Heavy Metal Month Listening Challenge 24/31

Day 24 – A cover tune. 

Prong – Doomsday

Again another hard choice because there are so many fantastic cover versions within the heavy metal genre. I could have picked a cover tune from virtually every one of the 30 bands I’ve featured. 

I’ve got to miss out Metallica paying homage to Misfits, Queen, Bob Seger, Discharge and the Anti-Nowhere League. Anthrax covering Joe Jackson, Thin Lizzzy, AC/DC or Trust. Slayer and Steppenwolf. Laaz Rockit thrashing up the Dead Kennedy’s. Nightwish turning Gary Moore symphonic. Queensryche covering  Dalbello (which for a long time I didn’t realise was a cover). W.A.S.P. paying tribute to Deep Purple or The Who. The list is endless.  

If I haven’t changed my mind in the next few days I’ve gone for Prong so I can sneak local legends Discharge onto this list. And it’s a mighty fine rendition of the song that graced the B side of Discharge’s State Violence State Control 7″ from 1983. It was originally on the release as Dooms’ Day, but over time changed to Doomsday. 


Heavy Metal Month Listening Challenge 8/31

Day 8 – Something to get stoned to. 

Sanctuary – White Rabbit

Not something that’s in my mindset really. Tried it once in 1994 and I felt rough for a day and a half. 

I don’t have any mood playlists, so I don’t really know if you need a particular style of music to achieve a certain task. 

This song is loosely about drugs so it’ll do. 

Hangin’ On The Telephone

Well that’s my first day back at work done since my return from deepest darkest Wales. It was a mixed weekend with some ups and downs. The festival itself was a bit hit and miss and the multiple sets of roadworks on the outbound and return journeys in a short stretch on the A55 were extremely irritating. On the plus side though we had decent weather, sun in the UK in mid March and a trip to the beach with the puppy. 

I’ve got a few real life things to plough through, then Friday starts a busy four days of gigs and travelling. Friday evening should see me attending the first date of Acid Reign’s six date UK tour. Early on Saturday sees us travelling up to Glasgow for the Lords of the Land Festival, where Acid Reign play their second date, but only a brief thirty minute set, hence seeing them in Manchester the evening before for the full on thrash assault. 

Sunday involves killing time in Scotland before a late afternoon train back to the Potteries. Back to work on Monday before heading down to Birmingham to catch the Havok tour. 

Originally I was anticipating seeing Havok in Manchester on Sunday, but due to engineering works we’ve had to opt for a later train as it prevents us sitting on a coach for three hours and a journey home in excess of five hours. I should be stepping through the front door on Sunday at pretty much the same time as Havok wind up their set. 

Yes, it’s going to be a busy four days with roughly 650 miles traversed, possibly fifteen bands viewed and half a dozen new pieces of merchandise procured. I honestly wouldn’t want to meet myself at 5am on Tuesday morning! But it should be worth it in the long run. After that there’s nothing set in stone for more than a week and Easter will be upon us. 

Let’s kick off this little run of posts with the band I’ll see twice over the weekend, Acid Reign. I’ve already posted the only real promotional video I can find, so here’s the audio for Hangin’ on the Telephone released as a single in December 1989 which explains the wrapping paper style cover above. Maybe they were hoping to snag that all impressive Christmas number one single? I helped to get it unsuccessfully to the top spot and I still have it tucked away upstairs, waiting for it to become an expensive collectors item. 

Originally it was recorded by short lived Los Angeles bands The Nerves in 1976. But it’s the Blondie version from two years later that most people will know it from. It’s had quite a few homages paid to it in its lifetime by band’s like Def Leppard, L7 and Roxette, but the Acid Reign interpretation of the song is omitted from the Wikipedia write up of the track. 

Ghost Busters


If you can’t beat them you might as well join them!!

As predicted, national and local radio got into the “spirit” of Hallowe’en by playing spectacularly spooky songs at regular intervals. I’m pretty sure the combination of radio stations I listen to in my van have to share the same disc as it only appeared to be 1962’s Monster Mash by Bobby Pickett – a song once banned by the BBC for over a decade during the 60’s for being too morbid, Michael Jackson’s Thriller or Ghostbusters by the one hit wonder Ray Parker Jr. 

Released in 1984 as the theme tune for the first film of the Ghostbusters franchise, it peaked at number two for three weeks in September of that year on the UK singles Top 40 chart, kept off the summit by I Just Called to Say I Love You. 

It’s  been covered by numerous artists over the years, but the glaring omission from the songs Wikipedia entry is from Preston thrashers Xentrix. Even though I’ve possessed a copy of the original song at some point in time – I don’t think I have now though – this cover is the only version I own and play on any kind of regular basis. 


Originally released in 1990 the single gained some notoriety thanks to the  above original art work that had to be withdrawn due to copyright infringement. The song featured prominently in the bands live set in one way or another up until the end of 2014. During their last run with Acid Reign last year the song was omitted, despite numerous chants from the crowds. 

Talking of Xentrix, when they played last year they asked people to stay behind in the venue for a few minutes to hear a track from their newly recorded album. That was October 2015, since then and with zero explanation, the album hasn’t surfaced and the band seem to have disappeared off the face of the planet. Maybe one day we’ll get to hear album number five. The track I heard in Manchester sounded great, as did the songs thrown into their set,  so it’d be a shame that it never saw the light of day, even posthumously via some cried funding scheme if that’s the case. 

In The Army Now


On the same day that I brought Welcome to the Pleasuredome with my paper round money I also brought a copy of In the Army Now by British institution and three chord wonders Status Quo. 

