spends a lot of time threatening the audience ("put your fists in the air or I'm coming out there and fucking kill you" and stuff like that), but in such an irresponsible, good-spirited way that it only adds to the electrifying atmosphere.

I dare to say every single song here is better than the studio versions, and tunes like "End of the Century", "Manhunt", "Black Lagoon", "Steel", "Loco", "Money to Burn", "Kathy Wilson" and so on (really, I could mention the entire tracklist if I wanted to) were surely crafted to drive an audience wild. Speaking of those in attendance that night, I reckon they may have been not that many, but they sure are totally into it, singing along with the choruses and basically having a whole lotta fun. Wolfsbane have the audience at their mercy, and they give them no time to rest. I'm not even sure why Wolfsbane ever bothered to record studio offerings, as they were such a great live band that a live recording every couple years would be a much wiser move if you ask me. It's unfortunate that Blaze's departure, right after the releasing of Wolfsbane's best studio album ("Wolfsbane", from 1994), signalled the end of the line for the band, as they were undoubtedly a very talented bunch. Things are now full circle though, as Blaze (now a solo artist, as you sure know) reunited with his partners in crime and Wolfsbane is back for more. Heartwarming, for me at least.

If you know nothing about Wolfsbane, this is the CD you should invest your money in, as you will hardly find a better picture of what the group used to be before Maiden come their way. Not an all-time classic perhaps, but if you're playing this one very loud with the lights turned out and still doesn't feel like being there that  night, well, you better seek medical help. Or else you can go fuck yourself, you fucking wanker (that's what Blaze would say, you know!).

Blaze Bayley (V), Jase Edwards (G), Jeff Hatley (B), Steve "Danger" Ellett (D).

01; Protect & Survive
02. Load Me Down
03. Black Lagoon
04. Rope & Ride
05. Kathy Wilson
06. Loco
07. End of the Century
08. Steel
09. Temple of Rock
10. Manhunt
11. Money to Burn
12. Paint the Town Red
13. Wild Thing

Have you been involved with any of the bands mentioned here? Have any extra info and/or corrections? Please e-mail me at drequon@gmail.com and let me know!

MIRAGE (UK, Wales) - Biography

Being an amateur NWOBHM researcher may be slightly frustrating sometimes. It's not uncommon that your hard efforts are rewarded with absolutely no success at all, and sometimes suceeding isn't even that good in the end of the day: old "classics" may not be that hot, and old musicians often are not that proud of what they did in the dim and distant past... But believe me when I tell you, sometimes it TOTALLY worth the effort indeed. I have been very lucky recently when it comes to track down members of long gone (but never really forgotten) NWOBHM bands, and I'll do my best to give you some exclusive info in the coming weeks. For starters, please let me drop you a few lines about the mighty Mirage from South Wales - a band that capture people's collective imagination for decades, and an history that I'm really proud to say that is still going strong at this very moment!

Mirage came to existence sometime in 1983, while guitarist Richard Price from West Midlands was doing his time in Cardiff, studying Chemical Engineering at the Polytechnic of Wales. After a minor experience with a youthful band called Nova in the early 80s, Richard Morris wanted to have a band to call his own once again, and a few ads in Cardiff music shops got him in touch with Gerry Turner (D), Richard "Wretch" Morgan (V) and Carl Skinner (B). They chose the name Mirage and became something of a promise almost immediately, although it transpires that they performed no more than a couple of local gigs during the course of their existence. They went as far as to record a handful of original songs, one of those ("Blind Fury") picked up by the tiny Notepad label for inclusion in a humble local-band compilation, called "Notepad Productions Vol. 1" and released in 1984. They also took part in a local Battle of the Bands competition, but Mirage didn't really last the distance in its original form, the project being laid to rest even before the end of the year.

