PICTURE GALLERY: My favourite old-school battle jackets (in honour of 1984)

This is an amazing jacket I saw online (above and top). The owner says that this jacket has not been changed since 1984. This is what most battle jackets looked like in 1984. These were the most popular bands in heavy-metal in 1984: Judas Priest, Deep Purple, Black Sabbath, AC/DC, Dio, Accept, Ozzy, Iron Maiden, Motorhead, Saxon, and Blue Oyster Cult. The great Judas Priest back-patch features the old band logo from the Sad Wings of Destiny era, 1976. No-one back then liked ONLY thrash bands. Only the neo-thrash crowd of today claim to like only thrash and they are wrong to think that this was the actual lifestyle of anyone in the 1980s (especially pre-1986 or 1987). There were too few thrash bands in 1984 and too few albums released just to listen only to them. Sub-genre boundaries were not clearly defined or strictly policed by the genre police then. Hard-rock bands such as AC/DC and Scorpions and even Status Quo and Slade were much loved by metalheads. No-one in 1980 ever said "AC/DC are hard-rock but Maiden are metal". Metal-archives.com says this today which shows their lack of understanding of metal history. Deep Purple reformed in 1984 and released the Perfect Strangers album that year. They were big news in 1984 and very popular. Ritchie Blackmore had just left Rainbow to join the Purple reunion. Now Purple are seen as hard-rock or heavy-blues and perceived to be less important than Sabbath. Then they were equal to Sabbath. Note: I had my own battle jacket in 1984 with Iron Maiden Powerslave back-patch, small Deep Purple patch and about five buttons. However, no photos survive. Rating: 8.5/10.

This is a great 1980s metal jacket too with Motley Crue, KISS, Twisted Sister, and AC/DC proudly displayed next to more extreme bands such as Motorhead and Metallica. I love how two sets of the four KISS face patches are put next to each other (on the left side and bottom-back). Of the KISS face patches on the left side if you can find a complete set of these today on ebay you might pay USD30 just for second-hand. I love the white "Status Quo 1982" strip-patch on the left side bottom which is obviously an original patch from that year. The Motley Crue Theatre of Pain patch is very nice too. This jacket may be a bit messy but still scores top votes from me. Rating: 9.5/10.

Wow. This jacket is perhaps a little too extreme for me. I can't imagine actually wearing it. However, full marks for dedication and effort. Grade: 8.5/10.

COMMENT: Why Pantera should acknowledge and reissue its first four albums

Pantera in the 1990s in its no-image/ tough-guy era. However, a no-image is actually an image and a very boring and dull one at that. What was wrong with spandex anyway? Iron Maiden wore spandex!

I have been reading on existentialist philosophy and it says that to deny one's own past is an inauthentic act. This is interesting as Pantera always claimed, through its image, lyrics, and ideology, to be "sincere" and not fake in any way. Most bands feel a tension inside in that fans often revere and respect the band's first few albums and this can make those early songs and albums almost stand and exist separately from their creators. Metallica and Megadeth suffered from this dilemma as many people say they can never produce new work which can match their classic works. Bonded by Blood by Exodus is regarded as an untouchable classic and Exodus upset many metal fans by re-recording the album as Let there be Blood featuring the current line-up. Fans felt that that a historic masterpiece should stand untouched forever and just like the "Mona Lisa" painting should never be reworked. I can understand both perspectives here. I'm sure Exodus felt trapped by the success of their past so that the past successes stood as some untouchable "God" looking down at them and casting judgement on them and laughing at them. This is the Marxist concept of "reification" at work. Bonded by Blood had become reified (separate from its creators). The re-recording was Exodus' attempt to attack or even just to touch a sacred cow. The band was tired of being separated from its own past creation.

