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Satan > Court in the Act > Reviews
Satan - Court in the Act

With muscle and might - 100%

colin040, July 9th, 2022

With debut albums you can never be too certain about what to expect. Some bands are at their best while starting out and go downhill from there. Others still need some time to refine their craft and at last, some are still searching for their sound and just ape their musical heroes instead. In Satan’s case, we’re talking about a band that created magic with their debut and while Court in the Act required some time to warm up to, I nowadays love every aspect of it.

While plenty of NWOBHM albums resemble a certain period in metal history with often specific musical elements that come with it, there’s something extremely futuristic about Court in the Act. With guitars often pushed to their limits, you can almost hear the early incantation of Metallica through a variety of near-thrashing songs, but there’s even more to behold. I can’t be the only one who’s convinced that ‘Into the Fire’ sounds like the prototype of Artillery’s ‘Khomaniac’ with those exotic, yet forceful guitar textures. On a related note, the instrumental speed metal assault of ‘The Ritual’ gets awfully close to the earlier instrumental powerhouse of Blind Guardian’s ‘Beyond the Ice’; you can bet that André Olbrich paid attention to this stuff while writing the aforementioned tune.

But regardless of the associations that one could make with Court in the Act, we’re speaking of an album that obviously stands on its own. Still, like I had mentioned, it took me some time to get used to and it shouldn’t be a surprise why. Just like plenty of NWOBHM vocalists, Brian Ross sounds bit out there; he doesn't attempt to sing melodic vocal lines and regardless of an occasional high note, he sticks to his mid-register for most of the time. Perhaps it's best to think of him as a stoic who accidentally ended up as Satan's singer and yet, I couldn't imagine the band without him.

Otherwise, Court in the Act should be easy to digest. The rhythm guitars sound extremely tight; launching riffs of different tempos and moods after another as if they were coded instead of regularly written, while leads find the ideal balance between soulful shredding and clever melodic phrasing. ‘Blades of Steel’ conjures a bunch of musical ideas and thematically ranges from proto-thrashing noise that cuts through the sung sections and an unexpected break of serene beauty with a smooth guitar solo in between. ‘The Ritual’ shows what the guitarists are capable of when Brian Ross isn’t around and while I'm in general not too enthusiastic about instrumental songs, this one's absolutely fantastic. Not only do the riffs build momentum here, the leads also sing an adventurous story that you surely won't forget. If you’re one of those guitar nerds that loves guitar solos more than their own mother, then you won’t be disappointed; but even ordinary folks like you and me will be carried away by this musical journey.

Obviously this doesn't just count for 'The Ritual'. With plenty of variation between these tunes, clever arrangements and riffs that scream metal as much as Brian Ross occasionally does, Court in the Act is one of those albums that features the most optimal pacing that I could think of. Kicking off with 'Trial by Fire' is a great idea and what's a better way to start the track with those guitars that come crashing down with fury? With a multitude of high flying riffs following up with another, you couldn't ask for a better opener and while most bands would end up sounding pretentious once they’d write something with a foreign twist, Satan's approach feels fresh and exciting. While a band like Blind Guardian (them again; probably no coincidence) would cover this track many years later with a more dominant vocal approach, I’m convinced that Brian Ross’ collected vocal approach makes a great contrast with these tense and busy guitars. Moving on, ‘Break Free’ is easily the most threatening offering that represents the album's intense peak. Like a rollercoaster of marvelous riffs thrashing in the wild with no signs of commercial barriers in sight, it’s hard to think of something this intense, fast and furious for 1983. It's extremely remarkable, absolutely and yet even when Court in the Act refrains from blowing the roofs off, the results remain superb. ‘Alone in the Dock’ is an atmospheric closer of evocative beauty that has it all. From the main riff sequence that keeps resurrecting, to the haunting and foggy verses, to the sinister chorus, it’s a wonderful track that works as an excellent album closer.

If you haven’t noticed already, Court in the Act is a personal favorite of mine. Coincidentally enough, it’s a favorite of many other people, too, so it can’t be just me who has a thing for it. I love this album and so do plenty of others; you will too, soon enough.

