This one is going way back… all the way back to 1980. We’re talking pre-Kerrang! here folks (which didn’t launch until ’81). While there were more professional acts on the scene — Iron Maiden, Judas Priest, Saxon, Def Leppard, and Diamond Head to name a few — who had all signed to major labels, out of Newcastle came a small label that would become home for a much scrappier group of British heavy metal bands.
Neat Records was responsible for introducing punters to the likes of Raven, Tygers of Pan Tang, Tank, Blitzkrieg, Fist, and most notoriously Venom. For Americans who don’t know, Neat was the precursor to American metal labels like Metal Blade and Megaforce (especially since Brian Slagel cut his teeth reviewing Neat vinyl and John Zazula sold a ton of them). This gem here, procured from a nice chap in the UK via ebay, was the sixth single released by Neat in 1980. Unfortunately for Americans, we only got to see the bad Raven. I’m talking the era where they started wearing BMX motorcycle gear, staged pro-wrestling matches during their shows, and wrote really really really bad songs like “On and On.” The Raven on this single however, was a fantastic band. A great example of punk creeping into Metal to give it a little more energy. Still somewhere between bluesy heavy rock and speed metal, with that great raw and dirty mix. You can’t deny the energy on “Don’t Need Your Money.” Such a fantastic old school riff. “Wiped Out” matches it perfectly. Combined together, 8 minutes of hi-energy old school metal and out.
What can one say about this amazing gem I found at Monster Melodies in Paris. It’s my favorite 
I found this rare little gem at the awesome Monster Melodies in Paris. Sadly, this is the EP that broke up the classic lineup of Motörhead (Lemmy Kilmister, Fast Eddie Clarke, and Philthy “Animal” Taylor). Apparently, Clarke couldn’t stomach the idea of Lemmy singing a duet of Tammy Wynette’s “Stand by Your Man” with Wendy O. Williams and walked out during the recording sessions, leaving the band altogether. It is a shame, especially since this is great 7″ and right in line with Motörhead’s output up until that time. The duet between Lemmy and Wendy O. is of course stellar — hypercharged, bombastic, and great fun. Philthy Taylor drives the song with his drumming while Lemmy and Wendy O. trade off on the verse lines. The b-side version of “No Class,” with Wendy O. singing in Lemmy’s place, is actually quite good as well. Her scratchy, raw vocals fit the song and give it a slightly punkier feel. Despite what I’ve read in various places (including 
I have been wanting to post this one for a while now. I originally found this in the East Village during Record Store week back over the summer and still listen to tracks from it pretty regularly. What’s not to love here? It’s an comp of the first acts signed to Stiff Records in the late 70s, with most of the songs having a very raw and punchy feel. Favorites include a nice over-the-top version of “White Line Fever” by Motörhead, a stripped down rendition of “Less Than Zero” by Elvis Costello, and the standout in the group, “I Love My Label” by Nick Lowe (which you can’t help but sing along to).
On a lazy Sunday afternoon, just prior to heading out to a local bar, I had some extra time to go rummaging in the bins of record shops off 1st Avenue. While digging through the new arrivals bin at one of the shops, I stumbled on to this great meet up between Milt Jackson and Ray Charles. The album was recorded in 1957, prior to Charles attaining any notoriety (as one can see by Jackson getting front billing on the album). It’s a stellar jazz album, made even better by Charles infusion of soul and laid back groove to songs. Both “Blue Funk” and “How Long Blues” slide in low and long, a lazy southern swing that instantly sweeps you along. Amazingly both musicians step outside their normal realm, with Jackson playing some great blues guitar and piano, and Charles actually playing alto sax. Also points go to the renowned bassist Oscar Pettiford for giving the rhythm section the right swing and bounce. This is a definite must-play for lazy summer mornings and evenings.
I first became a die-hard Iron Maiden fan during the Piece of Mind era. So my preference has always been for the stretch of albums that included The Number of the Beast, Piece of Mind, and Powerslave. Recently however, I’ve been going back to rediscover the Paul Di’anno era, especially the Killers album which is pretty damn stellar in terms of songs and musicianship. Part of my recent return to this time in Maiden’s career has to do with how hungry the band was — they were starting to build a reputation as a great live act and the songs at this time were still tough, punky, hi-energy barnstormers. Also, the Killers era marks the first appearance of Adrian Smith who would finally give Maiden that signature twin-guitar attack that makes them so notable. Listening to the Maiden Japan EP — recorded right before vocalist Paul Di’anno left the band — I’m still blown away at the band’s over-the-top playing. Both Dave Murray and Adrian Smith make the record. Their guitar playing — with the tone having a great thickness and punch not found on some of the later records — has the swagger of two young guys just going for it. And yet, they’re locked in step perfectly. Listen to the version of “Remember Tomorrow” and you’ll hear what I’m talking about. 
