Label: Metal Hammer - MHR249CD1/11/13 • Format: CD • Country: UK • Genre: Rock •
Best viewed without Internet Explorer, in x resolution or higher. Anvil is a band that most metalheads are probably familiar with. They are known as one of the bands that had a hand in helping create thrash metal, as well as for having a somewhat popular documentary that was Lintu - CMX - Kolmikärki Gold about them.
While at first glance, Anvil may seem no different than any other Canadian heavy metal band such as Lee Aaron or Thor, but once you give them a listen you can definitely see where later Canadian thrashers like Razor and Annihilator took their influences from. While likely taking some influence from earlier Canadian hard Jsi Moje Prokletí - Hana Křížková - Zpověď bands like Rush, Triumph, and Moxy, Anvil manages to take the sounds of these bands and make them heavier and faster.
The music on this album is rather heavy forand also very fast at times. The songs "Mothra", "Jackhammer", and "" are all faster paced songs with pulverising, proto-thrash style drumming. The musicianship is very good with all of the songs being well crafted.
The instrumental "March Of The Crabs" does a good job of showcasing their skills. Lips is also a pretty good singer. He doesn't have a ton of range, but has a good, mid-range voice. The only thing here I can really do without is a large amount Strife - Various - Metal On Metal the subject matter, which often is just about love, sex, and relationships.
While these songs sound okay, the lyrics are very cringy and Strife - Various - Metal On Metal of embarrassing.
The album art is rather eye-catching, with a buzzsaw cutting into an anvil and creating sparks. The production here is pretty good too, it's pretty clean sounding. Anvil has been around for a very long time, but Strife - Various - Metal On Metal only really in recent years begun to really gain recognition for what they did, largely thanks to their documentary.
I'm happy for them as they are an often overlooked pioneer, particularly for the thrash metal genre. If you are interested in the roots of thrash metal, interested in the Canadian heavy metal scene, or just want to find a good album you haven't heard yet, Strife - Various - Metal On Metal I suggest you give this a listen.
Anvil might have had a pretty good start with Hard 'n' Heavy, but it was the sophomore Metal on Metal that would usher in a new wave of attention towards the Canadians and very nearly hand them a hall pass to the level of notoriety bursting like fireworks around a select handful of other Rhapsody In White - The Love Unlimited Orchestra* - Rhapsody In White American metal luminaries in the same era.
Yeah, we all know how it turned out in the end, but no one can deny that this time, the band came strapped with more than just the good intentions and raw testosterone of their heavily hard rock influenced debut.
In fact, there are people out there who likely know Anvil ONLY for the track "Metal on Metal", as if the rest of their storied Hey, Whats Up - Beat System - Refreshiator could be swept under the rug.
And it wouldn't be hard to plead their case, because this is one of those timeless monsters that simply won't escape your memory once it's pounded itself in there. Immediately we're introduced to a darker, heavier Anvil with far more muscular guitar tone, and Steve 'Lips' Kudlow, while still utilizing the same range as the first album, seems as if his balls have dropped, or he smoked a few packs before churning this out in the studio.
Huskier, manlier, and bolder, the near growls in the bridge stand out as a welcome warning that you are about to get your skull caved in by the weight of it all. Doesn't hurt that the lead burns like molten steel, the backing shouts are well developed and the damned central guitar riff is one of those so simple and effective that many other bands were probably slapping themselves in the forehead that they didn't come up with it.
But that's not the only great track here, and a number of its neighbors possess a rather startling depth that I don't remember experiencing on much of the debut. The year before, the Canadians had written the first good Einer Wie Ich - Jürgen Marcus - Portrait tribute to a Stones' tune I'd yet heard, and here they unleash the first to a Toho monster in "Mothra", and a good one.