A Very Impacting Debut - 99%

ballcrushingmetal, January 9th, 2019

Released in 1983 under the Roadrunner Records label, Satan's debut album boasts a unique heaviness that outweighs what many extreme metal albums are capable of providing to the listener, up to the point of making them look girly. Its savage and monstrous guitar work is what makes the difference if compared to other releases brought out during the NWOBHM, and it marked a path for the way forward in such a fast-evolving subgenre. Things are, however, not only summarized to what has been done by the powerful guitar duo consisting of the skilled Russ Tippins and Steve Ramsey. Also, the tremendous drumming from Sean Taylor reached an unseen intensity that became a reference for the not yet defined thrash metal in more than one way.

But not only thrash metal has taken this sound. Influences from this British band could also be found in a good portion of the 80s German power metal stuff, including underground bands like Mephisto and Sweet Cheater, as well as other widely known acts, such as Helloween and Blind Guardian. Of course, these influences are mostly linked to the vicious outrageous offer provided by the speed metal pieces "Trial By Fire" and "Break Free", which although they are thrashy by nature, they feature interesting melodic guitar solos, as well as other passages with sing-along choruses. Such a formula became the basic songwriting structure for the aforementioned German acts.

On the other hand, the album also includes more accessible mid-paced numbers that contrast a little bit the dense atmosphere surrounding its speed metal numbers, being "Blades of Steel" and "Broken Treaties" the most memorable. Notwithstanding their accessibility, these numbers are rather punchy, and at some point in the intro, they become a little bit thrashy. As a weird act, uncommon in the metal songwriting, the band spliced a couple of instrumentals: the forceful speedish "The Ritual" and the softer "The Dark Side of Innocence". This unorthodox move is, nonetheless, adequately addressed as the numbers in a certain way complement each other.

Perhaps, the album's only weak point is its production work, as it is rustic and somehow amateurish, but it still fits the album's songwriting style and atmosphere. On account of the concerns about the image they were projecting under the Satan moniker, the band decided to change the same into Blind Fury and also brought the talented vocalist Lou Taylor into the roster. This change, however, only lasted for one album. After the release of "Out of Reach", the band came back to their original moniker, keeping the same throughout the years. In the end, their concerns were not so relevant, considering that the final product would become a worthy and vicious masterpiece that much collectors would love to see in their cabinets. For that reason, this is the kind of album that you should never overlook.

This review could also be read in

Critical perspective 6: Muffled justice - 94%

gasmask_colostomy, October 28th, 2018

Satan's Court in the Act is a slightly neglected album rated by people who know it as one of the best and most forward-thinking releases of the NWOBHM era. Taking traditional heavy metal of the Iron Maiden school towards the greater intricacy of Cloven Hoof and Hell, while also upping the intensity in a manner not far from that other groundbreaker of 1983 - Mercyful Fate's Melissa - this release certainly shows the transition from trad sounds to the thrash metal and US power metal genres that were just about to appear. Unfortunately, few groups point out Satan as a major influence because the English group messed up rather by changing the band name...twice (facepalm here) after this debut was released. Ostensibly, the reason was to avoid association with explicitly satanic bands like Venom (also from Newcastle, Satan's home town - read that as you will), even though Steve Ramsey has since said that the name was supposed to fit with the figure of the judge represented on most of the band's artwork, thus portraying injustice.

Being critical doesn't always mean being nasty, but a big part of me wonders whether Satan might have had a better run of it if they had kept their original name and just forged on, since nothing they released in the '80s was poor, whether by the original name or under the Blind Fury and Pariah monikers. Praise of this album is easy to come by and the musical skill is undeniable for the most part, so allow me to briefly summarize. We get here speedy and mildly technical heavy metal, drums played aggressively and vocals clean but predominantly high-pitched, sort of like a less idiosyncratic John Arch of the original Fates Warning line-up. The coordination of guitarists Russ Tippins and Steve Ramsey is enviable, especially as they play at speed, remain melodic, and produce both memorable riffs and intricate solos. As well as being influential, a few of the songs like 'Break Free' and 'Trial by Fire' knock most of their contemporaries out of the park in terms of skill and pure songwriting appeal.

