EUPHORIA (UK) - BBC Session, 1981

RATING: **

There's not a great deal of info around when it comes to this mysterious outfit, one of those bands that, seemingly out of nowhere, somehow managed to record a session for BBC Radio One's "Friday Rock Show". The four songs from Euphoria were broadcasted in December 11th 1981, and it's fortunate that Tommy Vance's introduction to the session was preserved on tape, this being the primary source of reliable info when it comes to this elusive band.

Actually, it transpires that Euphoria was the solo effort of a certain Peter Leyden, a guitarist based in Tyneside who recorded a few demos in his own bedroom - pre-empting the boom of home-made recordings of the late 90s in at least a full decade - and, fearless of the consequences, sent the recordings to the famous radio rock show. Quite unexpectedly, Tommy Vance really enjoyed what he heard and asked Euphoria to lay down a session for the Friday Rock Show - something that created a bit of a problem for Peter Leyden, as there was no proper band to assist him in the first place. Everything was put together in a hurry, I suppose, but somehow he managed to recruit Ken Donaldson (B) and Alan Hepplewhite (D) to help him out in the short term, with Leyden himself assuming vocal duties.

Musically speaking, you won't get much of NWOBHM after all, as Euphoria's music is more in an unpretentious melodic rock vein, with pleasant (but quite uncomplicated) guitar arrangements and simple, puerile lyrics. The comparisions with Jimi Hendrix's music done by Tommy Vance in his preambule are not that off-the-mark, as there's definitely a feel of a bygone age - but of course don't expect anything near the guitar attack of good old Jimi, as it surely wasn't even the intention here. It's not that hard to enjoy listening to Euphoria's music, but there's nothing memorable in it too - apart from the simple-but-catchy riff of the first song, I simply can't remember anything else after listening to it, no matter how much I try. As I'm working with mp3 files who ommit the part where Tommy Vance revealed the name of the songs, your guess is as good as mine, although I think that "Looking For You" (the opening track) and "Don't Want To Lose You" (the third song) are safe bets and I would be surprised to be wrong in that. All things considered, though, I wouldn't really recommend it unless to the more open-minded NWOBHM fans, as the only logic connection of this bunch with the genre we all love is that they recorded a session for BBC while the NWOBHM boom was still pretty much going on. It's not bad at all, though - give it a chance and perhaps you might enjoy it a lot more than I did.

I'm almost entirely certain that this session for Friday Rock Show was the swansong of Euphoria, rather than the breakthrough that perhaps they thought it would be. I wouldn't be remotely surprised if they never even took shape as a proper band at all, being together solely for the purposes of this one and only recording session. Whatever the story, Euphoria vanished into oblivion in a matter of weeks after their session was broadcasted, never to be heard from again. I seriously doubt that any of the musicians involved took part in any other bands of note in later years, but i's quite difficult to determine further details on this subject. On the other hand, I was informed that Peter Leyden may actually have died not a long ago, which would no doubt be really unfortunate - but, you know, it will happen to us all eventually, so may God rest his soul. If you happen to know anything else about them (or took any role in their fortunes, even the slightest), I would wholeheartedly invite you to get in touch...

Last update: June 16th, 2013

Peter Leyden (V, G), Ken Donaldson (B), Alan Hepplewhite (D).

Tracklist unknown

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!

THE NEXT BAND (UK) - Four By Three (EP, Gannet Records, 1978)

RATING: ***

This reasonably obscure EP from 1978 may not fit that well into the NWOBHM timeline, but it more than deserves the tag if we judge it on musical merits alone, and the musicians involved are also of interest for British Metal fanatics, so let's treat it as a NWOBHM release from now on, shall we? The humble origins of The Next Band (quite a bad name for a Heavy Metal band, guys) seemingly trace back to 1977 (the very height of punk rock), with Rocky Newton (V/B), John Lockton (G) and Frank Noon (D) joining forces to form a hard rocking outfit to call their own. The "Four By Three" EP came around a year after the group's inception, recorded at the Fairview Studios in Kingston upon Hull and released in september of that year, according to some sources.

