Pounding Decibels- A Hard and Heavy History

Chula Vista · 10-21-2014, 08:50 AM

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Originally Posted by Unknown Soldier

You sound like somebody that plays the guitar to spot that tidbit.

Been playing about 40 years and played professionally in the late 70s, early 80s.

Unknown Soldier · 10-21-2014, 09:49 AM

Quote:

Originally Posted by Chula Vista

Been playing about 40 years and played professionally in the late 70s, early 80s.

What sort of stuff were you playing, as this era you`ve stated is probably my favourite when it comes to music in general?

The Batlord · 10-21-2014, 09:51 AM

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Originally Posted by Urban Hat€monger ?

you're not taking in to account one factor.
Kiss were bigger in Europe and the rest of the world in the 80s than they were in the 70s. Because they knew that their popularity was declining in North America they made a point to play in places like Europe, Australia & South America more regularly, places they either hadn't played in years or had never been to.

And it worked, Lick it Up was their highest charting album in the UK up till that point.

Europe definitely seems to have more diversity in popular music than America does. Is that partly because the countries have more cultural differences, or business issues that make it harder to treat a bunch of separate countries as one market, and so there's just a more wide variety of taste country to country, which perhaps leads to musical osmosis between different them? Is it the smaller sizes of cities in Europe that perhaps allow for scenes to develop more easily?

Chula Vista · 10-21-2014, 10:52 AM

Quote:

Originally Posted by Unknown Soldier

What sort of stuff were you playing, as this era you`ve stated is probably my favourite when it comes to music in general?

A ton of 70s era Rush. Pat Travers, UFO, Zep, Yes, Max Webster, Be Bop Deluxe, Bowie, etc.

Unknown Soldier · 10-21-2014, 11:52 AM

Quote:

Originally Posted by Chula Vista

A ton of 70s era Rush. Pat Travers, UFO, Zep, Yes, Max Webster, Be Bop Deluxe, Bowie, etc.

Be-Bop Deluxe hardly ever get mentioned on this forum and Rush far too often. Besides Zep there`s quite a lot of UFO stuff in this journal as well. Also I really like Max Webster as well, one of the zanier bands of their time.

Plankton · 10-21-2014, 12:01 PM

Quote:

Originally Posted by Unknown Soldier

Steeler named after a Judas Priest song are by and large mostly remembered as the launchpad for the virtuoso guitar skills of Yngwie Malmsteen, who of course would go onto become one of the pivotal neo-classical guitarists of the decade. He largely garnered this acclaim after the demise of Randy Rhoads as far as American based artists were concerned when it came to neo-classical guitarists. Around this time most US metal bands were usually in awe of the guitar histrionics of guitarists like Eddie Van Halen, but the introduction to US shores of Sweden’s Yngwie Malmsteen would be something of a sensation around 1983 and 1984 period especially with the release in 1984 of Rising Force. His sensational neo-classical style came straight from the European school of guitarists like Ritchie Blackmore and Uli Jon Roth and he would contrast starkly with purer metal sound delivered by guitarists like Eddie Van Halen.

Will you be doing a review of Alcatraz? Malmsteen's succession after Steeler.

Unknown Soldier · 10-21-2014, 12:15 PM

17. Trance Power Infusion 1983 (Rockport Records)
Heavy Metal

We’re the true children of Teutonic metal.