Pantera's situation is different in that the band disowned and tried to halt discussion about its first four albums just at that moment in time (1990) when metal was turning darker, blunter, and more "realistic"; glam bands were becoming despised, and grunge was on the rise. Pantera's attempt to disown its past was brilliant marketing at the perfect moment in time. They persuaded the metal community not to judge the band by its glam-rock past. The first four albums have not been reissued in recent years and it is hard to get original copies. No recent band merchandise based on those albums exists. Pantera should remember that the times have changed again. We are not in the 1990s. 1980s rock, power-metal, and glam rock are all acceptable and popular again. The hatred of the 1980s existing in the 1990s has disappeared. In the interests of honesty Pantera (which legally now means Vinnie Paul) should acknowledge, reissue with bonus tracks, and promote its first four albums. Power Metal has the best rating of all the Pantera studio albums on metal-archives.com and people there are beginning to rate lower the 1990s hardcore, tough-guy albums Vulgar Display of Power and Far Beyond Driven. The old songs from the first four albums should also be brought back into the live set if Pantera ever reforms. A reformation with Terry Glaze playing the 1980s songs would be a fantastic idea. Congratulations to a certain ebay seller from Poland who has made excellent Power Metal bootleg back-patches based on the album cover [by Jack Frost, 22 September 2014].

The glam-rock Pantera of 1988 (the Power Metal era). Vinnie Paul does not want you to see this picture. There was nothing wrong with this look even in the 1990s. Nowadays it is cool again with Motley Crue playing to healthy crowds on the worldwide concert circuit and new Finnish bands Reckless Love and Santa Cruz proudly playing and looking like Sunset Strip warriors from the early-1980s. HammerFall made power-metal acceptable again. We don't all need to look like we just got out of bed in the morning. The no-image is an image and a very boring and dull one too. The 1990s were painfully dull.

The great Power Metal album from 1988. This album definitely needs a reissue with remastering and bonus tracks.

METAL HISTORY: KISS @ London Bridge, United Kingdom, May 1976 + fan pics taken at the same location

As a young boy back in the 70's I made it a point to buy every single Kiss magazine. I would read those articles over and over. I would study the pictures very closely and hope someday to meet my heros of Rock!
Back in 1993 I was visiting London England. As we were crossing the bridge by Big Ben I vividly remember that Kiss picture from 1976 with the band on the bridge. Paul Stanley was standing on the rail and holding part of the light pedestal. So, without hesitation I jumped up on the rail and asked for my picture to be taken.
Never in a million years would I ever guess that after getting the pictures developed that I would be standing exactly where Paul Stanley was and holding on the exact light pedestal. I think there were four pedestal posts for each light. My hand was "exactly" where Paul's was. Standing up there and knowing Gene, Ace and Peter were standing just below.
Heck, even the same metal grate on the sidewalk that Gene was standing on was right there in my picture.
So that picture was taken 18 years after they were there getting their picture. It is now 39 years latter and the memory is just as fresh now as it was then.
My next bucket list is getting my picture taken in New York where the band was standing against the pole for the Dressed To Kill album cover.

By Tully Garrett on 70s Kiss Facebook group [used with permission]

KISS @ Heathrow Airport, 10 May 1976

KISS @ Buckingham Palace, 10 May 1976

METAL HISTORY: Metallica live @ Whisky a Go Go, Los Angeles, 1982 or 1983

Sarge, Stormer, Metallica, and opening act Greg Leon Invasion @ The Whisky a Go Go, #8901 Sunset Boulevard, Los Angeles, in 1982 or 1983. If the photo was taken in 1982 then Dave Mustaine would have been part of Metallica. The band Stormer featured Tim Gaines who went on to become a dedicated Christian and bassist for Stryper.

The Whisky a Go Go in recent times. The club was referenced by Motley Crue in its 2008 song "Down at the Whisky" on The Saints of Los Angeles album.