Maybe nobody would really take notice of Mirage's only vinyl appearance if not for our good friend Malc MacMillan and his invaluable NWOBHM Encyclopedia from 2001. MacMillan reviews "Blind Fury" in very enthusiastic terms, describing the track (pretty much the only Metal on display there) as a "superb, catchy, mid paced number with an excellent vocal performance" and "truly one of the classic tracks of the entire NWOBHM genre". You don't need much more than that to spark the imagination of a NWOBHM aficionado - and it was over a decade of wondering about Mirage and "Blind Fury" until I finally get in touch with two of the band members (drummer Gerry Turner and Richard Price on guitar), very nice people who treated me with great kindness and furnished me with info and invaluable music files - incluiding the elusive "Blind Fury", the classic track few people had the chance to hear.

After listening to it several times, I can wholeheartedly tell you that Mr. Malc MacMillan was completely right all along. What a nice song it is! It's a simple, yet extremely catchy mid-tempo heavy rocker which brilliantly captures the energy of a youthful bunch of talented musicians. The vocal lines are excellent (the bridge to the chorus is particularly impressive) and delivered with great talent by Mr. Wretch, whereas the other players completely overshadow the rough edges of the overall performance with massive quantities of sheer (and contagious) enthusiasm. It shows more than simple promise: actually, these guys were GOOD, and they really could (should?) have become a way more popular band under different circumstances. If you're not convinced just yet, you can watch this video, edited by Mr. Price himself (and he was kind enough to mention this humble blogger in it, which I consider to be a huge honor indeed), where "Blind Fury" appears in all its glory. Listen and believe!


As earlier mentioned, Mirage was over at the tail end of 1984, but it wasn't the end of the line for the musicians involved. After a brief spell under the name Blondel, the Price / Morgan / Turner trio relocated to Price's hometown Birmingham and, assisted by Andrew Foster (B/K), reassembled as High Society. They wrote many songs in a more eccletic and experimental vein, the resulting material not being really connected to Heavy Metal, although the songs are mostly very enjoyable. They went as far as to put together a rehearsal studio of their own but, sadly, High Society split up in 1988, before leaving any proper recordings registered for posterity.

Singer Richard Morgan ran the High Society's studio for a few years after the band was history and later joined another band called Electraglyde, even releasing a full CD with them in the early 90s. Gerry Turner is no longer playing drums on a regular basis, but it's still pretty much active when it comes to music, home-recording lots of material in a one-man-band called Temple of Doubt and receiving some deserved airplay on Internet radio stations. Unfortunately, after keeping a very low profile on music for the remainder of his life, Mirage's bassist Carl Skinner passed away a few years ago, the kind of news that I'm always sad to share, really.

Richard Price would join a band called Serene Machine in the early-to-mid 90s, releasing a self-financed CD and performing a lot of gigs, the overall sound of the band being more attuned to bands such as Smashing Pumpkins and Suede. Since 2004, he plays guitar with Love Commandos, a very interesting rock band I would really reccomend you to give a chance to. They already have an album out (called "Siren" and available on iTunes) and a new release is a reasonable prospect in the near future, so it's heartwarming to know that Richard Price's guitar will surely be around for a good number of years to come.

And what about Mirage, you ask me? Well, it's great to say that we actually do have some news to share! Richard Price and Gerry Turner are very much in touch to this day and, after locating a handful of unreleased demos, are strongly considering a vinyl release to call their own. The tentative 7'' single will couple the outstanding "Blind Fury" with "Twilight Zone", a heavier affair with intense riffing and a catchy chorus. Let's hope for it to materialize in the near future, as the world would sure be a better place with a few more Mirage songs around!

Million thanks to Gerry Turner and Richard Price for kindly answering my e-mails and helping me with all the music and info on Mirage. A huge thank you to Mr. Malc MacMillan too, whose indispensable NWOBHM Encyclopedia (and the enthusiastic review to "Blind Fury") kept the flame alive for over a decade, making us all wonder about Mirage and their contribution to British heavy music. I'm a learner and a fan, and I bow to the three of you! :)