classic rock's NWOBHM recommended CDS

Buyers’ Guide: NWOBHM

terrybezer / Buyers Guides, Features / 10/12/2008 13:00pm





Geoff Barton’s pick of the New Wave Of British Heavy Metal…
Looking back, the New Wave Of British Heavy Metal kinda snuck up on you. In 1979, when this amazing musical movement began, I – along with thousands of other music fans in the UK, I’m sure – was obsessed by the giants of American rock. Punk had driven the British metal scene so far underground that its battered, bullet-belted body had been discovered in Australia. Alright, so the likes of Judas Priest were still doing the rounds – and successfully, too – but overall a depressing cloud had settled over everything be-denimed and be-leathered in Britain.
America was largely unimpressed by the UK punk phenomenon; over there, rock behemoths still roamed loud and free: Aerosmith, Kiss, Ted Nugent… even Boston. These guys had mythical qualities us Brits couldn’t match.
This was before the ‘information age’, remember. News about these far-distant US bands was hard to come by, and lightweight American rock mags like Hit Parader were no good at all. So the American groups took on legendary, heroic status in the UK. And on their occasional forays over here they were greeted like conquering heroes. They had super-slick shows; their PAs were louder than Smurf; their light shows made the aurora borealis look like a 40-watt bulb.
But in Britain suddenly it all changed. All-new heavy groups inspired by punk’s do-it-youself ethic began to meander out of the metalwork. Prior to punk it was inconceivable for a British rock act not to have A Major-Label Record Deal, A Stage Show On Ice, or A Country Mansion On A Ley Line. Sod all that. Because of punk, young long-hairs suddenly understood that they could record and press up their own singles, book their own gigs… and subvert people’s senses in a brand new way.
From Sheffield came Def Leppard with their Getcha Rocks Off EP on their own Bludgeon Riffola label. Iron Maiden made a self-financed start with The Soundhouse Tapes. And indie label Neat Records started signing bands left, right and centre: The Tygers Of Pan Tang, Venom, Raven, Fist and many, many more.
The NWOBHM was a remarkably fertile time in UK rock history. It’ll likely never be repeated. And while it’s true that the NWOBHM ultimately spawned only two truly world-class bands (Maiden and Leppard), the same could be said of thrash (Metallica and Slayer) or grunge (Nirvana and Pearl Jam). Whatever, more than 25 years after its inception, there is endless interest in the NWOBHM. It’s still coming on strong. (Geoff Barton)
ESSENTIAL - THE CLASSICS






IRON MAIDEN
Iron Maiden
EMI, 1980
Is Iron Maiden’s debut album also their best? Even today you could make a strong case for saying so. In comparison with the sleek prog-metal machine the band evolved into, Iron Maiden sees them as a bunch of scruffy East End herberts with a powerful point to prove. That signature Steve Harris bass sound is there from the start, and singer Paul Di’Anno is on prime form. Bruce Dickinson might try his damnedest, but songs such as Prowler and Charlotte The Harlot just aren’t the same without Di’Anno’s growl. Much has been made of Maiden’s punk influences, but in truth Iron Maiden is just an aggressive metal album, and as raw as an open wound.
VENOM
Welcome To Hell
Neat, 1981
The first – and possibly only – truly ground-breaking album to come out of the NWOBHM, no one had heard anything like Welcome To Hell before. And after a single listen, most people never wanted to hear anything like it again.
Flanked by his depraved and despicable helpers Mantas (guitar) and Abaddon (drums), Venom bassist/vocalist Cronos recreated the sound, smell and insufferable heat of Hades itself in a scabrous studio in north-east England. “We’re possessed by all that is evil,” they gargled. And no one argued with them. Songs like In League With Satan and Witching Hour defined the genres we know today as thrash and black metal.
SUPERIOR - THE ALBUMS THAT BUILT THE GENRE