INTERVIEW: Interview with Jamie Bailey of Brodequin (Knoxville TN, USA death-metal), by Andrew Sick (2002)

Introduction: The Brodequin was an instrument of torture design to destroy the victim's legs by driving wedges of woods or steel in-between the legs and boards tied tightly around them. In some case the damage was so severe the marrow of the bones would flow freely from the wounds. Finding inspiration from deep within the walls of the torture chamber and many inquisitions, Brodequin has unearthed a time forgotten with thousands of people were mutilated and killed in the name of Christianity. 

Andrew Sick (interviewer)

SICK - Can you tell us the story and the concept of Brodequin for those who doesn't know it? 

JAMIE - The concept of the band is pretty much exclusively based on mid-evil torture/execution techniques, the people who used them and why, also the result of what happened after they were used. We try to portray that image in the lyrics and artwork that we use, as well as the ferocity of the music. 

SICK - Congratulation for the incredible ''Festival of Death'' album (and the last one too), what was your goal concerning this album? 

JAMIE - Thank you, we were trying to push it a little farther than we had on the first album (Instruments of Torture) by making the songs faster and more complex, unfortunately a lot of the guitar work does not come out on the recording, there are some really intricate riffs that are only noticeable live. 

SICK - Did you have success with this album? How many, approximately, have been sold until now? 

JAMIE - We have done pretty well with ''Festival of Death'' and it has sold nearly 10,000 so far...So we are all excited about that, the main response has been to the speed of this album compared to the first, but the new material we have been working on is much superior than the last. 

SICK - How is going the making of Brodequin third album? Can you tell us, if possible, when it will be release? 

JAMIE - Everything is going great, the writing process is going very smooth, and at the moment we have 3 new songs done, which in my opinion are better than the material on the last album, it looks like we will be releasing in this summer 2003. 

SICK - Can we expect it to be in the same path as ''Festival of Death''? 

JAMIE - Yes for the most part it is as far as the lyrical concept goes, the music is faster and better. I think the structures are a lot more complete and memorable, than what we did on ''Festival of Death''. 

SICK - Personally, I love really much the lyrics. Who's writing it? And where's the idea of speaking about a subject as interesting as torture comes from? 

JAMIE - Thanks, I write all of the lyrics and the subject matter comes from me being a big history fan, I read a lot of books dealing with all aspects of history, but mid-evil history is one of my favorite time periods and I have always been interested in torture and its effects socially, politically, and on the personal level. So I thought it would be great subject to write about and fit perfectly with our music. 

SICK - Unfortunately, all the fans received the bad news about the departure of Chad Walls. What was the main reason for him to quit a band as brilliant as Brodequin? and who will replaced him? 

JAMIE - Well, Mike (Guitar) fired Chad, It came pretty much from a writing standpoint Mike felt like he couldn't work with Chad anymore and it was really starting to effect the whole picture so he needed to be replaced. Our new drummer is Jon engman from Milwaukee Wisconsin, he's extremely talented and fits in the band perfectly. 

SICK - Can we hope that he will be as efficient and as fast than Chad? 

JAMIE - Oh yes, he's a very fast drummer, the new material is faster than anything on our first 2 albums, we are really looking forward to releasing the next cd with Jon. 

SICK - We are impress in the label, ''Unmatched Brutality Records''. Explain to us why Brodequin have decide to have his own label and in which aim? 

JAMIE - Mike (Guitar) runs the label and I help out with whatever, he had been thinking about it for a while and then it just seemed natural to release our cd on the label. So now he has some really good bands on his label and more on the way, he does a real good job of getting his cd's out there which had been a problem for us in the past with other labels. 

SICK - Do you have a specific style of music for your label? 

JAMIE - Well, yes and no ''Unmatched Brutality Records'' primarily deal with Brutal Death Metal, but at the same time if a killer gore-grind band or just as good of a chance of being signed as the Brutal Death bands. 

SICK - Can you talk to us about your ''side-project'' with Cinerary? Who asked you to be a part of this band? 

JAMIE - I had been friend with Matti (Disgorge) for a couple of years before ''Cinerary'' got together, when they did he asked me to do some backing vocals for the cd. After that I kind of fell into playing bass for them. 