Allow me now to test and tease Court in the Act to reveal any potential weaknesses. Seeing as the skill of the instrumentalists is nigh on impregnable, I'd like to make comment on Brian Ross first. Distinctive though he is, both his mid-range and his higher shrieks lay themselves open to criticism. When singing more comfortably, he sounds a little too relaxed to bring appropriate drama to all of the songs, coming across as actually uninterested while 'Alone in the Dock' builds itself up, something that harms the balladic instrumental structure. Perhaps as a result of sitting low in a grubby mix, these mid-range vocals lack power too; the same feature hampers the higher-pitched interjections to a lesser degree, though here he is often focused more on pitch than effect and sounds frightened and feminine as a result. In this second situation, those who refuse to worship at the altar of King Diamond may have a more instinctive grasp of my feeling that Ross's vocals fail to serve the atmosphere. To temper this denunciation of the vocals, I must admit that they match the creative songwriting employed and cause little problem during the speedier numbers.

The guitars are sharp and cut through the rather murky production with excellent effect, while Ross's mid-range and the rhythm instruments fall on the wrong side of that line. The speedy guitars provide more than enough to listen to, especially when playing on open strings or adding leads to the songs, as occurs several times in each of the eight full cuts. Other parts of the album, however, don't sound so good. The gruffer riffing in 'Blades of Steel' loses some of its power, particularly as Graeme English is backing the riffs with a strong bass presence that is totally muffled, while Sean Taylor is practically missing from the breakdown in the middle despite playing fills around the basic beat. The slower and sparser moments of other songs lose something too, 'Broken Treaties' coasting at times on dithering power chords that need a powerful vocal to take hold of proceedings, while 'Hunt You Down' is an exception on Court in the Act, proving the only weak song. In terms of style and ideas, it plays more like a typical example of NWOBHM, slowing the pace and strutting around jauntily with the aid of some gang vocals oddly reminiscent of the first Metallica album. Despite more decent soloing and the jazzy perversity of the fills, 'Hunt You Down' is unlikely to excite much.

Other than vocals and production, there are no other major complaints one could bring against Court in the Act. An inkling of an issue may be brought up regarding the tendency of the band to write complicated songs and failing to turn many of them into actual anthems, but this largely comes down to taste, since the dip in accessibility is certainly made up by the added replay value. One might almost accuse 'The Ritual' - a four and a half minute instrumental riff-and-lead piece - of merely showing off and filling time, especially as it could easily have contained lyrics; however, that overlooks how well Satan constructed the song and the way in which it holds the listener's attention, even bringing the main riff back towards the end in a sort of victory lap. Of minor significance is the presence of two definite intro tracks, the rather overlong tension-builder 'Into the Fire' and the prelude to 'Alone in the Dock', though the album length is surely ideal and 'Dark Side of Innocence' is a nice way to bridge into the lower intensity of the closer.

Court in the Act is certainly not a flawless album (much less a flawless recording job), though it is to be counted as a very significant step for metal's evolution in the early '80s, as well as a hugely enjoyable listen with some absolutely kick-ass songs. It has aged in the last 35 years (what hasn't) but not nearly as much as some of Priest's and Maiden's classics from the time period. Production sticklers are recommended to get the Metal Mind or Listenable Records reissues: metal fans of most denominations are urged to have at least one listen before they are too old to headbang.

In 1983, the year it came to be... - 98%

Caleb9000, April 14th, 2016

1983 was one of my favorite years of all time for heavy metal. There were such amazing acts that were releasing albums and too many were very underrated. It was the year that the genre had once again really broken into the mainstream, with albums such as Shout at the Devil, Holy Diver, and Metal Health. But there were albums that were lurking underground that were even better than the majority of their upper counterparts. This album's release was one that metalheads paid less mind than others, as there were a lot of those in the NWOBHM. However, Satan's "Court in the Act" is a criminally underrated album that can compete with the big acts in terms of greatness. The album has some of the best guitar work that you can find on a heavy metal album and the only thing that I can assume to be what threw some people off was the vocals. I think that the vocals help give the music the chilling atmosphere that it has. I don't think that some people realize what the typical raw and grit vocals would do to the rest of the music. It would throw listeners off tremendously.