It was a very early release by NWOBHM standards, for sure, but those of us with a fondness for the genre will surely find good reasons to rejoice on this humble 7''. It's not archetypal NWOBHM at all, that's for granted - it sounds more like a quirky variant of the usual 70's Hard/Heavy music, borrowing a bit of the punk rock intensity, but not more than that. Malc McMillan, in his NWOBHM Encyclopedia, compares Next Band with the slightly more well-known Money, and it's a good reference point indeed, although I reckon that this particular bunch is a tad more heavier and intense. It's a curious and historically-relevant release, as it really justifies the notion of a pre-NWOBHM period in British heavy music - and it makes you ponder just how much the NWOBHM boom in the early 80s could actually be something being gestated for quite a while prior to its acknowledged influx.

From the four cuts included, my personal favorite would be "Close Encounters" (yeah, it does start with the inevitable five-note intro from the movie), a direct, heavy rocker with a simple-but-nice chorus and good guitar work in a very adequate NWOBHM vein. The semi-atmospheric mid section could have been chopped off, I would say, but it's brief enough to be overlooked, the final results of the track being enjoyable as a whole. "Never On A Win" is more of a melodic tune with Thin Lizzy-like twin guitar, which atempts to create a sing-along chorus without much of a success, but we're sure far from any disaster scenario here. Quite the reverse actually, as the track works well as a whole and may put a smile on the face of many listeners.

The B side starts with "Red Alert", a run-of-the-mill, mid-tempo rocker that won't set any pulses racing but won't make for a painful listening experience neither, although the semi-acoustic interlude (they seem to have had something of a difficulty with mid sections, you know) is entirely disposable. The final track "Too Many Losers" is quite an improvement, though, being another intense number with guitar work totally attuned with the NWOBHM revolution that was lurking just around the corner. And the (notably heavy) mid section actually works quite well here too! The sound production is adequate (albeit slightly poorly mixed IMO) and the Metalomether alarms reasonably loud on this one, so don't hesitate to add it to your collection if you find it for sale at a payable price. Damn sure I will do so if I ever have the chance!

As I'm sure many of you are aware, drummer Frank Noon would actually assist the later-to-become-huge Def Leppard on their vinyl debut EP in late 1978 - the two bands being close friends and seemingly sharing the idea of putting some self-released vinyl out for the masses to purchase (they even recorded it in the same studio facility, you know). Noon was never an actual member of Def Leppard, though - and, unlike their feline-inspired local rivals, The Next Band was never to reach any nationwide stardom, although they tried to reinvent themselves as Red Alert in 1979, in a bid to suitably join the NWOBHM bandwagon. Red Alert would soon rename themselves as Wildfire (not to be confused with the band of the "Brute Force and Ignorance" and "Summer Lightning" LPs), but didn't manage to last long in this incarnation, being disbanded just a few weeks after their "Run to Ground" 7'' was released in late 1980. Frank Noon and Rocky Newton would join Lionheart, while John Lockton lent his services to Wild Horses, Badlands and also German heavy rockers Victory and Rated X in later years. After Lionheart was no more, Rocky Newton found employment on the McAuley Schenker Group for a number of years, while sticksman Frank Noon kept himself quite busy, lending his services to bands such as Stampede, Dianno, Roadhouse (where he joined forces with ex-Def Leppard's guitarist Pete Willis, incidentally), Waysted and Bernie Tormé, among many others. He is still active to this day (or so it seems), which is heartwarming, I would say.

Rocky Newton (V, B), John Lockton (G), Frank Noon (D).

01. Never On A Win 3:31
02. Close Encounters 3:58
03. Red Alert 3:46
04. Too Many Losers 3:10

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!

MASTERSTROKE (UK) - Prisoner of Love (7'', DTS Records, 1982)

RATING: ****

Another one of those immensely obscure releases that became a bit less mysterious in later years, Masterstroke's sole 7'' is actually quite a good record, with two very enjoyable tunes in true NWOBHM fashion. The humble begginings of this elusive entity can be traced back to 1981 in Kent (UK), when the creative nucleus of guitarist Jimmy McFarnell, keyboardist Keith Tomlinson and singer Andy McMurray joined forces to create a Heavy Rock proposition to call their own. In the recording session that would be used for their sole vinyl release, they were assisted by Jim Wheatley (D), Simon Mills (G) and Neil Basford (B), a formation that seems to have been the most stable during the band's existence. The single came out sometime in 1982, released by the tiny DTS Records, and seems to have received a small pressing in the first place, as copies are seldom seen nowadays.