SICK - Can we expect a new album for ''Cinerary''? If there is, will it be in the same path than ''Rituals of Desecration''? 

JAIME - Yeah, new material is still being written for the next ''Cinerary'' release which will be in the same path as the first one, although I'm not sure when the next cd will be recorded we are still working that out. 

SICK - You have done a fabulous work for the ''Disgorge'' tour, How have you found the experience of touring with them? 

JAMIE - Thanks a lot, the tour was great I had the chance to play with one of my favorite bands, meet a lot of cool people, and all of those guys were great to hang out with. It was really cool to see people come out to the shows wearing ''Brodequin'' shirts it was cool support for me and I really appreciated that. As far as the shows in the U.S. and Canada, the Canadian shows were intense! I cant wait to get back up to Canada with Brodequin this time!!! 

SICK - In conclusion, we wish you an immense success with your third album, you and Mike really deserved it and we all hope to see you on tour in Quebec! 

JAMIE - Thanks a lot for the interview I really appreciate it!!! And when we come to Quebec i hope to see you there!

[Jack Frost note: This interview dates from 2002 and is used here with the kind written permission of Andrew Sick. The interview was first published for the Shrine of Echoes magazine. Andrew is actively promoting the idea of a Brodequin reunion.]

METAL HISTORY: Rare live picture of Vengeance Rising, during Released Upon the Earth tour 1992

Vengeance Rising 1992: Daniel Cordova (guitar), Mike Wagel (bass), George Ochoa (guitar), and Roger Martinez (vocals). Drummer Johnny Vasquez is hidden behind George Ochoa and Martinez.

Vengeance Rising is one of the legendary bands of Christian thrash-metal. At the time of the release of their debut album Human Sacrifice in 1988 they were the most aggressive Christian band ever up to that date. The band released four albums: Human Sacrifice (1988), Once Dead (1990), Destruction Comes (1991), and Released Upon The Earth (1992).

Vengeance Rising on Wikipedia:

Vengeance Rising was an American Christian thrash metal band from Los Angeles, California. Fronted by vocalist Roger Martinez, they originally formed as Vengeance in 1987, but changed their name in 1989 to avoid conflict with another band from the Netherlands. Band members Larry Farkas, Doug Thieme, Roger Dale Martin, and Glenn Mancaruso left following Once Dead and formed the band Die Happy. Roger Martinez stayed on to record two more studio albums, but aside from him, Vengeance Rising's lineup changed for each subsequent album. While the group was a ground breaking Christian metal band, today Vengeance Rising is known for vocalist Martinez's turning from Christianity to Satanism to atheism, since he has continuously done interviews about it. AllMusic describes Vengeance Rising's history as "one of the most entertaining and bizarre stories in the realm of heavy metal.

Read more at: http://en.wikipedia.org/wiki/Vengeance_Rising

See: Live footage, Guatemala tour 1992

http://www.youtube.com/watch?v=Mua5TH_7Cb4

Vengeance Rising 1992 line-up, with Roger Martinez in the centre.

Vengeance Rising 1988-90 line-up

Vengeance Rising 1988-90 line-up

PICTURE GALLERY: New York City Metal & Punk Tour - Day 2, Brooklyn (Biohazard territory)

I headed out this day to Brooklyn to the place in the Biohazard video-clip for "Five Blocks to the Subway", the corner of Flatbush Avenue and Nostrand Avenue. It will cost you USD50.00 if you take a cab from Manhattan. Better use the subway, it's just five blocks away, you can do that any day! It's nice out here: you can see the sky and people all walk like hip-hop gangsters.

This is definitely the subway entrance in the video-clip where you see the band greet a busking guitar player and then later a guy rides his bike straight down the stairs here. Just Google: "Biohazard Five Blocks to the Subway official video-clip".

This is a bit further down Flatbush Avenue, around 250 metres away. The band walks from left to right along this sidewalk and then turns right here into Flatbush Avenue (the main road on RHS in picture). You can tell it's the correct place because those blocks of flats have a unique shape.

