Originally hailing from Toronto, Canada, psychedelic occult rock band Blood Ceremony were formed sometime in 2006 by guitarist Sean Kennedy, who recruited vocalist / flautist / organist Alia O’Brien, bassist Chris Landon and drummer Andrew Haust.
The band’s name was apparently taken from the English translation of the Spanish horror movie about the Countess Elizabeth Báthory from 1973 titled “Ceremonia Sangrienta”. This is rather appropriate in two ways. Firstly the band’s music is firmly rooted in the early Seventies, the likes of which you may have found on the legendary Vertigo label (particularly early Black Sabbath) as well occult rockers Black Widow and the great Jethro Tull, the latter thanks to O’Brien’s flute work. Secondly the band’s lyrical stance is concerned with all manner of occult themes – witchcraft, magick, devil worship etc.
The group’s debut album “Blood Ceremony” was released in 2008 and was followed in 2011 by the record through which I originally discovered the band, their second album “Living With The Ancients”. By thistime bassist Landon had been replaced by current bass player Lucas Gadke.
A further line-up change occurred prior to the recording of album number three “The Eldritch Dark” (2013), with Michael Carrillo taking over the drum stool from Haust. That record, influenced in part by classic horror film “The Wicker Man”, had a much less overt Black Sabbath influence than the first two, and continued the improvement in the band’s sound and material.
Now, following lead single “Old Fires”, comes the group’s fourth album – and second with the line-up of Kennedy, O’Brien, Gadke and Carrillo – titled “Lord Of Misrule”. The album kicks off with a fabulous seven-minute-plus song “The Devil’s Widow” which contains all that is great about this band. Doom metal style guitar riffing, progressive twists and turns, folky flute playing to rival that of the aforementioned Jethro Tull and a nicely sinister vocal delivery from the frontwoman – not to mention that it’s really catchy too.
Chief songwriter Kennedy has done a marvellous job here, as there is not one duff track and the album feels like a natural progression from the last one. Gadke and Carrillo provide solid foundations, but it is the material and guitar playing of Kennedy and the multi-talented performances of O’Brien that really give this band their magical retro-inspired sound.
Personal highlights on the album include “Loreley”, the acoustic “Things Present, Things Past”, the brilliant “The Weird Of Finistere”, “Half Moon Street” and “The Devil’s Widow”. The band have stayed true to their early Seventies vibe and pagan sensibilities whilst also managing to broaden their sonic scope. A great album that really appeals to my love of Seventies progressive and folk rock, great songwriting and, of course, matters related to paganism and the occult. Fabulous stuff and highly recommended…
“Lord Of Misrule” tracklist:
1. The Devil’s Widow / 2. Loreley / 3. The Rogue’s Lot / 4. Lord Of Misrule / 5. Half Moon Street / 6. The Weird Of Finistere / 7. Flower Phantoms / 8. Old Fires / 9. Things Present, Things Past
Legendary British heavy metal band Black Sabbath have been with us since 1968. Formed in Birmingham by guitarist Tony Iommi, bassist Geezer Butler, vocalist Ozzy Osbourne and drummer Bill Ward, the blues rock band was originally known as Earth. At the end of that year Iommi left briefly to join Jethro Tull, before returning to Earth early in 1969.
The band changed their name to Black Sabbath, apparently inspired by the Mario Bava film of the same name, and took a new musical direction. A recording contract followed and their eponymous debut album was one of the first albums to be released by the famous Vertigo record label.
Iommi has been an ever-present member since then, and indeed the original foursome lasted until 1977 when Osborne quit, only to return the following year for the “Never Say Die!” album. However in 1979 he was shown the door.
Numerous musicians have graced the ranks of the band since then, with perhaps the most notable being vocalist Ronnie James Dio (1979-1982, 1991-1992 and 2006-2010 – when the band traded under the moniker Heaven & Hell playing only Dio-era material (although they used the Black Sabbath name for the three new songs recorded for the 2007 “The Dio Years” compilation album). The other recording vocalists have been Ian Gillan (1982-1984), Glenn Hughes (1985-1986) and Tony Martin (1987-1991 and 1993-1997).
