Shock Waves

“Pay the price, it could never be too high. Another chance, maybe a lifetime will go by…”

You’re not going to thrash to this lp. You’re not going to headbang. You’re not going to feel waves of force rip through your body. You’re probably not going to hear it anywhere except from your own stereo, and that’s only if you have your own copy. Shock Waves is just a good ‘ol fashion metal lp that relies on songwriting, musicianship, and hooks rather than speed, intensity, and a classification.

Leather (Leone) is better associated with David T. Chastain and the half dozen or so offerings she appeared on, and despite this she is still one of the lesser known classic female singers in metal (in line with Lee Aaron and Lynda Simpson of Sacrilege). So she finally gets her shot at a solo lp, finds some outstanding musicians, gets Roadrunner to back it and Dave to produce it. Where does it go? Nowhere. With the speed of Ebola it hits bargain bins. I had my copy since it came out, and in lieu of the record’s fate, I still think it’s one of the most underrated traditional metal lps out there.

Kicking off the lp is the sturdy “All Your Neon”, a slow burner that builds with a catchy chorus and sets the stage for the keyboard-introed “The Battlefield of Life”. A galloping riff is enlivened by Leather’s husky, Halford/Dio-inspired vocals that come to life during the chorus and last until the end. The title cut is an ode to songs structured with a methodical main riff that is ripped apart by a daring chorus, prevailing as one of the best here. “In A Dream” is a power ballad with the story the core point of the song while the dreamy solos and uprising chorus (and one helluva high scream) furnish the muscle.

Side two begins with “Something in This Life”, the heaviest track with a burly, rolling riff, some virtuoso guitar licks, and a lasting chorus Leather wastes no time dominating. For a short interlude, “Diamonds are for Real” starts slow and builds to a galloping pace, rising to a head with a dramatic chorus. A lightly menacing air stirs in another power ballad-y piece “It’s Still in Your Eyes”, conjured mostly by Leather’s strong rasping lungs that rise in pitch as if to hark some impending danger. “Catastrophic Heaven” and especially the keyboard enhanced “No Place Called Home” are both primarily slower numbers marked with times of drama and are perfect for Leather to cut loose on. Even to this day the surprising and exceptional rhythm section of guitarist Michael Harris, bassist David Harbour, and drummer John Luke He’Bert are like unknown soldiers out on the field, and it’s a shame they’re as remotely acknowledged as this lp is.

Into catchy traditional metal with convincing, raspy vocals? Fetish for female vocalists clad in leather and studs? Want everything Chastain is associated with? Impressed with two-toned hair? In any case, this lp is worth seeking out.