The vocals that are delivered by Brian Ross do not possess all that high of an amount of power with them. They are not quite soft. In fact, there is a good amount of breath put into them. They are not comparable to the vocals Dickinson or Halford, but they are not something as thin as those of the vocalist of Angel witch, Keven Heybourne. The high notes that he hits throughout the album are actually quite powerful. He showcases that he has quite a range. The harmonized nature of his voice does well with the two sides that this album bestows upon the listener, gloomy and intense forms of eerieness... and blasts of power and catchiness, although the catchiness is not overly prominent in the music, which is in the album's favor. This kind of stuff should never be too catchy, but it is good to make an album that is fun to listen to, but not due to a tedious mashup of simplistically joyful radio material (this is far from that), but it is due to the atmosphere that this album creates, which is weighed down by its darkness more so than its joyfulness, as well as the insanely enjoyable guitar work, which I will get to later.

Some listeners could get a little thrown off by the third song, as that is when the mood of the album alters. The gloomy synth intro goes into track #1 from the album, "Trial by Fire". This is my favorite track from the album, as the frantic and dark nature of the song perfectly represent what it seems to be about, which is the narration of bombs being dropped on a city, which are strapped onto people. It gives the feeling of rushing doom and the epic and dark guitar melodies definitely do musical showcasing of a tragedy filled with action. Then the second track, "Blades of Steel" has a just-above-mid-paced tempo with a heavy, groovy riff. It gives me the feeling of an axe that is being swung through the air, fitting the topic of historical Vikings, going from town to town and massacring villagers. Ross showcases the highest notes of his range at the end of the track. But track 3, "No Turning Back" is more focused on joyfulness and catchiness. It gets a little too much for me, although I do enjoy the melodic and catchy chorus, as repetitive as it truly is. Luckily, It gets back into the fun and atmospheric sound afterwards. It never gets too catchy and it's no follower of high joyfulness. It actually gets to its gloomiest point on the last two tracks, an atmospheric and soaring instrumental and a ballad of gothic nature. What I find to be remarkable was that it created this atmospheric wall of sound that usually is only made by music that is driven by keyboards. This is very guitar-oriented, which is good, considering the overpowering cheese that would follow, would it have been otherwise.

What remains spot-on throughout this entire album is the guitar work. Russ Tippins and Steve Ramsey solid lead work... but the rhythm goes off the charts. These riffs have a lot of complexity, but they manage to not get too complex for their own well being. Despite this, the music structure as a whole is not all that adventurous. But that is not what its goal is. It has a structure at the level of many, but it really explores with the riffs. I'll also note that the tone perfectly fits them. The only word that I can truthfully comprehend at the thought of it would be "electrifying". It's driven by treble more than some other bands, but when riffs such as these come at the listener, it sends a lightning bolt right to your brain. Even during the moments when the riffs go on a more abrasive, sort of proto-thrash path, it just makes everything turn out to be as straightforward as possible. It also helps to thicken the atmosphere when that is more present, which is more so the case than the previous. Very creative and inventive for the time and still incredibly enjoyable.

This is an album that is outrageously overlooked, even by followers of the movement that was the NWOBHM. The members of Satan have done work with other acts, but this is where greatness truly lies. Everything comes together in an amazing way and there are hardly any aspects that I can fault it for. No individual is lacking in performance and although one may sometimes go unnoticed in the light of another, they have moments to shine later on and when they do, you marvel at them. Even though they may not always be phenomenal players, they just fit the music so well for this to even be a flaw. Do not ever let yourself be pushed away by the dated cover art (as much as I love it), as this truly is a vigorous album that never ceases to grasp ahold of my attention.