Osbourne himself served as vocalist from 1969-1977, 1978-1979, 1997-2006 and from 2011 to date, Butler has provided bass guitar from 1969-1985, 1990-1994 and 1997 to date, whilst Ward’s tenures were from 1969-1980, 1982-1985, 1994-1997, 1998, 2006 and 2011-2012.
The original foursome reunited in late 2011 after Heaven & Hell had ended as a result of Dio’s death from cancer in 2010. Unfortunately, for reasons that the four don’t seem to be able to agree on even the cause of, Ward pulled out of the reunion in early 2012 and was replaced on tour by drummer Tommy Clufetos who’d worked with Osbourne on his 2010 solo album “Scream”. Keyboardist / rhythm guitarist Adam Wakeman, who also appeared on “Scream” also appeared on tour.
When Iommi, Butler and Osbourne entered the studio in the summer of 2012, however, they enlisted the services of former Rage Against The Machine drummer Brad Wilk as a session player.
The resulting record, titled “13” surfaced in 2013, and was the band’s nineteenth studio record and the first full album of new Black Sabbath material since 1995’s “Forbidden”.
A big hit, “13” was planned to be followed up by a new album in 2015. However, it has since transpired that the three founding members could not agree on doing so with Iommi laying the blame on Butler, stating that he had “…so many riffs. I wrote a whole load of stuff for another album and we met up in L.A. but the others… well, Geezer didn’t particularly want to do another album…”, whilst Osbourne for his part said “…I’m 67 in December, it would take three or four years to write and record an album,and so we decided just to do a farewell tour…” Given that “13” was recorded in the space of six months this latter claim seems a little suspect. Nonetheless, the band are nowworking their way through their final “The End” world tour.
For those of us who wanted to hear more after the excellent “13” album there is good news. Whilst the deluxe version of “13” boasted twelve tracks (as opposed to the regular edition’s eight), it turns out that the band actually recorded sixteen. And so it is that the remaining four tracks have been released as an EP, also called “The End”, with the addition of four live tracks.
So, how does it hold up and is it a fitting end to the band’s long career? Well opener “Season Of The Dead” is seven-plus minutes of excellence. Iommi’s riffing is peerless, Osbourne’s multi-tracked vocals are spot on and Butler and Wilk provide a solid and thunderous rhythm section. There are some tasty martial rhythms in the guitar and drum parts too. Why this didn’t make it onto “13” is a complete mystery!
“Cry All Night” is just under seven minutes of doom metal at its finest and “Take Me Home” features a nice acoustic guitar solo from Iommi on top of another of his trademark riffs.
Meanwhile “Isolated Man” is blessed with an incredibly catchy riff that dominates the final minute of the track, following another great Iommi solo. I could have happily listened to that riff for another minute or two at the end to be honest!
Of the four live tracks, the near-ten-minute “God Is Dead?” is sonically poor – bootleg quality really – and sadly highlights the deficiencies in Osbourne’s live vocal abilities these days.
“Under The Sun” sounds better, as do the final two tracks, though Osbourne still struggles. Only one of these four songs, “God Is Dead?”, made it onto the band’s 2013 live album “Live… Gathered In Their Masses” so it’s nice to have versions of two more “13” tracks performed live, but realistically it’s only going to be the four studio songs that receive repeat plays here in the shadows.
So, half of it holds up to “13” – even betters some of it – and that same half is a fitting end to the Black Sabbath story. It’s just a shame about the second half. Shame the three of them couldn’t have agreed to record a proper final studio release, as I expect that would have been a far better epitaph to this great band…
“The End” tracklist:
1. Season Of The Dead / 2. Cry All Night / 3. Take Me Home / 4. Isolated Man / 5. God Is Dead? / 6. Under The Sun / 7. End Of The Beginning / 8. Age Of Reason
1 – 4 recorded during “13” sessions (2012/13) / 5, 7 & 8 originally from “13” (2013) / 6 originally from “Vol. 4” (1972)
American progressive rock band Spock’s Beard were formed in 1992 by brothers Neal Morse (lead vocals / keyboards) and Alan Morse (guitars), together with drummer Nick D’Virgilio and bassist John Ballard.