That was in the autumn of 1986, and in the three decades since it has been the only Quo album I have physically owned. With the popularity and relative ease of downloads I’ve picked up odd tracks here and there that I have liked, the majority of them have all been prior to this release. 

This piece of vinyl has been long lost. Once I got into that heavy metal malarkey I ended up lending it to some one and I have never seen it since. No great loss, but it’s a piece of my history that I now don’t have (cue dramatic music). 

This was their first album released after the success that was Live Aid the year before. It is their seventeenth studio release, but I can’t recall another single track from the album – even after I’ve googled the track listing. Maybe it’s something I need to go back and listen to? 

I never knew until fairly recently it was a cover of a Bolland & Bolland song who were apparently a Dutch duo originally from Port Elizabeth in South Africa who’d released the track four years earlier. I’ve never heard that original version – and don’t  really have any desire to listen to it. Talking of cover versions I enjoy the Laibach version that can be found on their NATO release. Sabaton also covered it for their 2012 album Carolus Rex release, but I’ve not heard that either. 

I Want You (She’s So Heavy) 


Time to dig out some Coroner and give them a blast before Autopsy arrives on Friday – but more about that on Monday!

Formed in Zürich back in 1983 the Swiss trio eventually found the stable lineup of Ron Royce, Tommy Vetterli and Marquis Marky in 1985 and released their debut album R.I.P. two years later. This was a very thrash metal orientated release and the band were embraced by the predominantly German Teutonic thrash scene. 

By the time third album No More Color surfaced they were a much more avant-garde thrash outfit with the introduction of some progressive metal and even bits of jazz fusion elements incorporated. 

Coroner fit the thrash metal template (seen on this blog previously) to a tee.

  • Formed in the 80’s – check. 
  • Were popular in the 80/90’s – check. 
  • Played in the UK in the 80/90’s – check. 
  • Split up at some point – check. 
  • Reformed in recent years – check. 
  • Played the Bloodstock festival – check.  

Their eight song set at Bloodstock 2011 was the first time they’d performed in the UK since 1993 and unfortunately they’ve not been back in the five years since. At least I got to see them once, but with so many decent indoor festivals popping up over here now hopefully they’re under consideration somewhere along the line. 

I think I first heard the band on the original Doomsday News album from 1988. There was a point where I was heavily into the bands on Germany’s Noise International  Records. When you have bands including Kreator, Helloween, Sabbat, Celtic Frost and Mordred on the rosta how could any metal head not own a Noise release?

Die By My Hand taken from the glorious No More Color album remains my favourite song of theirs from my favourite album by them – even though they didn’t play it a Bloodstock which, if I don’t see them again, I will eternally remain disappointed about. I see a European trek for a slice of Coroner in the near future. 

They don’t have too many videos to chose from, but this pretty unrecognisable version of The Beatles 1969 track I Want You (She’s So Heavy) can be found on their fourth album, and the extremely technical release Mental Vortex. It also featured on a 1993 Tribute to The Beatles album where they rubbed shoulders with artists like Leo Sayer, Nina Simone, Carpenters and Elton John. In the metal world Ministry, Soundgarden and Type O Negative have all covered this track.  

Opus Dei (Life Is Life)

Oh the joys of making decisions between multiple shows and seemingly picking the wrong one!

Yesterday I passed up the chance to finally break my live Laibach duck in London for a chance to see Michigan based death metal / grind core band Repulsion, also for the first time. They were due to play in Manchester, unfortunately the pair of UK Repulsion dates were scrapped, for whatever reason that hasn’t been disclosed yet, a few weeks ago which meant train prices were too high to justify a trip to the capital. One day I’ll see Laibach.

Last year they played a few dates around Easter and Manchester was one of them. Last Easter I was already committed to a death metal double header by seeing Dutch bands Thanatos and Asphyx in London.

Laibach haven’t played the UK much in the later stages of their career and as with most bands, the majority of those dates have been in or around London.

Listening to Laibach goes right back to the (very) late 80’s and early 90’s and my tape trading days. A couple of the guys I traded with used to send random stuff and one day I got a copy of the bands album Let It Be – basically the Yugoslavian bands take on The Beatles album of the same name. A few trades later I received the Sympathy For The Devil EP – seven versions of the Rolling Stones track. The bands Opus Dei release was on the flip side of the TDK D-90 cassette, which was almost my first foray into an original Laibach album.

I probably didn’t listen to much more by the band for quite some time until I dropped on Jesus Christ Superstar and NATO in the mid 1990’s. The bands industrial styled marching music can be hard going at times and the mood has to take me before I binge on the band. Not exactly the most upbeat music I have in my library.

Formed way back in 1980 behind the Iron Curtain in the town of Trbovlje, in what is now Slovenia. Their name is derived from the German name of their countries capital city Ljubljana when they were occupied by the Germans during World War II. Over the years they have courted much controversy in their native land and in parts of Europe. They have been accused of politically being far right AND left, neo nationalists and even fascists. A lot of this is down to their totalitarian imagery and use of military style uniforms and hardly ever being out of character. Rammstein have acknowledged them as an influence on their own music and aesthetics. In 2004 Rammstein even had a Laibach remix of the track Ohne Dich included on the single of the same name.

In August of 2015 the band became the first western band to play in Pyongyang, North Korea, when they performed two shows there, to commemorate 70 years since Japanese colonial rule ended in Korea. Apparently a documentary was made with the band during their visit, that could be an interesting watch when it surfaces.

This track is a subversive reworking of the song Live is Life by Austrian pop rock band and one hit wonders Opus, performed in Laibach’s familiar trade mark martial style.