Criminally Overlooked - Guilty Of Excellence - 99%

Night_Moves, October 29th, 2015
Written based on this version: 2008, CD, Metal Mind Productions (Digipak, Reissue, Remastered, Limited edition)

Court In The Act seems to have gained a bit of a cult following, especially since the band reformed and have garnered many positive reviews for their latest output. I am very happy for their recent resurgence, but I'm at a loss as to how they never made the big leagues back in the day seeing as this record is close to being perfect in every way. Consider that Court In The Act was released the same year as "Kill Em All", "Piece Of Mind" and "Show No Mercy" and somehow is not revered in the same way as these other classic records. I would go as far as to say that Satan's debut offering is superior to the the three aforementioned debut platters. Sure, it's not as influential and might not have been if it had been correctly promoted but the songwriting, technical prowess, heaviness and overall vibe are undeniably jaw-dropping.

One listen will easily hammer my point home, as the twin guitar attack of Tippins and Ramsey is stellar. Their precision playing and intertwined harmonies are what truly elevates this record to the status of "classic" and "must own". Every solo on every song is bursting with urgency and leaves a lasting impression. If you've not been smiling in utter joy and admiration of the guitar work then Brian Ross's vocals will surely do the trick. I admit, at first that he sounds slightly flat and one dimensional but his tone does fit perfectly and his high notes more than make up for it. (The fact that Brian can still hit all the highs to this day, seeing as he's knocking on the door to 60 is almost unbelievable.) Unsurprising that bass and drums are tight and flawless, though I won't go into detail when it comes to these instruments as I'm not too savvy compared with my knowledge of six strings and the backs of men's throats.

Every song's a winner, absolutely no filler and the record is the perfect running time. The artwork does seem a bit goofy by today's standards but I really do like it. It looks creepy enough. The only negative issue I have which has prevented me from giving a perfect score is the production. I've heard a few different releases of this and it seems to be an almost quiet mix, thus meaning stereo volume is whacked right up and you can't make out much in the way of bass.

Satan are back in business and some may say their newest releases top this one. Time will tell, but make no mistake they will remain the uncrowned kings of the NWOBHM movement and one of the best bands I've had the pleasure of listening to.

This docket is filled to capacity. - 97%

hells_unicorn, December 17th, 2010

There’s a question of what matters more from a historical perspective; an album that looks forward about a decade, or one that looks forward to the time before it. This is essentially what separates Venom’s and Satan’s respective debut releases, the former would define the underground and extreme, while the latter stands as an example of how extreme traditional metal can get before transitioning into the lighter tier of Thrash Metal. One might argue that metal Church’s “The Dark” is a superior album in terms of fully marrying the character of thrash with the spirit of the NWOBHM sound, but of all the bands that came out of the late 70s to early 80s British scene, Satan perfectly captured the consonance and intensity that stood just before the bridge that Metallica and Slayer ended up crossing.

What essentially is heard here is the perfect marriage of a dark and creepy atmosphere with some of the most riff-happy songs ever birthed by the genre. Immediately after the paranormal sounding ambient intro “Into The Fire” ceases, one might speculate that James Hetfield and Steve Ramsey were linked telepathically, as a somewhat similarly chaotic intro to that of “Hit The Lights” can be heard on “Trial By Fire”. But as things get underway, the tone and flow of the music hints at a somewhat more orthodox (at least by NWOBHM standards) character, though the speed and agility of the riff work is actually a bit more complex than “Kill Em’ All”. Likewise, the vocal assault is peculiarly clean and mid-ranged, barring the occasional banshee wail in keeping with the school of Halford and Dickinson.

The charm of this particular take on an already pretty well established style is the emphasis on speed and the elaborateness of the whole. Even before settling into the rugged, dogmatic style that they established on “The Number Of The Beast”, Maiden never really got this fill-happy and shred obsessed. Particularly on “Blades Of Steel”, “Broken Treaties” and “Break Free” there is an abundance of scale runs and brief lead breaks that loosen the arrangement significantly, and even when settling into a thudding, chunky, mid-tempo groove, this free flowing feel persists. Perhaps the best analogous example would be Maiden’s “Killers”, but with fewer slow sections and no ballad. At the same time, the lead work has that formulaic, blues based feel that Kirk Hammett continually emulated from 83-87, but in a dueling fashion that is far less longwinded.