Following a change of bass players to Dave Meros the band released their debut album “The Light” in 1995, after which the band’s line-up expanded to include additional keyboardist Ryo Okumoto.
This configuration of Spock’s Beard released a further five studio albums together up to and including the double concept album “Snow” in 2002. Neal Morse’s conversion to Christianity prompted him the leave the band immediately after the release of “Snow” to enable him to fully express his new-found faith through solo work, with D’Virgilio taking on lead vocals as well as drums.
Four further albums followed until D’Virgilio himself quit the band in late 2011. He was replaced with new lead vocalist Ted Leonard and drummer Jimmy Keegan and the revised line-up released their first album together, titled “Brief Nocturnes And Dreamless Sleep”, in April 2013.
August 2015 saw the release of the band’s twelfth studio album, and second by the current line-up, “The Oblivion Particle”.
This is one of those albums that isn’t suited to many of the youth of today, not being something disposable that can be audibly consumed in bite size chunks. No, as with all good progressive rock this needs to be listened to in its entirety, and a good few times, before the various layers of what’s going on here really begin to reveal themselves.
That isn’t to say that this music is not accessible – it certainly is as there as some great melodies to be found here – but it is complex as challenging as well as engaging and entertaining.
Opener “Tides Of Time” is a case in point. Clear vocals, nice harmonies, memorable melodies plus complex structures, multiple layers of keyboards and guitars etc. Really, it’s the most “traditional” Spock’s Beard track here.
“Minion” is more of the same, but with an updated approach. The guitar riffs are heavier on this record, but the band haven’t strayed into progressive metal territory, there’s still plenty of light to go with the shade!
Instrumentally, as well as the usual guitars we find Alan Morse dabbling with autoharp, banjolele, electric sitar and mandolin, broadening the sonic palette further. For further variety, drummer Keegan provides the lead vocal on “Bennett Builds A Time Machine”.
There is plenty of excellent music on this album, but as things stand my favourite tracks are the epic ten minute “To Be Free Again”, “A Better Way To Fly”, “Tides Of Time” and “Disappear”. The only reservation I have is over the bonus track, a cover of the Black Sabbath classic “Iron Man”, here sung by bassist Dave Meros, which seems rather superfluous and out of place to be honest.
Of the main album proper, however, I have no such reservations. This is modern progressive rock at it’s best whilst still firmly rooted in the classics of the seventies. Granted, if progressive rock’s not your thing, then “The Oblivion Particle” isn’t likely to change your mind, but if it is then this album really is something quite special.
“The Oblivion Particle” tracklist:
1. Tides Of Time / 2. Minion / 3. Hell’s Not Enough / 4. Bennett Built A Time Machine / 5. Get Out While You Can / 6. A Better Way To Fly / 7. The Center Line / 8. To Be Free Again / 9. Disappear / 10. Iron Man
Recently I looked back at my favourite albums from 1981. Having previously also looked at 1982, 1983, 1984, 1985 and 1987, I guess it’s time to start filling in the missing years from that decade in music.
So, back to the beginning today with 1980. As with any other year previous to 1981, which is when my love of music really began, the majority of the music here was discovered in retrospect…
AC/DC “Back In Black”
The Australian band’s seventh studio album, released in the summer of 1980, this was the first record with Brian Johnson on vocals following the death of his predecessor Bon Scott in 1979.
Produced by Robert John “Mutt” Lange, the record was to be a massive success and is one of the highest selling albums in history. Two tracks were released as singles in the UK and US – “You Shook Me All Night Long” and “Back In Black” itself – both of which were top 40 hits, whilst the album featured very strong material in the shape of “Hells Bells”, “Shoot To Thrill”, “Given The Dog A Bone” and “Rock And Roll Ain’t Noise Pollution”.
One of the best albums in the AC/DC catalogue, and an excellent hard rock record in anyone’s book.
2. Adam And The Ants “Kings Of The Wild Frontier”
Although “Kings Of The Wild Frontier” was the second album from Adam And The Ants, following 1979’s “Dirk Wears White Sox”, this was the record that saw the band gaining huge chart success.
