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In the year 1982, the NWOBHM was in the mainstream in it's home country. Sure, the music in the movement as a whole was a bit formulaic, but it was damn good. However, some of the music was a bit different than the rest. One of those outliers was the band Tank. Fronted by Algy Ward (formerly of the legendary punk band, The Damned), this band played straightforward heavy/speed metal, but still contained Algy punk roots. This makes the music even more raw. It's one big metal/punk opera about beer, women and warfare.
The majority of the music has the rawness and simplicity of punk rock, but adds in metallic riffs and songwriting. A lot of the heavier songs are the fast ones, such as the opener, "Shellshock" (which is probably the heaviest song on the album) or the Rainbow-ish "Blood, Guts & Beer". There are also a few tracks that lead more towards punk than metal, such as the blues-influenced "Stormtrooper" or the Sex-Pistols-ish "Run Like Hell". However, most of it just mixes the two together, such as the title track, or "Struck By Lightning".
The guitar work is quite simple and sleazy, and it has a somewhat in the middle of thick and thin tone. It sounds quite reminiscent of Richie Blackmore, and at times, Eddie Van Halen, but it adds a bit of a punk flavor. Sometimes, the solos are actually quite impressive, but what attracts me most about it is the riffs. The riffs on this album are badass and catchy as hell. Sure, they're pretty reminiscent of the 70s, but hey, so is the rest of the music.
The vocals are pretty raspy, but have a lot of soul to them. Unlike Lemmy Kilmister, Algy Ward has a pretty wide range. His high-pitched screams are nothing special, but he can hit them, for sure. He also tends to go lower than Lemmy would tend to. I can see why he is often compared to him, but they have their differences.
As for Algy's other weapon of mass destruction, the bass guitar, it's actually a little jazzy. He gives us smooth bass lines that sound quite raw, but not as stripped down as the other instruments on this album, which surprisingly fits pretty well. You can tell that he has grown as a bassist since The Damned, as you can now listen to the bass lines and say to yourself "Oh hey, that was impressive".
The drums get almost no chance to shine on this album. Sure, they keep the beat, but they rarely do anything special outside of that. But when they do, it's rarely that impressive. He sounds like he was focusing more on some other instrument, but it was taken, so he had to play the other instrument that he had taken some time to learn. There is one exception, though. The drumming on "Stormtrooper" was where he got to do a whole lot more, and he did his absolute best. His little hooks are pretty good here. They're not really the catchiest, but they definitely let you know that what was going on with them took a bit of talent.
This album continues to influence rock musicians today and I can see why. The sleazy sound is pretty cool and the mood of the music gives you a bit of an urge to yell "FUCK YEAH!" at whatever is in front of you. It's a good album for both metal and punk fans, or just fans of rock n roll in general. So sit back, grab some beers and start headbanging.
The big diversity of styles of the NWOBHM bands was fascinating, from classic rock romantics like Quartz and Tygers Of Pan Tang, to obscure darker acts like Witchfynde and Witchfinder General, along with the thrashy speed metal conceived by the Big of Newcastle, Raven and Venom, or much simple casual groups like Samson and Tank. They all shared some characteristics, though: the brilliance, inspiration and determination to offer something different to what the clumsy 70’s rock dinosaurs had been doing in decadence since it all started going wrong in the previous mid decade. Tank actually took a bigger inspiration from their punk compatriots, these 10 raw songs made it clear.
A combination of punk and scruffy hard rock is what these cuts are all about. Instrumentally basic, straight and primitive, Tank manage to make good music with a tolerable lack of difficulty and class. “Run Like Hell” or “Blood, Guts & Beer” feature these guys distinctive ways, determined by an important presence of vocals over the instrumental configuration, which at times is relegated to support lyrics. However, some rough uniform riffing is mostly present, easy guitar lines never intended to impress, just defining simple rock & roll that didn't require singular abilities. The result is totally amusing, in its own way solid and fresh, with numbers like “(He Fell In Love With A) Stormtrooper” and “That’s What Dreams Are Made Of” far from lethal or intense, rather cheerful, ideal to sing along and have some fun. Lyrics are completely infectious, unconsciously or not, the extreme repetition of the main lines make this music commercial and catchy, predictable and dumb, though truly entertaining as well. Fortunately, those words are plenty of cool sarcasm and humor that made compositions like “Who Needs Love Songs?” for instance absolutely enjoyable, even if instrumentally they’re scandalously poor. But hey, there are some killer moments here: “Turn Your Head Around” or “Heavy Artillery” include a surprisingly fierce sound, with some dynamic riffing with few reasonable variations and effective pickin’ parts. Certainly powerful hard rock whose speed increases considerably on the unforgettable opening tune “Shellshock” and “Struck By Lightning”. Those are quite vigorous, although Mark isn't using both double bass-drums much, so velocity isn't their main goal. However, moments like the epic title-track are undoubtedly loose and alternative to the traditional weighty rhythms of classic rock.