Both songs of the single are very enjoyable, although they're considerably different one from another. "Prisoner of Love" is a melodic tune who would not be out of place in your local rock radio station - if those responsible for the programming had any clue Masterstroke ever existed, that is. It has a easy-going structure and very catchy, sing-along vocal lines - the chorus, in special, is likely to stick into your mind for quite a while - carried along with great finesse by singer Andy McMurray. It's not the most skull-crushingly heavy assault you'll ever listen to in your live, OK, but it sure delivers its promise and can put a smile on the face of most NWOBHM enthusiasts. "Burning Heart", on the other hand, is a more groovy, mid-tempo heavy rocker with prominent guitars and a huge dose of energy that will surely set some feet and neck in motion. Very nice songs indeed, and a band that truly deserved better things. If you good reader EVER happen to have a copy you'd want to sell (or donate, who knows?), don't be shy and please let me know! :)

In spite of the many talents Masterstroke shown to possess in this promising 7'', the band didn't really last the distance. They tried to keep things going with some different musicians (drummer Albert Ulvmoen, for instance, joined the band towards the end of their collective existence), but unfortunately things didn't work out that well and Masterstroke was pretty much disbanded at the tail end of 1984. Of those involved, it seems that singer Andy McMurray was the one to keep himself more busy, assuming the mike stand in a number of bands - namely Shade, Catch 22, Tickled Pink, Soldier Blue and Spice"o"Life - through the years. Recently, he was (and probably still is) doing the rounds in User Friendly, a blues/boogie/rock concern, and it's nice to learn that he is seemingly still active - and that his voice still sound as strong as ever. He was helped in User Friendly by ex-Masterstroke member Neil Basford for a while, and it's great to know that Jimmy McFarnell is also plugging his guitar with User Friendly at the time of writing. Drummer Jim Wheatley was nice enough to get in touch via e-mail (thanks, my friend) and he's also back to music after a long hiatus,  playing a covers set with a blues rock band called The Flood. It's heartwarming to know that a good percentage of Masterstroke's stalwarts are still involved with music, and I wish them the best for now on. I'll surely drink to that!

Last update: July 04th, 2013

Andy McMurray (V), Jimmy McFarnell (G), Simon Mills (G), Neil Basford (B), Keith Tomlinson (K), Jim Wheatley (D).

01. Prisoner of Love 3:48
02. Burning Heart 5:00

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!

RACE AGAINST TIME (UK) - Race Against Time (Demo, private, 1980)

RATING: ***

It's common knowledge today that Race Against Time was the first known band of Mr. Dave Halliday, later to find fame (well, some) and fortune (none, unfortunately) with Hell, a band that truly embodied the "underground legend" status in years gone by and now, thanks to a kick-ass CD called "Human Remains" (2011), achieved a whole different level of success and adulation. Tragically, Dave Halliday took his own life in 1987, many years before the ground-breaking music he wrote with Hell could reach the album destiny it always truly deserved. All things considered, it's perfectly understandable that Halliday's earlier efforts with Race Against Time are also having something of a mini-revival in later years - not only their sole vinyl legacy, the track "Bedtime" for Logo's "New Electric Warriors" compilation (already reviewed somewhere around here), but also the scarce demo recordings known to exist today.

Race Against Time was a reasonably popular live atraction in the East Midlands (UK), being part of a bands cooperative with fellow groups such as Paralex and Radium, who would arrange gigs together, share gear and rotate headliners to keep things fair. As mentioned above, they made it into "New Electric Warriors", their "Bedtime" effort being one of the heaviest tracks on display, but failed to capitalise on this useful exposure, being pretty much disbanded at the tail end of 1981. Apart from "Bedtime", the only studio legacy of the band is a three-track demo recorded at Cargo Studios, released sometime in 1980 and presenting Mr. Halliday (V/G) with Al Short (B) and Geoff Green (D) as accomplices.

To be fair, Race Against Time's music wasn't a million miles away from what Hell would later become, although it's undeniably a much more run-of-the-mill, straight-forward Metal proposition. Of the songs here featured, I won't hesitate to indicate "The Harbinger of Death" as the most capable of all - unsurprisingly, it's also the song with the closest similarities to Hell. It's an intense number with many brief tempo changes, semi-demonic lyrics and a great chorus, all pieces clicking together for great effect. Dave Halliday's vocal histrionics are also shown in embryonic form here, making a clear point that the theatrical side of Hell was always something he had in mind. All in all, an extremely enjoyable number, no doubt about that.