The band’s manager Malcolm McLaren recruited Ant’s band members to a new band, Bow Wow Wow, at the start of 1980 leading to a completely new line-up being recruited including guitarist Marco Pirroni who co-wrote all the tracks on the new album with Ant.
The record, released towards the end of the year, showcased the band’s new tribal sound, heavily influenced by the presence of two drummers in the line-up, and spawned three singles that all made it into the UK top three – “Dog Eat Dog”, “Antmusic” and the title track.
Other great tracks on this unique and brilliant record are “Ants Invasion”, “Physical (You’re So)” and “The Human Beings”. An 80s classic.
3. Black Sabbath “Heaven And Hell”
Just like AC/DC, Black Sabbath in 1980 were effectively looking to re-launch themselves with a new singer, in this case following the dismissal of Ozzy Osbourne after eleven months of fruitless recording sessions. New singer Ronnie James Dio, who had previously been in the band Rainbow, brought a powerful and commanding vocal presence to the proceedings and was responsible for all the lyrics on the resulting “Heaven And Hell” album.
The record, which would become the band’s highest charting platter (making the top ten in the UK) was followed by two single releases in “Neon Knights” and “Die Young”, but it’s the album’s title track that is the real highlight here, and was usually extended beyond it’s initial seven minute duration when performed live in concert. Another classic heavy metal record.
4. Dire Straits “Making Movies”
Although vaguely aware of the single “Romeo And Juliet”, which was a hit in early 1981, I don’t think that Dire Straits really came across my radar until sometime around the release of their live 1984 album “Alchemy”.
Nonetheless, “Making Movies” now ranks at number three on my personal Dire Straits chart, behind “Brothers In Arms” and “Love Over Gold”.
A quite cinematic sounding record, “Making Movies” contains the excellent “Tunnel Of Love” and “Skateaway” (both also released as singles) as well as the delicate “Hand In Hand” and uptempo numbers “Expresso Love” and “Solid Rock”. Less vital, for me, is the closing “Les Boys”, a song about gay men performing cabaret in a German disco bar complete with “…leather straps… SS caps… a little S&M…”. That misstep aside, though, great album.
5. Gillan “Glory Road”
Former (and now-current) Deep Purple vocalist Ian Gillan’s band Gillan (which followed the more jazz rock flavoured Ian Gillan Band) released their third album “Glory Road” in October 1980.
The group had frequent appearances on BBC TV’s “Top Of The Pops” during the early 80s and this record featured two of their singles in “Sleeping On The Job” and “No Easy Way”.
The original vinyl release came with a free second record, titled “For Gillan Fans Only” which contained outtakes and specially recorded material and showcased the band’s humorous side.
On the album proper, my favourite tracks are “Time And Again”, “Nervous”, “On The Rocks”, “No Easy Way” and the brilliant “If You Believe Me”. With the free record this was superb value for money.
6. Iron Maiden “Iron Maiden”
The debut album from the Paul Di’Anno fronted Iron Maiden, this self-titled record contained a number of future classics.
Two top forty hit singles were present, “Sanctuary” and “Running Free”, whilst the title track would become a concert favourite.
“Phantom Of The Opera” – the band’s first long and complex number – was used for a time in advertisements for Duracell batteries and “Charlotte The Harlot” spawned a sequel on 1982’s breakthrough album “The Number Of The Beast”. Although only really hinting at the potential of this now legendary band, and not as good as follow-up “Killers”, this is still a very good debut album.
7. The Police “Zenyatta Mondatta”
Released a year and a day after previous album “Regatta De Blanc”, “Zenyatta Mondatta” was the third album by Sting’s former band The Police. The band, completed by guitarist Andy Summers and drummer extraordinaire Stewart Copeland, played a mixture of rock and reggae with some punk and jazz influences.
This particular album was recorded in Holland within four weeks, a period that also saw the band play concerts in Milton Keynes and Dublin, and they left for the next part of their 1980/1981 world tour on the same day that recording sessions finished!