Flatbush Avenue from the other side of the road with the blocks of flats in the middle-distance.

From here we can see the subway entrance on Flatbush Avenue just to the right side of the blue Rite Aid sign.

This is back in Flatbush Avenue near the subway entrance. You can see the guy in the white jumper asking for money. We started talking and then we had lunch together at the Subways. He hadn't even heard of Biohazard.

When I was in New York City I wanted to honour New York City bands and hence my Anthrax shirt.

Back in Manhattan I met this guy Michael promoting a gym on Park Avenue between 33rd and 34th Streets. He told me had recently been to see the Big 4 at Shea Stadium with his young nephew adding that it was a "once-in-a-lifetime opportunity".

PICTURE GALLERY: New York City Metal & Punk Tour - Day 1, Manhattan

KISS fans will be interested in this one. You can start your walking tour around here, East 23rd Street. I walked south along Park Avenue and then turned west into East 23rd Street. This walk-up building #20 East 23rd Street is where Gene, Peter, and Paul rehearsed in the early years of KISS (1973-74). Ace joined the band here. The guys would arrive via the subway entrance at Fifth Avenue, around 25 metres to the right of the building.

#20 East 23rd Street (the building directly to the right of the yellow building). It is easy to imagine Paul, Gene, Ace, and Peter hurrying out of the subway entrance (near where the second tree is) and rushing to rehearsals.

Now you can turn south again into Fifth Avenue and head down to East 10th Street. Here we can see the original drum kit of Marky Ramone in a drumshop window. This is only a short distance from the famous CBGBs punk club, one of our next stops.

Walk west along West 10th Street then turn left into Sixth Avenue then head south. Turn east again at West 4th Street. This is the famous Bleecker Bob's Records in Greenwich Village. Sadly in the digital download age sales have fallen and the shop may need to close.

Then turn south at Thompson Street. Next stop is the mighty Generation Records, at 210 Thompson Street between West 3rd Street and Bleecker. Generation Records is home to rare vinyl and CD metal, punk, and hardcore. Second-hand stock and T-shirts are in the basement.

Jack Frost with vinyl 12s by Nihilist and Obituary

Go south until you reach Bleecker Street then turn right into Bleecker. Village Music World at 197 Bleecker Street is one of the last remaining record shops in Greenwich Village. I was happy to pick up a Slade CD from the 1980s.

 Lunch at an English pub in Greenwich Village - fish and chips, pint of Guinness, and The Business' Saturday's Heroes (South London street punk)

Now there is a long walk east on Bleecker until you reach The Bowery. This picture shows punks and Misfits hanging out opposite CBGB's punk venue on The Bowery.

This is a punk chick I talked to opposite CBGB's. She said her mother was a punk in the 1970s and that in that era it was dangerous to go further south down past 10th Street.

This is the famous picture of The Ramones standing on The Bowery, at the corner of Bleecker Street, looking north with CBGBs behind them.

This is the exact same spot today May 2012. CBGBs is replaced by a high-end men's fashion shop (the second black awning directly opposite the end of the white car).

Corner of The Bowery and Bleecker, around 15 metres south of CBGB's

CBGB's punk club at 315 The Bowery in the 1970s

The location of CBGB's today (May 2012) where it is John Varvatos Menswear

Now go back west on Bleecker and then turn left on Mott Street. Keep walking south into Chinatown until you reach corner of Canal and Mott Streets. Gene Simmons and Paul Stanley rehearsed in 1972 with their pre-KISS band Wicked Lester in a walk-up building on corner of Canal and Mott Street. I actually couldn't identify the exact building. It could be this one on Canal Street or the building in either of the next two pictures.

On Canal Street, Chinatown

On east side of Mott Street, Chinatown, just north of junction with Canal Street

Corner of Mott and Canal Streets, Chinatown, Lower Manhattan