Although much of what is on here is characteristic of the time it was birthed in, “Court In The Act” stands tall as an early example of how far the limits of heavy metal orthodoxy could be stretched without completely altering the paradigm the way Venom ended up doing. It is based on a very simple musical structure, yet is elaborated to the point where a towering colossus like “Alone In The Dock” comes about and actually hints at the progressive direction that Queensryche and Fates Warning would delve into in the mid 80s. Although the members of this fold contributed to such noted acts as Raven, Angel Witch, Blitzkrieg, Blind Fury and Pariah, this is where the real goods are, and is the first album that should be on your purchase lists before any other albums put out by said bands.

Originally submitted to ( on December 17, 2010.

A monumental peak in NWOBHM - 99%

Xeogred, February 9th, 2008

As a band throughout all of their different forms, whether it's when they were Blind Fury, Pariah, or their main entity Satan - these guys released some of the most innovative and influential albums I've ever come across. Release after release the experiments and idea's that emerged were always fresh and creative, while the quality and consistency in the music was never lost. I can easily give every release these guys put out up to Pariah's second album Blaze of Obscurity a solid two thumbs up, or perhaps each a 90% rating and above (as I have with my Blind Fury review). As fantastic as they all are I firmly believe that Court in the Act is quite possibly their greatest moment, for 1983 the material here was years ahead of its time and was an undeniable stepping stone for many bands to follow.

The previous reviews all nailed a lot of aspects about this one that I can fully agree with. For its time Court in the Act was one of the most aggressive and technical releases in the realm of NWOBHM. It's more than arguable that this album could be seen as a blueprint for both speed and power metal bands that would follow in the next coming years from here. The emphasis on up front vocals and crazy guitar work is definitely there, which have both always been strong elements to speed the power genres.

Vocalist Brian Ross whom is no stranger to the scene truly makes this album stand above and beyond many others. The best part about his vocals is that there's really not a lot of people out there that have a voice quite like him. He has one of those thicker more masculine voices that gives off an incredibly believable and commanding performance while he's completely full of charisma. There's pretty much no limit to his range as you can expect some insane shrieks and wails throughout as well. Ross is a one of a kind, the vocals delivered here are extremely classy with no set of rules in sight. After this release Ross would carry out his legacy over to Blitzkrieg, ~25 years later it's as if he hasn't aged a bit!

Now there's Steve Ramsey and Russ Tippins on guitars. Phew, where do I start with these guys!? I can't stress enough how technical, fast, and over the top the guitars are on this album, for 1983 and even compared to bands of today. Again, as the previous reviewers have firmly stated both guitarists have always had a style of their own, while always backing each other up this is an album where it's completely obvious there's two different guitarists, almost constantly fighting for the spotlight while managing to be perfectly balanced with one another. When you've heard Satan, Blind Fury, and Pariah, I think it's safe to say these two deserve an uncountable amount of credit for their skill and diversity among styles. They could play anything. I think to sum up their virtuosity, all you have to do is hear Break Free and it's over. Of course, the rest of the band deserves more than enough merit themselves. After all it is the songwriting here that truly counts and every song just feels perfect, you couldn't imagine them being any different.

Unlike some out there I honestly have never had a problem with the production on this one. Yeah, it's aged and has flaws, but I personally cannot find a real complaint for it at all. The mix is entirely consistent all the way through and everything else is pretty clear. For someone taking an unknown dive into 80's territory I guess it might be hard to get used to, but if you've heard a lot of older and classic stuff and don't mind the aged flaws you probably won't have much of an issue here.