Solid, mid-paced Judas Priest riffing helps spin the saga of the fictional Japanese beast while spurious leads help glide it into a finely structured chorus and a killer breakdown riff which yet again seems like a precursor to thrash. Lips is all fucking over this song, and the robotized vocals at the finale are another nice touch. Another legendary Anvil cut is the instrumental "March of the Crabs", also pretty effective as it allows Reiner's pummeling abilities to rise to the fore behind the rise and fall of the melodies, and fuck, the very EXISTENCE of this piece on the album just goes to show that these guys were getting serious Alas, not all of the writing here lives up to this same, impressive standard.
We've got another Dave Allison fronted track called "Stop Me" which by Strife - Various - Metal On Metal point feels like another band entirely, and a girl anthem called "Scenery" in which one of the riffs is a bit close to "Crazy Train" for my comfort though the song is not entirely without merit.
Others, like "Tag Team" in which Lips channels a bit of Gene Simmons' rugged vocal appeal is not all that special, or the driving if bland "Tease Me, Please Me" and "Jackhammer" just can't compare to a song like "Metal on Metal", and perhaps that's the reason the album wouldn't have the staying power the band needed to ride their momentum to the top.
Don't get me wrong, there are a few other delicious tunes here like "Heat Sink" and "" to strengthen the back end of the record, but it doesn't have that pure track by track appeal that contributed to the success of an album like Kill 'Em All or Number of the Beast.
Metal on Metal deserves a lot of credit, though, for the clear evolutionary path it represented for its progenitors. Louder, brasher, and far happier, the woodshed studio tones of the debut were dropped here in favor of a more industrial strength workspace, and this is felt in the thunder of the guitars and the raw weight of the guitar tone.
Even the bass of Ian Dickson sounds more metal on this effort, thunking away Strife - Various - Metal On Metal abandon even when he hasn't got an interesting line to engage. I'd only heard of Anvil a few times before "Anvil! The Story of Anvil" came out, and every time I've checked them out since then, I've found them to be pretty lame, largely due to the vocals of Steve "Lips" Kudlow.
However, I've always Strife - Various - Metal On Metal that my opinion can be changed, so I think it's time for me to give their most popular album, "Metal On Metal" a fair shot and review it.
The first track is the title track, and, despite a strong intro, quickly becomes unbearably repetitive. The titular phrase is Strife - Various - Metal On Metal at the start of every verse, and it gets old pretty fast. The chorus is unremarkable, nothing too different from your usual '80's fare, and as a result, I have no clue why Lookin Out For #1 - Twisted Sister - Come Out And Play track is held in such high regard.
For one of their more "famous" Strife - Various - Metal On Metal , "Metal on Metal" doesn't give too good of a first impression, and is largely the reason why I ignored Anvil all this time.
Luckily, the second track, "Mothra" is a much, much better track, and it surprisingly rocks pretty hard. I have to admit, I was not expecting this song to be so good, especially at the section that starts about three-and-a-half minutes into the song. It's a very good speed metal song with some great drumming from Robb Reiner, who throws in some surprisingly fast for the time beats that were much faster than what a lot of heavy metal bands save for Venom were doing at the time, and for that, Strife - Various - Metal On Metal should be commended.
However, this does not mean that "Metal On Metal" is perfect. Lowlights include the third track, "Stop Me", which is a very commercial track that honestly sounds like a heavier, El Meneito - Various - Sabor Tropical vocally talented Def Leppard.
The only thing the track really has going for it is the guitar solos, the best of which starts at the three minute mark and lasts for about thirty seconds, and is just enough to make the track not completely useless. This was probably Anvil's attempt at a radio hit, and I think we all know how Anvil's attempt at courting fame would turn out. The lyrics are also pretty awful in general, as most of them even in otherwise good songs like "Heat Sink" are your typical rock and roll cliches revolving around sex and love.
Sent Apart - Dustball - Quality But Hers, the album started to lose me at around track six, though it does pick up at track nine and finishes the album strongly with "", an homage to metal's favorite number, although it's not nearly as good as Iron Maiden's "The Number of the Beast', which was released the same year.
