I’m generally quite predictable. In these articles (otherwise known as drops in the ocean) I tend to say a little about the band’s legacy and some history before introducing the track. The tracks themselves are usually fairly obvious ‘classics’ or fan favorites. (It is fair to say, that I haven’t actually written enough to constitute a trend, but I’m gambling on the fact that if anyone bothers reading this, they won’t expend the effort to verify my claims). But what hasn’t already said about Iron Maiden? Bruce “compulsive dabbler” Dickinson has said a lot of it at any occasion that some misguided soul listens to him. It would be pointless to sing the virtues of Run to the Hills (not a favorite of mine by a long shot), or 2 Minutes to Midnight (surely one of the greatest metal tracks of all time?)

No, I humbly bring your attention to a track that, perhaps, you haven’t considered for a while. Somewhere in Time is not considered among Maiden’s most revered albums, although it sits comfortably in the middle and has by far the best cover art (feel free to debate this, but you ARE wrong). It was certainly one of their most commercially successful, and Heaven Can Wait was a live favourite for some time.

But amongst the radio friendly (Wasted Years) and pseudo-prog epics (The Loneliness of the Long Distance Runner) sits a hidden gem.

Sea of Madness, penned by the band’s pop-metal factory Adrian Smith, harks back to the melodic flourishes of Piece of Mind. It’s a simple trad-metal anthem. No new ground is trodden here – verse-bridge-chorus, repeat, guitar solo (nothing to write home about), quiet bit, repeat the fist bit again. There’s a bit where Bruce goes who-a-o-a-o-a-o. And what a chorus, truly anthemic, unintelligible lyrics, talk of madness, sadness and eagles. What could be more (mid eighties, post NWOBHM) metal?

OK, so I’m pushing the definition of the word to call this song a classic. Maiden didn’t roll it out along with (other hidden classic) Moonchild on their recent Somewhere Back in Time (see what they did there?) tour, but it’s seriously one of my favorites, so just shut up for a few minutes and give it a go – you’ll love it, I promise. If you don’t, then Number of the Beast is pretty good too.

Chuck Schuldiner may have triggered the Death Metal genre with his band Death, but he took it in new, uncharted directions with the album The Sound Of Perseverance. This progressive metal masterwork almost never happened (Schuldiner intended to release an album with his new project Control Denied after disbanding Death in 1996, but instead opted for a further release via his original band), and is still underrated against a stellar back catalogue of work.

Frantic and complex riffs and frequent time changes compliment a change to his tried and tested vocal style into a Black Metal snarl.  Standout track Spirit Crusher lurches and stutters between frenetic thrash, melodic death and angular prog. The complex instrumental midsection contains some prodigious guitar solos and the whole song is underpinned by some of the best drumming you’ll hear provided by Richard Christy.

In the end, this album proved to be Schuldiner and consequently Death‘s swansong.  RIP Chuck, you are missed.

Struggling to keep up with Metallica‘s creative frenzy – 3 devastatingly original and critically lauded albums – and failing to live up to former glories of the genre defining Peace Sells…But Who’s Buying?, in 1990 Dave Mustaine finally managed to assemble the dream team and record the album of their career, and the first great metal album of the 90′s.

Thrash Metal - serious business

Rust in Peace is a pounding epic of fiercely technical speed metal displaying some of the best musical prowess seen in the genre. As guitar solos go, there’s many to choose from. Mustaine enlisted solo guitar prodigy Marty Friedman to great effect sparring from one guitar duel to the next. The guitar is king here – indeed, track 2, Hangar 18, is practically all guitar solo.

It is Friedman who has the finest moment on the exhilarating Tornado of Souls. Unlike many metal solos, which  often trade-in melody for technical trickery or brute force, there is beauty and subtlety here, and it is the very heart of the song. Often cited as one Friedman’s best solos, it’s probably one of the best ever recorded.

Jeff Waters is one of the unsung heros of the Thrash era. This may be because of his silly fringe, or that despite Annihilator being responsible for some of the most technical and exhilarating music of the movement, they are also responsible for some real toss, including some very ill-advised balladry. That aside, Jeff’s guitar wizardry makes Kirk Hammett’s skills seem pedestrian and unimaginative, and Dave Mustaine’s sloppy.

Fun Palace is my favourite Annihilator song, which, un-coincidentally, contains one of my favourite guitar solos.  About 3 and quarter minutes in (just past the bit with the King Diamond style helium vocals) the song tumbles into the exhilarating build up from which the frenzied yet controlled solo bursts forth. This is more than just widdles, but a brutal and assured demonstration of pure skill and technical mastery. The fact that he can play it note perfect live is just plain irritating – Jeff you need to try harder at sucking.

Welcome to the fun palace? Bow down and worship the king!