Well, as my title for the review suggests I firmly believe this is a peak in classic, near flawless NWOBHM. When I think of that term, this is one of those albums that instantly comes to mind along with some of Cloven Hoof's stuff and some other acts that didn't get as much recognition as the big names. I could probably easily go on and on about this one and cover every track but it's nothing but a hit left and right, so there seriously aren't any low points here at all (bonus tracks are excellent as well). It'd be impossible to pick a favorite stand alone track. For those interested in seeing where a lot of speed and power metal bands got their notes from, this is it. Court in the Act, completely ahead of its time and innovating the future - truly a timeless relic.

An early classic - 94%

fluffy_ferret, November 9th, 2007

Bands these days, they have all pretty much perfect production jobs. The mixing can vary, but it all sounds so bloody perfect on every level that it’s almost frustrating. “Overproduced” is the word most would use, but I’ve noticed another trend: the complete and total abidement to a rigid songwriting-formula that has changed very little over the years. That applies especially to power metal. It’s as if they’ve lost the will to experiment… to explore and to evolve. Big bands such as Gamma Ray, Hammerfall, Iron Saviour etc. have all released good albums in recent years, but I just can’t escape that feeling that for them, it’s just another day at the office. It’s not really about “everything has been done before” because bands like Manticora, Archetype, Kamelot and many more prove that there is still room for new ideas. Maybe they are afraid that by deviating from the formula that has made them famous, they’ll lose some of that fan base they’ve worked so hard to build up. Or maybe they’re just fucking lazy – who knows?

Satan’s Court in the Act is the complete opposite of that trend. It has horrid production but still succeeds in ways modern bands can only dream of, which only proves how overrated production is. There’s nothing even remotely close to generic here. 1983 was far too early for that to happen; metal was still in its infancy and evolving at the speed of lightning. Sure, some of the bands back then weren’t too good, but they all had one thing in common: a wild and completely unrestrained passion for the music. It’s from that spark that incredible music is made, and clearly, it’s from that spark this album was made, as well as every (other) influential metal album in history. All the classics of the past… from Judas Priest, Iron Maiden and Metallica, to mention a few of the greats, they all had that spark. Since then, albums which have had better song writing, musicianship, production etc. have been released, but that has not dethroned these classics from being the immortal albums that they are. As proof to its status as a classic, Satan’s Court in the Act has indeed not been dethroned – it sounds every bit good today as it did back in 1983. If anything, it sounds even better due to the high saturation of generic clone-bands on the market. Like a reminder of how great metal can be, you can still hear that very same spark in every moment, every note played, in every bloody second on this album, and that is essentially what makes this such a goddamn awesome experience.

Satan possessed more than that spark though… much more. They were all superb musicians; Steve Ramsey and Russ Tippins, for instance, were to this reviewer’s ears, one of the best duos in the history of metal. These two didn’t just have an impeccable technique – they also had a unique, instantly recognizable style as well as an amazing sense of melody. Much more important than the band’s technical prowess was their ability as songwriters though. They knew just how to compose a song, adding the right amount of melody and riffs to a structure that was unusually intricate and intelligent for its time. A common denominator in their compositions was the love for speed. An excellent example being the energetic ‘Break Free’ with its famous 3:00 solo and ‘No Turning Back’ with its inventive guitar riffs. Songs such as ‘The Ritual’ and ‘Alone in the Dark’ showcased the band’s talent for more advanced songwriting. ‘The Ritual’ being a rather complex, almost neoclassical and purely instrumental affair while ‘Alone in the Dark’ focused more on atmosphere, lacking the frantic pace of other songs, but compensating with some fantastic melodies and some of the most interesting guitar work on the album (check out those cascading riffs and the soaring lead work!).

I remember reading that Court in the Act got rave reviews upon release, but I can’t imagine that it sold too well, and if it did, it must have been forgotten, or unjustly dismissed, because I seldom hear people talk about in the same sentence as “the greats”. I think the reason for that is that back then, Court in the Act must have been looked upon as a rather extreme album. It was heavier and speedier than most and had riffs which almost bordered on thrash. I think Satan was just a bit too much for people, either scaring them away through the “extreme” qualities of their music, or by virtue of their technical prowess and songwriting, which was quite frankly ahead of its time. While we’re on detracting factors: Brian Ross definitely was one. Although his singing is pretty good in terms of emotion and melody, his style and voice is nothing if not unusual.