The demo version of "Bedtime" is nearly identical to the one released on the LP compilation - there's a few subtle differences in singing, but not much else to distinguish one take from the other. It's a very direct song, with a heavy drive and lyrics filled with a debauching view on not-remotely-romantic sex ("I don't want to look inside your head / I want to take you to bed!"). As I once told, I happen to like it a hell of a lot (no pun intended), but I can surely understand that many HM devotees consider it to be a minor song, as there's surely no Metal Revolution going on here. The final song "Bleed You Dry" is a kinda odd one: I assume it is something of a banter on the then-collapsing Punk Rock scene, with scornful lyrics and even a football-anthem section to make sure the irony won't go unnoticed. It's not a song for all tastes, that's for sure - but it's surely a Heavy Metal number, and those of you already familiar with Dave Halliday's particular sense of humour (remember, for instance, Hell's now legendary "Save Us From Those Who Would Save Us") are most likely to enjoy it to the full.

I wouldn't say that Race Against Time's early demise was exactly a misfortune or musical injustice - not only because it was a crucial move to allow Hell to be spawned on earth (pun intended, sorry), but also because I'm not sure they could have gone any further in its original form. For my ears, they sound like a transitional project all along: although I'm sure it wasn't the original plan, they kinda make a bridge from the knockabout roots of NWOBHM to the more ellaborate, theatrical and complex contribution that Hell (and kindred-spirited bands such as Sabbat and - why not? - British Doom metallers such as My Dying Bride and Anathema) would develop in later years. Apart from Dave Halliday (who, as we all know, gave his blood and soul to Hell before commiting suicide in 1987), the only other member of Race Against Time to have a future role on Heavy music was bassist Al Short, who took part in Witchfynde soon after the recording of "Lords of Sin" in 1984, but didn't really had a chance to influence the fortunes of the collapsing outfit, making his personal leave of the music scene soon after the group was disbanded.

Dave Halliday (V,G), Al Short (B), Geoff Green (D).

01. The Harbinger of Death 5:08
02. Bedtime  2:50
03. Bleed You Dry 4:03

Huge thanks to Strappado Metal Blog for 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!

GOGMAGOG (UK) - I Will Be There (12'', Food For Thought, 1985)

 RATING: *

It's no secret to any dedicated Heavy Metal fan that even the most well-regarded musicians of the genre are vulnerable to some painful mistakes from time to time. I mean, they're human beings after all, right? Unfortunately, some of these regrettable experiences end up being immortalised in vinyl or CD format, becoming either a laughing stock or a ghost from the past to haunt some otherwise serious and extremely respectable artists. Gogmagog's sole EP from 1985 is one of those vinyl disasters: a venture that seemed to be very promising at first, but soon revealed itself as an unmitigated musical tragedy.

I mean, the unsuspecting metalhead can easily get quite excited about it, looking at the band credits. Paul Di'Anno (the already legendary ex-singer of Iron Maiden), Clive Burr (another ex-Maiden stalwart, who also handle the sticks for Samson), Janick Gers (ex-White Spirit and Gillan guitarist), Neil Murray (bass player of Gary Moore and Whitesnake fame) and Pete Willis (who lend his guitar talents to the immensely popular Def Leppard for a number of years). Looks promising, huh? And maybe it could have been a NWOBHM monster in its own right, if these undeniably capable musicians were willing to concentrate their efforts into being a proper band. Something that never was the case, unfortunately.

In fact, Gogmagog is an idea that came from the mind of Jonathan King, a record producer and band manager that went as far as to head Decca Records during the 60s and 70s, being also responsible for discovering highly successful groups such as Genesis, Bay City Rollers and 10cc. Considering that the most accesible branch of NWOBHM could be an interesting niche (and a shortcut for some ready cash, of course), King decided to assemble a Heavy Metal supergroup, enrolling some household names in British heavy music and hoping to get the show on the road with a huge stage production and massive media coverage. As you all can see by now, it never was the case of great musicians choosing to join forces in a new band: Gogmagog was pretty much the result of a series of phone calls, proposed contracts and commercial viabilities.

