To Hellion and Back

Hellion is one of a series of mononymous bands formed in the 80s (Bitch, Hurricane, Banshee, Siren, Chastain etc.) whom for whatever inexplicable reason remained underground favorites while being peripheral to the mainstream. They came out of the L.A. underground fronted by the charismatic Ann Boleyn and managed by one Wendy Dio. The line-up has revolved over the years (with years of conspicuous inactivity in the mid-90s) but the band has still survived to this day. Hellion are a band who could and can still go head to head with any of their contemporaries: what they lack in popularity, they make up for with ferocity.

It can be difficult to dissect and analyze an anthology such as "To Hellion And Back" based upon sheer volume of material alone but it's easier to do so if it is broken up into separate eras or releases. The first 5 songs of this anthology come off of their 1983 self-titled debut EP. It’s obvious they have heard a Dio record or 2 in their lives but other influences (Ozzy, Dokken, even Metallica) are apparent as well. The quality of the songs and the production combined with the sturdy musicianship (particularly in the bass department) ensure that Hellion do not sink to the level of rank imitators. Ann Boleyn snarling like a hellcat over the proceedings certainly does not hurt matters, either.

There are a few competent but forgettable demos produced by the aforementioned Ronald James Padavona before we come up to the the jams from what is quite possibly most people’s initial encounter with this band, 1987’s “Screams in the Night” (partly made popular by the title tracks accompanying video clip). By this time the band has really come into its own in every possible way: Ann Boleyn’s vocal range and technique has expanded (check out the title track if you don’t believe me) and the string section incorporates everything from Eastern scales to atonal guitar noise into their repertoire, depending on what track we’re talking about. The very air changes and excitement builds as soon as the opening guitar of "Screams in the Night” kick off. It's apparent we are dealing with a whole 'nother Hellion here, one that can proudly lay claim to coining the phrase "speed metal." And “Bad Attitude”? Anybody from Doro to Joan Jett to Motley Crue wished they were the ones who wrote that song. The mid-tempo quasi-anthem struts around like a leather peacock kicking all and sundry in the gonads repeatedly. It just sums up Ann Boleyn and the band she fronts perfectly. Consider this album their "Ruler of the Wasteland" (or perhaps Chastain can consider "Ruler of the Wasteland" their "Screams in the Night"?)

The material off of “Postcards from the Asylum” is okay but suffers a little bit from “follow-up syndrome” (Motley Crue’s “Theatre of Pain” and Machine Head’s “…The More Things Change” can tell you all about that). But as a placeholder before their next full-length “The Black Book”, it fulfills it’s role. However it is not a worthy successor to “Screams in the Night” (generally), or the debut EP (especially, since we are talking about EPs here). 2 originals and a cover? Not bad. The Priest cover is a little obvious but it does demonstrate that the band are fans of the genre just as much as they are creators, which brings us up to…

…1990s concept album “The Black Book” and its contents. It is notable because it is the last Hellion release of the classic metal era (ie before the advent of grunge and the rise of…”alternative metal”). The spoken word interludes are a nonentity and I don’t understand what the exact concept of this album is (nor do I really need to) because jams like “Living in Hell” hit pretty hard and remind one that this is not Pink Floyd, or even W.A.S.P. on their weepy 1992 conceptual. Honestly, without the spoken interludes I would not have perceived this was a concept album. However, it’s a decent send-off to the band’s first run.

A conspicuous absence of several years throughout the mid-90s ensue until 2003s “Will Not Go Quietly” and the 4 songs from it that are featured on this anthology. Have the band “matured” or incorporated “groove” or “industrial” elements into their sound? Not by any stretch of the imagination. If you can give this band anything, it is consistency: consistency musically, from the performances all the way to the mastering on this release. They still rock like it’s ’82, and that is not a criticism. There is one more song off 2014’s “Karma’s a Bitch”, and that’s it. One of America’s better but unsung heavy metal bands have presented their version of an anthology and established their longevity. The first EP and "Screams in the Night” are essential, the rest solid but a little superfluous at times. This band could have been bigger on their own merits and a little more money invested into them but regardless of what might or might not have happened in the past, this anthology is in regular rotation through my speakers and (unfortunately) is by and large an undiscovered gem. You want hair to the ceiling and power ballads? You came to the wrong place. You want some of the best underground heavy metal in America by one it's most tenacious and long-lived bands? You got it.