They played the most similar stuff to Motörhead back then, they shared the same attitude (although not the same instrumental level, Lemmy and co’s was superior). Tank didn't develop a sound either; it was all about attitude, not a meticulous music direction. They didn't want to make a difference or become famous, just put out some songs that came naturally from them, avoiding any pompous commercial attempt. It was the honesty, the energy and those funny lyrics what made this record special. Musically this isn't advanced as I mentioned before, either elaborated at all. The concept Tank had of rock & roll was reduced to minimum complexity, having a good time playing it came first and I think their words about beer, chicks and love prove it. On other hand, they also evocate warfare and military themes that might be surprising (or maybe not) that make a bizarre combination with their punkish urban rock. They were pioneers on introducing those issues in this kind of music, Motörhead also went further into them and it’s no causality Sodom did later too. Definitely vocals are the main attraction in general; I have to insist on how exhausting the main lines/chorus repetition is on each cut, showing certain lack of inspiration and grace from the band on the song-writing process. The composition structures are minor and a few during the whole album as well. These tunes are simply conceived, constructed by guitar lines that don’t really vary or evolve much. The absence of virtuosism and ambition is an undisputed fact. But just like other humble NWOBHM groups, they were able to create good music from simple bases with their decent limited skills and motivation. The charisma of Algy, the energetic guitar lines of Peter and Mark’s correct drumming were good enough to guarantee fun and joy in these tracks.
Pure and simple scruffy rock of one of the most refreshing NWOBHM albums ever released. This is Tank at their best, you won’t find anything better than this in their discography catalog. So unfair they have been ignored behind the big daddies of the British movement for many years. Luckily, it seems most of the new generation of thrash kids have discovered how good they were, thanks to the priceless promotion Sodom did covering their songs. Almost 32 years after, Filth Hounds Of Hades still sounds great, current and irresistible, time didn't seem to affect it at all, while some of their pals music has become old-fashioned. So check it out, this is one of the most influential works of the early 80’s, forget about the big groups for a while.
Tank were another of the promising NWOBHM bands to dwell at the filthier end of the spectrum; comparisons to Motörhead are obvious as far as the band's blues driven, barhouse (or pubhouse) swagger, with a slight difference in Algy Ward's vocals which are slightly higher pitched. Filth Hounds of Hades was their debut and best effort, they grew a little more commercial with later releases which didn't end up working in their favor.
The album begins with a chest beating chant, almost throwing you off before the chords of "Shellshock" kick into overdrive. Honestly, you would have half expected Lemmy to begin his tobacco eroded vocals at this point (Algy Ward was also a multi-tasking bassist/vocalist), the musical similarities are so strong. Still, they eke out a pretty catchy set of riffs with some burning leads. "Struck by Lightning" is gritty British metal with rapid fire blues riffing, and "Run Like Hell" is a total rocka rolla with thick and grooving bass. "Blood, Guts and Beer" opens with some catchy licks, again in speedy blues mode which really signifies the birth of this whole style. The remainder of the tracks are consistently good, but the standouts are the catchy "Heavy Artillery" and the true classic of the album "Turn Your Head Around" with a memorable chorus and some great leads. The song has been covered by Sodom and other bands yet the original still burns brightly.
The album has always sounded good and remains so, a well balanced mix capturing all the drive of the chords, steady beats and wailing solos. This is the blue blood steelworking style of heavy metal, for a night out at the pub or a soccer brawl. No frills and no gimmicks. If you fancy Motörhead, Saxon, or other such acts of its day, and you're not already familiar with it, Filth Hounds of Hades is a worthwhile 'classic' which you should enjoy for a few spins. It remains the crown jewel in the band's chronologically deteriorating discography.
So here it is, the second, and not at all anticipated, instalment of the Village Hall Tomfoolery guide to NWOBHM. Tank are often seen as being to Motörhead as what Witchfinder General are to Black Sabbath. However, to me this is a little unfair, sure, they occupy the same loud, crude and unfussy end of the metal spectrum and share much of the sonic makeup as Motörhead but Tank aren’t the Motörclones others have made them out to be.
Algy Ward had somewhat of a grounding in then burgeoning punk scene which explains the overtly punkish sound here. Algy had played with Australian punks The Saints (of whom I know nearly nothing of) and the provided bass on The Damned’s seminal ‘Machine Gun Etiquette’, which freed up the fantastic Captain Sensible to play lead…but that’s a whole other story. Anyway, the punkier (or speed metal) tracks here are usually excellent and the less than stellar moments are when the band tries something more bluesy, namely ‘Who Needs Love Songs’, well I don’t know, but I certainly don’t need this song. But other than that minor slip in quality, Tank’s debut pretty much flat out rocks.