Some of the musicians invited to the venture refused to took any role in it, namely bassist John Entwistle (ex-The Who and then a solo artist) and drummer Cozy Powell (world-wide famous for his stints with Rainbow and Whitesnake). But Mr. King somehow managed to convince (outwit?) some well-respected players to sign the dotted line. To their credit, it's worth noting that some of the guys were in a slightly difficult situation at the time. Paul Di'Anno was trying to reassess his situation after a very poorly-received solo album; Pete Willis was still to figure out what to do after his departure from Def Leppard; and Clive Burr, after a brief period with french heavy rockers Trust, found no success in his post-Maiden project Stratus, in which he was helped by some ex-members of Praying Mantis. All things considered, it's not unreasonable to infer that these musicians saw in Gogmagog, more than a good money-maker, a genuine chance to put their careers back on track. Soon they would find out just how wrong they were...

Some people have suggested that the 3 tracks featured in the Gogmagog EP were taken from a larger batch of recorded numbers, perhaps sessions for an intended LP that never came out. It's not true, I must reveal: the three songs are (fortunately, I guess) the only ones Gogmagog ever laid on tape, in a very quickly-assembled recording session aimed to convince promoters to finance an UK tour. The songs were written by Jonathan King himself with the help of Russ Ballard - a much in-demand songwriter in the first half of the 80s, who wrote some good NWOBHM songs such as "Tonight" (Tokyo Blade) and "Riding with the Angels" (Samson). The fact that the material wasn't anything to set the world ablaze, though, wouldn't encourage any music entrepeneurs to splash the cash and, in spite of Jonathan King's best efforts (at least I suppose he made his best efforts, you know), not a single show ever took place. The recruited musicians surely figured out in no time how hopeless the whole venture was and jumped off the Gogmagog wagon in a matter of weeks, maybe secretly wishing none of it would ever see the light of day.

Oh well, it was surely a case of wishful thinking, as Mr. King would never lose a chance to make some money out of it. The "I Will Be There" 12'' LP actually came to be released in 1985 via Food For Thought. Although King offers an implausible version of the events surrounding the band and its sole release (click on the image to read for yourself), now the world had the chance to make their own minds about the Gogmagog fiasco. To be fair, I think the title-track is a reasonably good mid-tempo number with some good ideas on display (and Paul Di'Anno does a commendable job here too), so it's not a total disaster when it comes to musical merits. But the other two songs featured ("Living in a Fucking Time Warp", which rips off Judas Priest's "Living After Midnight" in major fashion, and "It's Illegal, It's Immoral, It's Unhealthy, But It's Fun") are not only bad: frankly, both are terrible. The record as a whole has a unmistakeable feeling of fraud, like someone who did not have a single clue on Heavy Metal trying to deceive some unwary listeners - and let's face it, that's pretty much the exact case here. 

As I'm sure you all already figured out by now, Gogmagog's EP is a plain embarassing release (although the artwork is actually not bad at all), one that may only appeal to the most obsessive Iron Maiden completists - and not on musical grounds, readers take note. It comes as no surprise to learn that the five musicians involved weren't exactly proud of the whole debacle - Jannick Gers and Pete Willis mentioned it in not-remotely-fond terms in later interviews, admiting with point-blank honesty that it was little more than a shameless cash-in, whereas Paul Di'Anno simply refused to comment on the subject for the time being. Fortunately, all the guys managed to move on, with different levels of success. Paul Di'Anno formed Battlezone and Killers (and also recorded a number of quite bizarre, not-very-respectable projects such as the "Original Iron Men" series), but later decided to just keep playing the same old Maiden songs all over the world - something that I always found to be quite sad, as I'm sure he could have done better with his music career. Today, he's engaged in a so-called Farewell Tour (his health being quite problematic for over a decade), a jaunt that recently visited my home country Brazil (I didn't attend any of the concerts, unfortunately).

Neil Murray would later record with Black Sabbath, Bow Wow, Fastway, Badlands, Brian May, Tony Martin and countless others. Pete Willis soon started his Nightrun project, later renamed as Roadhouse and that came as far as to release an eponymous album of not-really-impressive melodic rock in 1991. Nowadays, he lives a good live outside of music, running a property management company in Sheffield, UK. Janick Gers would be lost in the wilderness for a number of years before Lady Luck smiled to him - at first with Bruce Dickinson's solo project, later as a member of the mighty Iron Maiden. Clive Burr had his ventures too, sitting at the drumstool in bands such as Praying Mantis, Desperado and Elixir before being diagnosed with multiple sclerosis - a disease that ultimately (and sadly) led to his demise in early 2013. I'm thankful for all the good music, and may God rest his soul.

