A Review of METAL CHURCH'S "Metal Church"

Peacedogman.com

THE HISTORY--METAL CHURCH opened for business in 1982, in the beginning of the thrash metal movement, with the likes of METALLICA, ANTHRAX, SLAYER, and MEGADETH. They were from Seattle, not California like the rest of the big thrash bands of the day, but were just as influential in the budding scene. They were picked up by Elektra for their debut...one of the first thrash bands (if not the first) to debut on a major label. A five piece, they had already garnished a big following after the release of a few crushing demos.

METAL CHURCH--"Metal Church" 1985 (Elektra/Asylum)
David Wayne--vocals
Kurt Vanderhoof--guitars
Craig Wells--guitars
Duke Erickson--bass
Kirk Arrington--drums/percussion

This album is HEAVY! Every song will pinch your head to the point of bursting. Thrash in every way, the songs are written to support and surround the heavy sound of crushing guitar coming into each ear and making them bleed. The difference between these songs and the Bay-area thrash of the day is that the emphasis here is on heaviness and on David Wayne's incredible vocals. Kind of a mixture of thrash and a wrecking ball, coated with cyanide.

To bring a thrash-metal band into a big-budget recording facility must have felt like quite a risk for Elektra, especially when they let the band join in the production process with Terry Date. You could have gotten a muddled mess ala MEGADETH's "Killing is my Business....", but instead, a crystal clear effort where every bass note and every cymbal crash is mastered in auditory perfection. Remember, some of the recordings of the day sounded like tasting a delicious ice-cream sundae with a bad head-cold. This crisp production only adds to the heavy experience that is METAL CHURCH.

Remember when you were on the playground for recess in elementary school, and those two bullies took turns punching you while you were crying? (Or was that just me?) This is what it feels like getting pummeled by Vanderhoof and Wells, song after song. The leads are melodic, and they just seem to make sense if you know what I mean. Some of that early stuff from SLAYER, and MEGADETH, was just soloing for the sake of soloing....speed of light is not always the way to a thrash fan's heart. Cool thing about this is much like Downing and Tipton, you can tell who's solo is who's, and this gives the music more dimension, and increased listening pleasure. Did I mention bleeding?

In the early days of thrash, you were looking for that "I just got over a bad cold" kinda vocals...short, full of scratchiness and harshness. There were no high notes to speak of, no clean vocals, no range. Enter David Wayne. He had the gravel in his throat, but he could also hit the high notes, he could scream like an Irish Banshee, and he could go into a clean vocal style....making it hard to believe that the same dude handled all vocal duties on this record. He must have been one of the key reasons that Elektra signed them, his versatility alone gave the band a sound that anyone could relate to. This record would be great without Wayne, but his presence here ranks it among the metallic elite.

This track showcases everything a heavy band wants to be: a spoken intro with some light guitar in the background, then.....BLAMMM! Everything hits you all at once, and you are knee deep in screaming and riffage. The majestic progression of this song is what it is all about, my compadres... a template for others who follow to follow. The duel that ensues between Wells and Vanderhoof is humbling to say the least. When it is over, you have to catch your breath.

Starts with an innocent enough drum beat, with a heavy riff just playing along, then comes the smile and evil laugh....the guitar starts to get faster, backing Wayne's chantings, all the while you know what is coming...sheer intense beating. The steady and rock-solid drumming of Arrington makes this song a punch in the chest. Wells and Vanderhoof play the same lick, winding back and forth, then the solos begin--kind of like that movie "Crossroads" where Vai scorches it up on that Karate-kid dude and his Japanese uncle.

O.K., you guys probably don't think that anyone could do Gillian's vocals justice enough to do a cover of this song, but you are oh-so wrong. Not only is the musicianship top-notch here, but Wayne's vocal range kicks ass! This is one of the most capable cover tunes that I have ever had the pleasure of hearing. They take this one, and through some subtle changes, make it their own. Remember, sometimes two guitarists are better than one, and when they trade leads in this song, you will agree. Blackmore should be proud, Gillian should be jealous, Paice should be in an old age home, and while we are at it, Dio needs lifts.