SAXON
Saxon
Carrere, 1979
People used to accuse Saxon of jumping on board the NWOBHM battlewagon. Certainly they had been around for some years, touring under the name Son Of A smurfette, before it all kicked off. Indeed such was the lack of interest in the band that they were forced to release this album on an unknown French disco label.
A precursor to their career-defining Wheels Of Steel album, Saxon’s self-titled debut still has plenty to recommend it. Despite its occasional prog leanings, it’s a great initiation into the world of the NWOBHM. And singer Biff Byford’s call to arms – ‘Stallions of the HIGH-WAY-HEE-AAY!’ – remains utterly irresistible.
SAMSON
Survivors
Laser, 1979
Like the guys in Saxon, guitarist Paul Samson was an old stager. But there’s an argument to made that Mr Rock’N’Roll by Samson (the band) was the first bona fide NWOBHM single – it certainly predated Def Leppard’s Getcha Rocks Off EP.
Survivors is a sprawling record on which Samson were clearly trying to find their niche. Most people will point to their second record, Head On, as being better, but in terms of nascent NWOBHM-ness Survivors has the edge. It’s hard to resist an album that contains a song called I Wish I Was The Saddle Of A Schoolgirl’s Bike. The vocals of Bruce Bruce, later to become known as Bruce Dickinson, are very impressive.
DIAMOND HEAD
Lightning To The Nations
Happy Face, 1980
The original versions of this album are massively collectible: 12-inch vinyl records that came in plain white sleeves signed by members of the band. Some had all four signatures, others didn’t, so who knows how many variations there were.
Lightning To The Nations is a real tour de force, and is probably the most professional and well-rounded of all the early NWOBHM releases. Guitarist Brian Tatler nonchalantly plucks classic riff after classic riff out of the air, and vocalist Sean Harris sounds like Robert Plant with a Gro-Bag attached to his bollocks. The refrain ‘Am I evil? Yes I am!’ still resonates. Just ask Lars Ulric
WITCHFYNDE
Give ’Em Hell
Rondelet, 1980
“Satanic metal, right?” you might say. Well, you’d be wrong. Despite all the Devil-horned imagery, Witchfynde’s debut album presents a mature and musicianly take on the New Wave Of British Heavy Metal genre.
I remember being disappointed with this record the first time around, when I described it as being as scary as Casper The Friendly Ghost. But Give ’Em Hell has improved over the years. The quality of the mysteriously named Montalo’s guitar playing and songwriting is first class, and the band are as at home on epics such as The Divine Victim (about Joan Of Arc) as they are on sleazier stuff like Pay Now, Love Later.
GOOD - WORTH EXPLORING






TYGERS OF PAN TANG
Wild Cat
MCA, 1980
In line with Saxon and Survivors, Wild Cat may not be the Tygers’ best album. But if you want to explore the roots of the NWOBHM it’s a super place to start. (And let’s not forget that it reached the heady heights of No.18 in the UK chart.)
The Whitley Bay band released a series of fine singles on the independent label Neat Records before MCA snapped them up. Wild Cat was singer Jess Cox’s swansong for the band (he was replaced by ex-Persian Risk frontman Jon Deverill for ’81’s Spellbound). Unlike later years, when MCA emaciated the Tygers’ sound, Wild Cat is a raw but effective release that still leaves scars.
GIRL
Sheer Greed
Jet, 1980
Some might baulk at the inclusion of Girl under the ‘Worth Exploring’ banner, but what the hell. Girl bucked the trend by being preening poseurs from London instead of warty oafs from Wigan.
With not a hint of ‘dues paying’ they came outta nowhere and scooped a deal with Jet Records. Further disapproval followed when singer Phil Lewis (later of LA Guns) started shagging actress Britt Ekland when everyone else was shagging Motorcycle Irene. But Girl really upped the ante on Sheer Greed, and songs such as Hollywood Tease put them at the forefront of the NWOBHM (in this case meaning New Wave Of Big-Haired Metal).
RAVEN
Rock Until You Drop
Neat, 1981
Here’s another acronym for ya: Raven (along with Venom, The Tygers Of Pan Tang and no end of other bands from Newcastle and the surrounding area) were more than NWOBHM, they were part of the NENWOBHM (North East New Wave Of British Heavy Metal).
A classic power trio comprised of brothers Mark and John Gallagher (guitar and bass/vocals respectively) and Rob ‘Wacko’ Hunter on drums, Raven were so breathless and fast-paced they dubbed their music ‘athletic rock’. Rock Until You Drop storms along with tracks like Hell Patrol and Don’t Need Your Money, and it paved the way for a big-time deal with Megaforce Records in the US.
Avoid