And what about Jonathan King, you ask me? Well, I guess he wasn't done with Heavy Metal just yet, and soon became the manager of Briar, a youthful British band that released a nice and enjoyable album called "Too Young" in 1985. Lured by the tales of glory of Mr. King, the once-promising foursome delivered a second album called "Crown of Thorns" in 1987, a truly dismal LP which even presents a terrible reworking of Ritchie Valens' "La Bamba" for no fathomable reason. Briar even re-recorded the lenghty-and-stupidly-titled "It's Illegal, It's Immoral, It's Unhealthy, But It's Fun" (a composition that takes the let's-repeat-the-name-of-the-song-over-and-over choruses to a whole new level) in a later single before giving up for good in the early-to-mid 90s, in one of the most unfortunate sequence of events in the entire NWOBHM. After experiencing some huge problems with The Law (he even endured some time behind bars for child abuse, an indictment he always vehemently denied), Mr. King went to play a major role in the successful careers of musical endeavours such as The Corrs and Chumbawamba. No further connections with the Heavy Metal universe, fortunately.

Paul Di'Anno (V), Janick Gers (G), Pete Willis (G), Neil Murray (B), Clive Burr (D).

01. I Will Be There 04:35

02. Living in a Fucking Time Warp 03:14

03. It's Illegal, It's Immoral, It's Unhealthy, But It's Fun 03:30

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!

NIGHT GAMES (UK-Wales) - Searching For An Angel (7'', Private, 1984)

RATING: ***

Yet another obscure release that few privileged individuals can actually claim to possess a copy, Night Games' "Searching For An Angel" is an uncommon release in the amazing realm of NWOBHM in a number of aspects. In fact, it transpires that these hopefuls from Gwent, Wales never actually came to be a proper band, being no more than a very short side-project of a drummer called Huw Williams - that I suppose to have been an active name on Wales' rock circuit at the time, although I've no idea on what bands he was involved with prior to this point. Apparently, the man believed to have a few good ideas to explore, and chose (after a few studio sessions with guest musicians to help matters) to release a one-sided, privately pressed promo single - in such a limited pressing that I reckon very few people ever get to listen to it. At least until some kind-hearted individual generated a mp3 file of it, that have been discreetly circulating in P2P services for almost a full decade now.

"Searching for An Angel" is actually a pretty nice hard rocker, with tuneful vocals (which remind me quite a lot of Traitor's Gate singer Robby Evans, in such a way that I wouldn't doubt it is the man himself singing here too) and an interesting, tasteful use of keyboard layers to enhance the melodic side of things. The arrangements are all very adequate too, and the composition as a whole more than qualifies as a worthy inclusion to the most melodic and classy side of the NWOBHM spectrum. A very impressive number indeed, even more if we consider that it was all hastily-assembled for an one-off spell in the studio.

To be frank, I'm not even sure this 7'' ever made into any wider circulation, as it is indeed an extremely scarce collectable these days. The idea of releasing a single with just one song in it, although not exactly unique, is kinda hard to comprehend too - I don't know, maybe it was aimed specifically to a few influential individuals in the business and/or a local radio station or two. Whatever the case, it seems to have been a very brief experience for those involved, and there's no other signs of activity from Night Games anytime, anywhere.

Huw Williams (not to be mistaken with another welsh musician who took part in outfits such as the slightly distasteful The Pooh Sticks) was a very common name for drummers in and around Wales, as there were at least three identically-named individuals sitting at drumstools throughout the 80s. As we now know, the one Huw Williams who assembled Night Games is neither (contrary to what Malc McMillan's otherwise-accurate NWOBHM Encyclopedia says) the one who played with Count Shout and December Rose, nor the one who performed with Liverpool indie bands such as The Jactars and Crickey! It’s the Cromptons (don't ask me, I don't have a clue). There's a certain Huw Williams still playing drums in Gwent, acting as a jazz musician and music teacher, but we're not sure at this point if he is the man behind Night Games or yet another guy that would make the whole situation even more difficult to elucidate. The other names involved with this venture are still to be determined - if you have any helpful info (or a reliable image of the record, as I couldn't find none), please get in touch!

Last update: June 15th, 2013

Musicians unknown

01. Searching For An Angel 4:18

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!