The clear winner here is ‘Turn Your Head Around’, this one tears its way out of your speakers with an awesome if slightly amateurish lead line and a ripping pace. This song has a fury so drunken that all it can taste is bile and the spittle of a jaundiced trollop. Life affirming and rampant in its execution, but more importantly, it’s fucking fun. Indeed, why are you sitting here reading this, gorging yourself on cups and cakes (what lovely things mother makes) until you bear some resemblance to Jabba the Hut , when you could be haphazardly thrashing about your humble abode with this glorious exercise in speed pounding away in your waxy ears? The choice is yours dear reader. ‘Heavy Artillery’ is another highlight, a well rounded mid pace rocker with some excellent riffs. Sure it’s all somewhat shakily executed, but hell, this is NWOBHM not a bovine technical metal release, I want character and charm not lifeless sweep picked runs. The lead guitar here is a perfect example of this, strangely beautiful and delicate for such a rough and ready band but strikingly effective. ‘(He Fell in Love with a) Stormtrooper’ is an interesting listen lyrically. Perhaps it would presumptuous to assume that the songs homosexual conations are a reference to brown-shirted and, ahem, brown-sworded Nazi Nancy Ernst Röhm. But anyway a great little stomping rocker, in keeping with the general good rocking and tongue in cheek humour of the album.
‘Fast’ Eddie was always an excellent guitarist and a seasoned drinker (he usually carried two guitar cases, one with an instrument, the other full of Jack Daniels), however, production is not his forte, see ‘Iron Fist’ for an example of this. But the production here is actually rather pleasant everything is raw and has a certain hangover fuzz to it. In all, still scrappy and scruffy like most NWOBHM productions, but pleasing to these ears.
Algy Ward wins man of the match here, I do find his abrasive yet tuneful drawl charming and it gives proceedings a real touch of class, or lack of. The guitars are somewhat of an ecstasy of fumbling, lacking from a technical perspective but really enjoyable. Again, I never really expected anything more from a scruffy NWOBHM album.
‘Filth Hounds of Hades’ is one of the better NWOBHM albums out there and does exactly what it says on the tin delivering loud and hard rock ’n’ roll, which you should be a fan of or else me and Tom Angelripper are coming to your town to skin your cat and post it through your letter box…Come here Mittens you fucker!
I remember the first time I heard this band, when a friend sent me the song "Blood, guts and beer". I immediately fell in love with the song - you can tell the band's having fun, and this feeling is delivered through the speakers into the ears of the listener. This whole album is extremely fun, a blast to listen to, and just makes one feel good. Crack a beer, light a smoke, bang your head and sing along, and enjoy.
Often Tank are compared to Motörhead, though I don't quite agree. Bassist/vocalist Algy Ward does have a bit of a gruff voice but not nearly as whiskey-and-marlboro-devastated as that of Lemmy, and the general feel the music gives is also quite different.
The riffs are often fairly simplistic and power-chord based, like the opening track "Shellshock" for instance, but there's also some very nice bluesy material but still aggressive that requires using more than two strings while playing, so to speak. The main riff of "Blood, guts and beer" is a good example of this - very catchy indeed, fun as hell to air guitar to (or play it on a real guitar, whichever you prefer).
I've found it hard to describe exactly what I love about this band, but somehow they managed to become my absolute favorite band of the NWOBHM scene. But while the riffs in themselves aren't exactly groundbreaking, the general mood and the way everything is put together gives a very unique sound - you'd know right away when you're listening to a Tank song.
This album has a perfect mixture of subtle blues influences and complete balls-out rocking, and with a delivery that shows that their heart and soul is put into it. We have the fun songs such as "Blood, guts and beer" which is just about having a good goddamn time, with that blues-but-metal main riff, and then there are songs such as the speedy asskicker "Turn your head around" with it's more serious war-based lyrics and a great atmosphere created simply with catchy, interesting riffing and vocal lines that will stick in your head forever. The chorus, not unlike many other songs on the album, is just the songtitle repeated 4 times, but damn does it fucking WORK. They have the ability to write extremely catchy and memorable vocal lines which manage to extremely well capture the true feeling of each song, and are simultaneously extremely fun to sing along to.
Other tracks worth mentioning if you asked me, would be all of them. As far as I'm concerned, there is no filler here - sure, "Who needs love songs" is rather silly but it's fun as hell, with a main riff similar to that of "Blood, guts and beer" yet less bluesy and more harmless. It's probably the weakest song on the album, but very fun nonetheless.
One of the highlights however would be the menacing headbanging-mania of a title track with that excellent "everyone-shut-up-for-this-guitar-lick" breakdown after the second chorus leading into the short but excellent solo. Also the ending track "(He fell in love with a) stormtrooper" is very, very nice. Fistpounding required for some catchy mid-tempo riffs and vocal lines, and a massive climax at the end with some insanely awesome soloing combined with repetition of the chorus (once again the song title repeated over and over again, and once again it works so fucking well). A classic way to end a song, and they pull it off incredibly well.
All in all, one of my absolute favorites of NWOBHM, and one of the most often played albums in my collection. A raw but well balanced sound, great musicianship (credit must also be given to the drummer whose name I unfortunately can't remember right now - he keeps a solid backbone to the music giving it great power, and also manages to enhance the feeling of each song in just the right way without complicating things too much) and overall powerful delivery. This is a truly fun album that'll bring a smile to your face.