DEF LEPPARD
On Through The Night
Vertigo, 1980
It may have got to No.15 in the UK chart but Def Leppard’s first album – which was hotly anticipated at the time – turned out to be a damp squib. On Through The Night gave no hint of the greatness to come in ’81, when producer Robert John ‘Mutt’ Lange coaxed the magnificent High’N’Dry out of the band. That’s not to say ‘Colonel’ Tom Allom, who produced On Through…, did a bad job, it’s just far too smooth and glossy. Leppard sound sanitised, and a lot of the songs (Hello America, Wasted, Getcha Rocks Off, Overture) had been available before the album’s release. Catchy tunes abound but they’re too watered down to make much of an impact.
Also Try:
The NWOBHM is a minefield. It spawned scores of bands and we’re sorry if we’ve omitted your favourite (even if your favourite is Toad The Wet Sprocket). It’s true to say that groups such as Jaguar, Trespass, Paralex and Holocaust, plus numerous others who sounded somewhat useless first time around, have grown in stature as the years have gone by. It’s equally true to say that for an authentic NWOBHM dose you should seek out the very early singles. But if you can’t afford bids on eBay, a compilation should do it. Avoid those creaking old Metal For Muthas albums in favour of Castle Music’s brand new Lightnin’ To The Nations: NWOBHM 25th Anniversary Collection. Or if you scour the bargain bins you might find New Wave Of British Heavy Metal: ’79 Revisited. This two-CD set (originally a double vinyl album) was assembled ages ago by Metallica’s Lars Ulrich and Classic Rock’s Geoff Barton. However, there’s no Silverwing on it. The compilers also failed to exhume Mythra, whose Death & Destiny EP is the NWOBHM at its finest.

I've heard alot about this Iron Maiden band. I'll have to look into them.

I personally like Tokyo Blade but thats just me

I disagree with Def Leppard's On Through The Night as being the album to avoid, it is not my favorite Def Leppard album and IMO has dated badly but it has a few good tracks on it.

manny wrote:

I disagree with Def Leppard's On Through The Night as being the album to avoid, it is not my favorite Def Leppard album and IMO has dated badly but it has a few good tracks on it.

I don't know why Def Leppard is even mentioned. They were never a metal band.

MetalGuy71 wrote:

manny wrote:

I disagree with Def Leppard's On Through The Night as being the album to avoid, it is not my favorite Def Leppard album and IMO has dated badly but it has a few good tracks on it.

I don't know why Def Leppard is even mentioned. They were never a metal band.

I thought "High 'N Dry" and "Pyromania" were Heavy Metal albums. Or at least borderline.

Good recommendations.

Add some Tokyo Blade and Blitzkrieg to that list.

AngelRipper16 wrote:

MetalGuy71 wrote:

manny wrote:

I disagree with Def Leppard's On Through The Night as being the album to avoid, it is not my favorite Def Leppard album and IMO has dated badly but it has a few good tracks on it.

I don't know why Def Leppard is even mentioned. They were never a metal band.

I thought "High 'N Dry" and "Pyromania" were Heavy Metal albums. Or at least borderline.

Joe Elliott would tell you otherwise.

Maybe there's something I don't get but I don't think the latest Maiden albums shows a band as a Prog Metal machine. Leave those tags to Dream Theater and Symphony X. Although there are progressive elements on their last albums, they are FAR from what you would call progressive metal.

Well If Maiden is prog, then what the heck would you call Queensryche or Fates Warning?! I don't mean to make something big out of it, just think it's stupid to exaggerate and make overstatements when bands change for different directions.

And you can all go on and quote me on this.

I got this in my cd player right now!!

CLASSIC!

I need to get some Raven! And "On Through The Night" is one of my all time favorite albums!!!

the sentinel wrote:

I need to get some Raven! And "On Through The Night" is one of my all time favorite albums!!!

All For One is the best by Raven, IMHO

Red Kitty wrote:

the sentinel wrote:

I need to get some Raven! And "On Through The Night" is one of my all time favorite albums!!!

All For One is the best by Raven, IMHO

What he said.

SpectreFate wrote:

I've heard alot about this Iron Maiden band. I'll have to look into them.

You must be kidding.Nice inculding lighting to,I love dimond head as my name say,Also have all maiden albums

Fat Freddy wrote:

Red Kitty wrote:

the sentinel wrote:

I need to get some Raven! And "On Through The Night" is one of my all time favorite albums!!!

All For One is the best by Raven, IMHO

What he said.

Nahhhh, much like Venom and Anvil, the first three Raven albums are all essential listening. Rock Til you Drop, Wiped Out and All For One are all prime NWOBHM.

I'm also partial to Nothing Exceeds like Excess and Architect of Fear. Heck I pretty much like their whole catalog, but you can't go wrong with any of these listed. Just make sure that The Pack is Back is the last Raven album you hear and not the first.

ultmetal wrote:

Fat Freddy wrote:

Red Kitty wrote:

the sentinel wrote:

I need to get some Raven! And "On Through The Night" is one of my all time favorite albums!!!

All For One is the best by Raven, IMHO

What he said.

Nahhhh, much like Venom and Anvil, the first three Raven albums are all essential listening. Rock Til you Drop, Wiped Out and All For One are all prime NWOBHM.

I'm also partial to Nothing Exceeds like Excess and Architect of Fear. Heck I pretty much like their whole catalog, but you can't go wrong with any of these listed. Just make sure that The Pack is Back is the last Raven album you hear and not the first.