New Electric Warriors (Compilation, UK, Logo, 1980)

RATING: ***

Alright, I know damn too well that most (if not all) of you already own a copy of "New Electric Warriors" LP, or at least downloaded a handful of mp3 files to have a good listen at it. So, I'm perfectly aware that this compilation (released by Logo Records in the later months of 1980) is no secret to almost all potential readers of this humble blog. But I gave it a few listens lately, and I thought it would be fun to drop a few lines about it here - as this place is not only my personal Playlist, but also a good excuse to have fun with some good, old-fashioned headbanging. So please let me have a good time while reviewing this classic album, compiled by journalist Nigel Burnham at the height of the NWOBHM explosion (and please kindly read the rant of the man on the picture sleeve, as it's a very passionate - and slightly over-the-top - extolting of the spirit of those days), one of the truly seminal releases of the entire NWOBHM.

The fun begins with Turbo and their "Running" effort - a song that ephitomizes simplicity in all possible aspects, not only in its name. As previously reviewed on a earlier post, it's an extremely direct tune with marvellously brain-dead lyrics that stick like glue to your mind for days - nothing too ground-breaking or stunningly refined, that's for sure, but quite a lot of fun nonetheless. Buffalo's "Battle Torn Heroes" goes on in similar fashion (the song is pretty much the same riff repeated over and over with a small break for the chorus), but fails to achieve the same results of its predecessor, being a slightly repetitive number in comparision. Next comes Streetfighter with "She's No Angel" - a heavy-rocking tune with many solos and a prominent 70's feeling throughout. Not bad at all, if you ask me - I actually like it more than all songs from their later EP, for instance. Stormtrooper (yet another band to choose one of the most overused monickers of the Heavy Metal universe), on their turn, delivers an unremarkable number called "Grind 'n' Heat" - a very basic tune that can be heard without suffering, but won't set any pulses racing neither, and which is also plagued with a too-raw-for-its-own-good production.

Things improve greatly soon after, though, with a very talented band called Tarot and an awesome headbanging tune called "Feel the Power". It became something of a classic song for NWOBHM fans worldwide, and deservedly so: the riffing is great, the singing is top-notch, the chorus is no less than memorable and the groove of this song will set your neck in motion in a matter of seconds. The fact that they never came to release any other product of their own (and that the band members are quite hard to locate, seemingly vanished off the Earth soon after the LP was out) is extremely unfortunate, as they were surely one of the most deserving acts here featured. Shame on you, record labels of the day! Bastille's "Hard Man" pales quite a lot in comparision, although it's not a bad song at all. Actually, it is a simple heavy rocker with some good (albeit slightly rudimentary) ideas - nothing to be ashamed of, really. Anyway, let's not compare it to Oxym's "Hot Rain", next song in queue, as it would be a bit too rough with them. In fact, Oxym delivers another highlight of this LP, an inventive song which unites quite efficiently heaviness and melody - it reminds me a bit of Witchfinder General, but with a more tuneful chorus and semi-progressive guitar leads. Truly outstanding. If you're listening to the LP version, the A side will be almost over by now, and the immensely capable Dawnwatcher will close proceedings with "Firing on All Eight". Although I consider that they did even better on their two later singles, they surely do a commendable job here, with a Rainbow-influenced number full of nice twists and turns and enhanced by astute keyboard interventions.

The last eight tracks (the B side of the original release) don't make such an accomplished unit as the previous selection, although it sure have its moments. To be honest, though, I must confess I never really understood all the fuss about Vardis, you know. "If I Were King" is not a bad song at all (it's actually a good-enough boogie-metal collision with a very catchy groove in the best Motorhead vein), but it's not that remarkable either - and the fact that it's actually one of finest moments in Vardis' career is to say something about the band's musical inheritance. Silverwing's "Rock and Roll Are Four Letters Words" is nothing to set the world ablaze too, although their proto-sleazy heavy rocking is so immature that it actually turns out to be quite funny and entertaining. The first enthusiastic thumb-up on side B, nevertheless, comes in the form of Rhabstallion and their very capable "Chain Reaction" effort. It's an intense, solid heavy rock with a somewhat 'serious' feeling to it, like they had something good to deliver and were too focused to have fun while playing it. Nothing too polished or too thoughtful, but it works out quite well, and the let's-repeat-the-name-of-the-song-four-times-in-a-row chorus actually do the trick in this particular case. I also enjoy Colossus' "Holding Back Your Love" (a not-that-hard rocking tune with many keyboard layers and soft, tuneful vocals), though I suppose that it's perfectly forgivable if the more die-hard metalheads among you consider it to be a bit too sweet for your tastes.