The Lowdown
One of the purest metal sounding releases of the year from a band that hardly get any credit. West Germany as it was back then, had over the years produced the best non-British or American heavy acts around. The wave had initially started with the proto-metal classics put out by bands like Lucifer’s Friend and Night Sun (see reviews and to find them use The Batlord’s awesome index) this of course continued with the Scorpions who basically cornered the German metal market for the rest of the decade and set the tone not just for German metal bands, but for a lot of metal bands in general. The 1980s saw a huge explosion of Teutonic metal and I’m talking here before its thrash metal and power metal days, which were still a few more years down the line. Of these bands Accept were the biggest, but a huge host of bands like Gravestone, Avenger, Sinner and Viva (their 1981 album What the Hell is Going On! just missed my list for that year) along with a load of metal bands I’ve never heard anything by, were putting out albums that all have their admirers. From the ones that I have listened to Trance with their second album Power Infusion really stood out for its quality and energy, and was originally chasing a slot at most in position 20 on this year’s list, but with a recent listen this album has now edged itself further up the list as it just got better on each listen. Power Infusion is quite simply a pure metalhead’s album nothing more or nothing less and never was an album cover more accurate especially with its metal infusion into the arm, of what the material underneath would be like, which would be a headbanger’s delight. Their debut album Break Out in 1982 had been a decent blood and guts effort, but by the time of their sophomore Power Infusion the band had really tightened up and turned the screw on what they were dishing out, which was a pure metal thoroughbred for metal aficionados. The most striking aspect of the album is its pure intensity that hardly lets up and boy when these Germans knew how to play metal, they really knew how to play it and they took no prisoners either! Much of the album is galloping metal that likes to stall in places, but always has a punchy style and this is the kind of metal that I really dig and get excited with. Tracks like “Heavy Metal Queen” “SLD” and “Sensation” all fall somewhere into this category. The other top tracks on the album are “Children of Illusion” the lightest effort on the album and has vocalist Lothar Antoni entering Klaus Meine territory, it’s also a track that wouldn’t be out of place on an Iron Maiden album either. Then there is the frenetic “Glasshouse” with its pulsating rhythm section and an absolute killer. The majestic sounding arrangements of “Shock Power” have the song rolling along almost on cruise control as the band sound just so at ease with what they’re doing here. “Burn Your Lies” harks to Rob Halford vocally and has some strong sections before embracing too much commercialism (see below) and album closer “Storm & Thunder” is some pretty juicy speed metal. The only tracks that I don’t particularly like are “Rockstar” and parts of “Burn Your Lies” despite the fact that the latter track has some strong moments (see above) overall these tracks have that central/northern European manufactured sound, that would soon become popular with artists like Nena and Europe in the mid-1980s. Lothar Antoni’s gruff shrill with that German tinge is an absolute winner on nearly every track here, as is the varied guitar tones laid down Markus Berger and most plaudits point to the strength of the band’s steady rhythm section of both Thomas Klein and Jurgen Baum. A favourite review site of mine, states this album as a perfect example of what a lost metal album really is (which of course is a quality gem with all the right ingredients now totally forgotten, just like it never existed) and it’s a statement that I totally agree with concerning Power Infusion, as I doubt too many people out there will be aware of this album. I’m not necessarily calling this album a metal classic, but like Savatage before it this is an album that demands the attention of any serious metal listener and deserves a few listens and it sits as a great example of early 1980s Teutonic metal. On a final note the band were forced to change their name for legal reasons to Trancemission in 1989 before going back to Trance in 1998. Neither name is particularly metal sounding, but never was a name so misleading, as you won’t find too much out there more metal sounding than this album.

Lothar Antoni- Vocals
Markus Berger- Guitar
Thomas Klein- Bass
Jurgen Baum- Drums

Production- N/A

Unknown Soldier · 10-21-2014, 01:28 PM

Quote:

Originally Posted by Plankton

Will you be doing a review of Alcatraz? Malmsteen's succession after Steeler.

The Alcatraz album missed the cut, despite the fact that I think "General Hospital" was one of the best tracks of the year. and a song I'm pretty addicted to.

The problem I face now, is that each year there will probably be around ten albums people think I should be including in the top 20 but haven't got the room to fit them all. This year alone there is at least 10 albums that on a different day, could easily challenge the albums that I'm placing between say 14-20 on the list.

The Batlord · 10-21-2014, 03:53 PM

*The Batlord patiently awaits for Exciter*

Plankton · 10-21-2014, 03:55 PM

Quote:

Originally Posted by Unknown Soldier

The Alcatraz album missed the cut, despite the fact that I think "General Hospital" was one of the best tracks of the year. and a song I'm pretty addicted to.

The problem I face now, is that each year there will probably be around ten albums people think I should be including in the top 20 but haven't got the room to fit them all. This year alone there is at least 10 albums that on a different day, could easily challenge the albums that I'm placing between say 14-20 on the list.

I'm thinking this is based on popular opinion (polls and such). Hearing an Alcatraz cassette for the first time in the 80's was by far one of the most 'elite' type of experiences I'd had up until that point in time, so I can see where it would be under the cut coming from that criteria. And yes, GH is one of his best work on that, without a doubt.