Despite this, two of the band’s biggest hits came from this record, “De Do Do Do, De Da Da Da” and the teaching experience / Lolita-inspired “Don’t Stand So Close To Me”. Other great tracks on this album included “When The World Is Running Down, You Make The Best Of What’s Still Around”, “Canary In A Coalmine” and “Shadows In The Rain”. One of The Police’s best albums.
8. Saxon “Wheels Of Steel” / “Strong Arm Of The Law”
Cheating slightly here, I suppose, by including two albums as one, but Yorkshire heavy metal band Saxon released their second album “Wheels Of Steel” in May 1980 and follow-up “Strong Arm Of The Law” at the beginning of September 1980. Both albums now form part of the band’s “holy trinity” of albums (together with 1981’s “Denim And Leather”).
“Wheels Of Steel” contained singles “747 (Strangers In The Night)”, “Suzie Hold On” and “Wheels Of Steel” as well as classic “Motorcycle Man” and “See The Light Shining”.
Of the two, however, “Strong Arm Of The Law” is the stronger. Although it only contains one single, the title track, amongst the album tracks there are numerous classics including “Heavy Metal Thunder”, “20,000 Ft.”, “Hungry Years”, “Sixth Form Girls” and the ever excellent “Dallas 1 PM”. A golden era for the band, that’s for sure.
9. Status Quo “Just Supposin’…”
The thirteenth studio album from British rock band Status Quo, “Just Supposin’…” was actually recorded at the same sessions that produced the follow-up, 1981’s “Never Too Late” album.
It was this record, though, that contained the stronger songs. UK top twenty hit singles “Lies”, “Don’t Drive My Car” (those two as a double A side), “What You’re Proposing” and “Rock ‘N’ Roll” (which was released after the “Never Too Late” album) are all present and correct.
In addition there are the quite brilliant album tracks “Run To Mummy”, “Over The Edge” and my personal favourite “The Wild Ones”. Taken together with the subsequent album and those recording sessions were seriously productive, and this is one of my favourite Status Quo albums to this day.
10. Thin Lizzy “Chinatown”
Following 1979’s classic “Black Rose (A Rock Legend)” album, which finally harnessed the excellent Gary Moore in the studio for the band, was never going to be an easy task for Thin Lizzy.
For many the band’s tenth studio outing “Chinatown” is something of a disappointment. Moore had left the band (again) and been replaced by former Pink Floyd touring guitarist Snowy White, whilst keyboards had also been added to the band’s sound.
Having got into the group via 1981’s compilation album “The Adventures Of…” I was already familiar with this album’s two hit singles “Chinatown” and “Killer On The Loose” before obtaining a copy of the album itself.
Although the latter stages of the record is pretty good, it’s probably fair to say that the record’s best material is on side one (as it was in those days) as that contained both singles, the anthemic “We Will Be Strong”, the catchy “Sweetheart” and “Sugar Blues” which featured some brilliant drum work from Brian Downey. So, not the band’s best work, but a Thin Lizzy album is always welcome on the turntable.
That’s my top ten albums of 1980 then. Margaret Thatcher was in her first full calendar year as the Prime Minister in the UK whilst Jimmy Carter was in his final year as President of the USA. In football Liverpool won the old First Division with the FA Cup going to West Ham. Cinema-wise, top films released included “The Empire Strikes Back”, “9 To 5” and “Airplane!”.
I’m returning today to my occasional top ten albums of the year posts, and to what is probably my favourite decade in music – a period of time that started a few months into my secondary school career and ended when I was a fully fledged grown up – the 1980s.
I’ve already covered five years (1982, 1983, 1984, 1985 and 1987) so, without further ado, listed alphabetically, these are my favourite ten albums of 1981…
AC/DC “For Those About To Rock”
Released late in the year, this was the first AC/DC album to make it into my collection, having heard the single “Let’s Get It Up”.
Following the monumentally successful “Back In Black” album (released in the summer of 1980) must have been some task, but the band certainly rose to the challenge.