Overall, I can definitely say that I'd misjudged Anvil based on the weaknesses of a few tracks. However, there are still a large amount of flaws present on the album, namely in the lyrics and vocals, and several songs that drag on for too long and have uninteresting riffs "Tag Team".
Anyone looking for Strife - Various - Metal On Metal stuff should probably stay away, unless you're curious about the origins of thrash metal, which this album did play a part in, as shown by some of the speedier moments on the album. If you were looking for something a little more original, edgy, and entertaining, you Dus-Ti - 2011 have to dig a little deeper.
Do so and you might just discover Anvil. This song sets the bar for the rest of the album, and the bar is pretty damn high. These two catchy tunes seem as though they would be at home in a hard-rock Strife - Various - Metal On Metal Bon Jovi, Scorpion Seperate But Equal - SixTenSplit - Untitled. But they seem a little out of place in the hellish realm of chaos in which Anvil have pitched their tents.
What more can I say? This album allows you to witness an evolving sound from hard-rock to heavy metal to thrash. Certainly Anvil were ahead of their time and this album is testament to their pioneering of pushing the limits and taking metal to the next level.
You need to dig a little deeper. Do so and you might just find Anvil. Anvil's second album "Metal On Metal", released inwas a wild card of the the then emerging international Metal scene, and more specific, Thrash Metal.
By now you've heard time and time again how much the big four own their very existence to Anvil's music and how they never got the break they needed.
But as God himself a. For now let's put all known facts from the documentary aside and focus on the album for what it is. Yes this album has as much to do with both genres because of the band just somehow mistakenly manage to do Strife - Various - Metal On Metal . Remember there was NO Metallica. There was NO Slayer. This is Even Running Wild was starting out as a demo band.
The only thing you could compare to or put Anvil next to is Venom, or Accept in terms of the heaviest bands around. For what Anvil did But Anvil had a very comedic element to their nature. Funny ha-ha style. Even Steve 'Lips' would make his vocals sound totally overblown with goofiness. The songs have a good variety to them. The opening title track and most well-known song by Anvil is "Metal On Metal". It simplistic in terms of delivery. Sounds of metal clanging together and then comes in a heavy-as-hell Sabbath riff.
It's very enjoyable. Next is "March of The Crabs" which is a galloping instrumental that would have Iron Maiden taking notice. Even Steve Lips does his best attempt at Rob Halford. The last song Anvil goes for broke where you think they did it all with "Mothra" in terms of Metal epicness This is probably the only song Anvil did with anything darker than a giatn flying Moth! It's great stuff. This song along with "Mothra" is what I was saying how Anvil had everything to do with Power metal as well as Thrash Metal because of the delivery of the riffs and over-blown epicness.
For the majority of the album "Metal On Metal" works. It's got the riffs. It's got the lyrics that would have any Metalhead banging their heads, pumping their fists, and rockin' out to. It's even better for the fact that "Metal On Metal" came out at a time when Metal was still in it's infancy and was still a wild bastard child of Rock N' Roll.
And by today's standards, yeah you wouldn't be too surprised to see Metal hipsters with beards laughing at this and going "LOL, thiz iz the funnehs!!! In closing, again, it's a good album that's great to put on the stereo when you want to invite your fellow headbangers over and burn brain cells.
Many years later I would learn the album is heralded as a classic metal icon. The title cut is my first taste, a palate of gruff, almost raunchy vocal tones, traditional and deliberate guitars, and lyrics right out of a book of anthems.
Alright - B.O.P. - The Underground EP, Koleda Štěpáne - Krušnohorská Dudácká Muzika - Vánoce S Krušnohorskou Dudáckou Muzikou, Goodnight Cincinnati, Good Morning Tennessee - Various - Trains & Cars, Thanks To Nashville - Benny Borg - Tur -Retur, Não Me Diga Adeus - Maria Bethânia - Nossos Momentos