Like Ult, I'm of the mind that all Raven is good Raven, especially those firs three. But out of those first three, ALL FOR ONE completely smokes its two predecessors IMO, mainly because of the production. Both ROCK UNTIL YOU DROP and WIPED OUT (and its accompanying EP, CRASH BANG WALLOP) are full of killer songs that are unfortunately cursed with a cheap, tinny recording sound. On ALL FOR ONE they finally got to record in a "real" studio and the results were HUGE!!

RE: Nahhhh, much like Venom and Anvil, the first three Raven albums are all essential listening. Rock Til you Drop, Wiped Out and All For One are all prime NWOBHM.

I'm also partial to Nothing Exceeds like Excess and Architect of Fear. Heck I pretty much like their whole catalog, but you can't go wrong with any of these listed. Just make sure that The Pack is Back is the last Raven album you hear and not the first.[/quote]



Absolutely agree! The first three Raven albums are essential. My fave is All for One. The Pack is Back is definitely a bit of a stinker.

Fat Freddy wrote:

ultmetal wrote:

Fat Freddy wrote:

Red Kitty wrote:

the sentinel wrote:

I need to get some Raven! And "On Through The Night" is one of my all time favorite albums!!!

All For One is the best by Raven, IMHO

What he said.

Nahhhh, much like Venom and Anvil, the first three Raven albums are all essential listening. Rock Til you Drop, Wiped Out and All For One are all prime NWOBHM.

I'm also partial to Nothing Exceeds like Excess and Architect of Fear. Heck I pretty much like their whole catalog, but you can't go wrong with any of these listed. Just make sure that The Pack is Back is the last Raven album you hear and not the first.

Like Ult, I'm of the mind that all Raven is good Raven, especially those firs three. But out of those first three, ALL FOR ONE completely smokes its two predecessors IMO, mainly because of the production. Both ROCK UNTIL YOU DROP and WIPED OUT (and its accompanying EP, CRASH BANG WALLOP) are full of killer songs that are unfortunately cursed with a cheap, tinny recording sound. On ALL FOR ONE they finally got to record in a "real" studio and the results were HUGE!!

The first two Raven albums were basically recorded live in the studio. That raw, energertic recording is part of the charm IMO.

If you want better production on those songs, the Live At the Inferno CD is the way to go. Still raw, still live, still energetic, but a beefier production.

ultmetal wrote:

The first two Raven albums were basically recorded live in the studio. That raw, energertic recording is part of the charm IMO.

If you want better production on those songs, the Live At the Inferno CD is the way to go. Still raw, still live, still energetic, but a beefier production.

According to John Gallagher (I think in the liner notes to "RAW TRACKS,"), the "studio" the first two albums were recorded in was just a spare room upstairs at the Neat Records office with.

But oh yes, the songs from those first 2 records sound WAY more massive on their LIVE AT THE INFERNO renditions. LIVE @ THE INFERNO is one of the rare instances where live versions out-do the studio counterparts.

I like all of those albums/bands. They're all good.

And if you like Def Leppard and Tygers of Pan Tang, also check out Heavy Pettin.

I have seen the list in the OP before. It's fairly hit or miss. It focuses a lot on debut's from bands from this scene and seems to assume that the earlier it was released, the better it was. That's not entirely true for the NWOBHM. For example, Samson's "Survivors" is a great album, but their finest hour is better dictated on "Head On" or for my money, "Shock Tactics".

The same goes for "Wild Cat" by Tygers of Pan Tang. I love that record. It's raw and gritty and filled with some of the best riffs of the era, but Tygers' shining moment comes with "Spellbound" and the acquisition of John Sykes on guitar and Persian Risk's John Deverill on vocals.


On Saxon: They did not jump the bandwagon as this article claims. That statement actually makes no sense. NWOBHM itself was a bandwagon. It wasn't this planned, unified community that people tend view it as. It was literally a bunch of young, working class guys from around England who grew up amidst the hard rock of the 70's who were coming of age to play the heavy music they were influenced by. Saxon was actually one of the first bands from the scene to be signed to a major label, even if it was a French disco label.

Lately I'm of the mind that most bands' debut LP's are THE BEST ones I will like.
Though with Iron Maiden and Saxon, I like their second albums better.

Not a bad list, but I think he should've picked different albums in a couple instances. For example for Saxon I would go with Wheels Of Steel, and for the Tygers Spellbound.

On a side note, EVERYONE should own Diamond Head's Lightning to the Nations and Iron Maiden's S/T.

DeathCult wrote:

On a side note, EVERYONE should own Diamond Head's Lightning to the Nations and Iron Maiden's S/T.

You got that right