The second single to come from the record was the title track, an epic number with thunderous final section featuring a twenty-one cannon salute – apparently inspired by cannons being fired during the televised wedding of Prince Charles and Princess Diana which occurred during the recording of the album – and has become a highlight of the band’s live shows.
Other favourites on the record are “Inject The Venom”, “Evil Walks” and “C.O.D.”. An excellent hard rock album.
2. Black Sabbath “Mob Rules”
“Mob Rules” was the second studio album to feature Ronnie James Dio as vocalist and the first to feature new drummer Vinny Appice.
A heavy sounding record than the preceding “Heaven And Hell”, the album contained two hit singles with “Turn Up The Night” making number 37 in the UK and the title track hitting number 46 along with other great tracks like “The Sign Of The Southern Cross” and “Voodoo”.
3. Blackfoot “Marauder”
Jacksonville, Florida based southern rock band Blackfoot came to my attention when they released a double pack 7″ featuring the “Dry County” single and a free live single recorded at the Monsters Of Rock festival at Castle Donington in August 1981.
The parent album “Marauder” was the last studio release to feature the classic line-up of Rickey Medlocke, Charlie Hargrett, Greg T. Walker and Jakson Spires.
Favourite tracks on this excellent record include “Good Morning”, “Diary Of A Workingman”, “Too Hard To Handle”, “Fly Away” and “Rattlesnake Rock ‘N’ Roller”. The classic live album “Highway Song – Live”, recorded in Europe and released in 1982 would be the last release before the band decided to change their sound to chase chart success, ironically leading to diminishing returns both commercially and artistically – but this album remains a classic of the genre.
4. Def Leppard “High ‘N’ Dry”
The second album from Sheffield hard rock band Def Leppard, “High ‘N’ Dry” saw the group team up with legendary producer Robert John “Mutt” Lange for the first time and start to show the qualities that would break the band into the big time with 1983’s “Pyromania” and 1987’s “Hysteria” albums.
Two singles were released to promote the album, “Let It Go” and “Bringin’ On The Heartbreak” – the latter became a minor hit when issued in remixed form in 1984 and was covered in 2002 by pop singer Mariah Carey.
Also featured on “High ‘N’ Dry” are the great album tracks “Another Hit And Run”, “No No No”, “Lady Strange” and the instrumental “Switch 625”.
5. Duran Duran “Duran Duran”
Duran Duran’s self-titled debut album was released in the summer of 1981, having been preceded by singles “Planet Earth” and “Careless Memories”.
Something of a guilty pleasure at the time – my circle of mates at school were all heavily into rock music, with favourite bands being Led Zeppelin, Thin Lizzy, The Sweet, Slade, Saxon and Iron Maiden – but this fantastic new romantic pop album remains one of my favourites of the era.
A further hit single followed in the form of “Girls On Film” and the band’s 12″ remixes, often known as “night versions”, and popular videos certainly helped the album’s success. My favourite non-single tracks on the record include “Friends Of Mine”, “Sound Of Thunder”, “Anyone Out There” and “Night Boat”. Excellent.
6. Foreigner “4”
The third album on this list produced by Robert John “Mutt” Lange (AC/DC and Def Leppard being the other two), this particular record is probably best known for the hit single “Waiting For A Girl Like You” which reached number 3 in the UK.
Two other tracks were released as singles in the UK – “Urgent” and “Juke Box Hero” – and it was through hearing the latter of BBC Radio One’s “Friday Rock Show” that I got into the band. The best-selling album of the band’s career and an excellent melodic rock record.
7. Iron Maiden “Killers”
The band’s second album, “Killers” was to be the final one to feature original vocalist Paul Di’Anno before his sacking and replacement with Bruce Dickinson.
I’d say that this record also has my favourite cover, by Derek Riggs, of any of the Iron Maiden albums to date.
Musically, the album built on the strengths of the previous year’s debut and was written almost solely by bassist and founder Steve Harris (the exception being the title track, co-written with Di’Anno).
There are two singles from the album in “Purgatory” and “Twilight Zone” – the latter of which was not originally included on the record, being included on the US version and later CD reissue. Other great tracks here include two instrumentals “The Ides Of March” and “Genghis Khan” as well as songs like “Wrathchild”, “Innocent Exile” and “Murders In The Rue Morgue”.