The next two tracks (Jedediah Strut's "Working Nights" and "Still On the Outside" from Warrior - yes, another one) are so emblematic that I use both to measure the "NWOBHM coefficient" of a given Heavy Metal fan, as it helps me to determine just how much enjoyment he (or she) would take from the really obscure NWOBHM stuff. Let's face it, most of the rare singles and demos that people are crazy to hear are either simple heavy tunes centered around a nice-but-predictable riff (as Jedediah Strut's contribution) or mid-tempo heavy rockers with more than a hint of the 70s and a slightly predictable song structure (as in the Warrior tune here). If you happen to enjoy at least one of these songs, then your NWOBHM coefficient is high enough to justify some digging into the underground; if both songs fail to cause any impression on you, then I guess you can live a pleasant and healthy life without caring too much with the real obscurities. Personally speaking, I happen to enjoy Warrior's number a bit more, but both are funny listens to me, though I know in my heart that there's nothing too extraordinary going on. Therefore, I guess I'm something of an incurable case when it comes to this wonderful branch of heavy music...

That said, Kosh's "The Hit" will be useless for none but one Heavy Metal measurement: in fact, if you can sincerely look into my eyes and say you love this song from the bottom of your heart, then you surely deserve the Heavy Metal Medal of Honor for die-hard metalheads. It's quite a painful listen, to be honest, with the poor production and out-of-tune vocals only demeaning an already difficult experience. It's all too amateurish for their own good, and I guess Mr. Nigel Burnham commited a mistake here, as they clearly were not ready for a vinyl debut just yet. If they could have done better with a few more years of hard working is something that seemingly will be forever open to debate - but "The Hit" is just a plain bad song and recording, sorry about that. To close proceedings, Race Against Time (centered around the now-legendary Dave Halliday in his pre-Hell days) launches into "Bedtime", a not-very-subtle metaphor on mundane sex which may be slightly tasteless for more delicate palates but which turns out to be one of the heaviest songs here, with a very strong groove well suited for a bit of headbanging. I like it, and even put it among my favorite songs in here, but I can surely accept that some people would be less-than-impressed with it, as it isn't a true ground-breaker in any sense.

"New Electric Warriors" was only a mild success when it comes to taking the bands featured one step further in the business. Only Vardis and Silverwing (later reincarnated as Pet Hate) went as far as to release a few LPs; Buffalo and Rhabstallion would release full CDs but only in much later years, as part of the NWOBHM revival of the mid-to-late 90s. Turbo, Streetfighter, Oxym and Dawnwatcher would get as far as to release one or two single/EPs of their own, but not else (and I must add that, contrary to common belief, Jedediah Strut was never close to release any vinyl product of their own); the remaining acts would have this LP as their sole claim to fame, something which is very unfortunate in some cases. All things considered, though, "New Electric Warriors" is more than a must-have for any serious NWOBHM collector: it's also a good introduction to this fascinating period in British Metal music, and in Heavy Metal as a genre. Don't hesitate too much on buying a copy when you have the chance - and, if you happen to have been a member of any of those bands (the mighty Tarot, for instance) please please please get in touch!

See picture scan of the back cover for further details

01. TURBO - Running 2:38
02. BUFFALO - Battle Torn Heroes 3:34
03. STREETFIGHTER - She's No Angel 6:05
04. STORMTROOPER - Grind 'n' Heat 4:03
05. TAROT - Feel the Power 5:31
06. BASTILLE - Hard Man 3:45
07. OXYM - Hot Rain 3:33
08. DAWNWATCHER - Firing On All Eight 4:10
09. VARDIS - If I Were King 3:02
10. SILVERWING - Rock and Roll Are Four Letter Words 3:16
11. RHABSTALLION - Chain Reaction 3:47
12. COLOSSUS - Holding Back Your Love 3:37
13. JEDEDIAH STRUT - Working Nights 2:42
14. WARRIOR - Still On the Outside 3:38
15. KOSH - The Hit 3:02
16. RACE AGAINST TIME - Bedtime 2:57


Extra thanks to The Corroseum for 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!