8. Rainbow “Difficult To Cure”
The fifth studio album from Ritchie Blackmore’s band, this one was the first to feature third lead vocalist Joe Lynn Turner, saw the band’s sound continue to become more commercial in approach.
There were two singles from the record – “Can’t Happen Here” and “I Surrender” – to hit the UK top twenty, and this was an album that spent a lot of time in my Sony Walkman.
Hits aside, my favourite tracks are “No Release”, “Spotlight Kid” and “Difficult To Cure” itself, which was a fabulous reworking of Beethoven’s Ninth Symphony.
9. Saxon “Denim And Leather”
“Denim And Leather” was Saxon’s fourth album, and the third of their “holy trinity” to hit the shelves in just eighteen months.
Three singles were issued – “Princess Of The Night”, “Never Surrender” and “And The Bands Played On”. The latter became the band’s most successful single to date and describes their experiences when playing at the inaugural Monsters Of Rock festival the previous year.
“Play It Loud” and “Midnight Rider” are great album tracks, but the title track is one of the best and a firm live favourite through the years since.
10. Status Quo “Never Too Late”
The first Status Quo album that I owned – received instead of a chocolate egg for Easter ’81 – I had been introduced to the band by hit single “Something ‘Bout You Baby I LIke”.
Apparently recorded during the same sessions that spawned 1980’s “Just Supposin'” album, “Never Too Late” is often regarded as the weaker of the two – indeed the follow-up single to “Something…” was taken from “Just Supposin'”! This was also the last album to be recorded featuring the “frantic four” of Rossi, Parfitt, Lancaster and Coghlan.
Nevertheless, with material like “Riverside”, “Long Ago”, “Mountain Lady” and my personal favourite “Take Me Away” this is still a very good Status Quo album.
In the wider world, Margaret Thatcher was Prime Minister in the UK and Ronald Reagan became President of the USA – replacing Jimmy Carter. In football the old first division champions were Aston Villa, with Tottenham Hotspur winning the FA Cup. On the big screen the top films of the year were “Raiders Of The Lost Ark”, “On Golden Pond” and “Superman II”.
In 2012 German singer Johanna Sadonis and Swedish guitarist Linnéa Olsson formed heavy metal band The Oath. For reasons that remain unclear that band suddenly announced their spilt soon after the release of their self-titled debut album last year.
Rising from the ashes of The Oath, Sadonis has teamed up with former Cathedral guitarist Gaz Jennings to form a new band – doom / occult metal (self-described as heavy magic rock) band Lucifer.
“Lucifer I” is their debut album. In addition to Sadonis and Jennings, the group’s line-up includes former Zoltan / The Oath drummer Andrew Prestridge and bassist Dino Gollnick, formerly of The Projects.
There are a fair number of bands these days that pay homage musically and / or visually to the great rock bands of the 70s – some good, some less so. Lucifer and one of the better ones. In fact I’d go so far as to say that they are excellent. Carved from the same kind of monolithic rock that spawned the likes of early Black Sabbath, Electric Wizard and, naturally, Cathedral.
The record kicks off with “Abracadabra”, an uptempo track with a superb riff from Jennings. Throughout the album I was impressed with the vocal delivery of Sadonis – even more so than on The Oath’s album – and was reminded of Mostly Autumn’s Olivia Sparnenn for some reason.
“Purple Pyramid” continues things with more fabulous riffing. The songwriting on this album is of a very high quality and the production is very good too. The most Black Sabbath-like track to my ears is, fittingly, “Sabbath” – complete with doomy riff and tolling bell!
My personal highlights would be “Total Eclipse”, “Izrael”, “Abracadabra” and the brilliant “A Grave For Each One Of Us”. Fans of early Black Sabbath, Cathedral etc. will find much to enjoy here. Love it…
“Lucifer I” tracklist:
1. Abracadabra / 2. Purple Pyramid / 3. Izrael / 4. Sabbath / 5. White Mountain / 6. Morning Star / 7. Total Eclipse / 8. A Grave For Each One Of Us