However, when it’s as good as this, it’s easy to oversee any “flaw”, almost no matter how great it is. There just aren’t that many albums out there that put a smile on my face as easily as this one. Court in the Act is just so full of vigour, stubborn energy and honest musicianship that it’s completely irresistible in that way only older albums can be. If you’re in any way a metal enthusiast and interested in exploring the genre’s history, this classic is a mandatory listen -- as mandatory as it ever gets.

perfect from beginning to end - 100%

metalpesant, April 16th, 2006

This is one of the very few albums that will receive a 100% score review from me. Back in 1983, most of the albums coming from Britain were either great or excellent, Ebony records released “Chained and desperate“, “Loose and lethal”, and “See you in hell” by such artists as Chateaux, Savage and Grim reaper respectively, and Neat did the same with great offerings from Raven, Jaguar and most notably, Satan.

After Blitzkrieg’s break up, singers were swapped between the newly formed Avenger and Satan, resulting in the arrival of Brian Ross as lead vocalist for the recording of what would become my favourite record of 80’s metal, “Court in the act”.

The association between Ross and Satan would be very short lived but gave us a flawless gem of an album that is perfect from start to finish. After an atmospheric intro that sets up the mood in eerie fashion, we are hit full frontal by what would be the trademark of “Court in the act”, fast paced, powerful, but incredibly melodic songs such as “Trial by fire”, a song about nuclear warfare, a topic often used by bands in those days as we were still with both feet firmly planted in the cold war between the Soviets and the Americans.
The twin guitar attack is reminiscent of Iron maiden of course but it is faster and somewhat heavier than that of Harry’s boys.

The production is rather raw and unpolished like all Neat releases, but in this case, this is what gives “Court in the act” it’s charm, and a cleaner production would have certainly taken away a lot of the energy and magic of this record. It’s underground feel is what attracts me the most towards listening and listening again to this album as much now as I was doing more than twenty years ago.

What stands out the most from that first song is the voice of their lead singer Brian Ross, mid range yet powerful and rather soothing in the tone, that guy has the most beautiful voice in metal, never strained, the guy respects his range and stays inside it giving us the most beautiful vocal melodies with maybe the ones from old Fates warning albums.

We are then treated to two very energetic songs, “Blades of steel”, a song about Vikings conquering the lands and “No turning back”, your usual song about sticking to your guns and believing in yourself, again with great vocal melodies, and very well written lyrics. “Blades of steel” has great beat changes and “No turning back” features an insane guitar solo that is probably the best on the album even though the soloing is awesome throughout the record.

Side one closes with the song about the mistreating of the american Indians in “Broken treaties” starting slowly with an Indian dance beat followed by the guitar melody, another intense song that is the most progressive with the last song on the album “Alone in the docks”.

Side two starts off the same way that side one started, with a fast paced stormer called “Break free” where the drumming and bass work are particularly prevalent as it is in the instrumental “The ritual”, a crazy wordless adventure that takes you through different moods, speeds and where your attention is not divided between the incredible musicianship of guitarists Steve Ramsey and Russ Tippins, bass man Graeme English and drummer Sean Taylor and the magical voice from Ross which we now have a break from in that song.

“Hunt you down” doesn’t leave out the energy and has a very original almost weird riff in the chorus.

After all is said and done none more than myself can recommend this perfect piece of metal art to the unsuspecting treasure hunter, unfortunately this record is hard to find and I was lucky enough to have it in vinyl but it cost me a bundle to have on cd.

Satan would later change it’s name to Blind fury because they didn’t want to be associated with the growing number of satanic bands coming mostly from the newly emerging thrash metal movement, they released an excellent album titled “Out of reach” featuring the same flawless musicianship and strong numbers but without the great Brian Ross and with a cleaner production than on “Court in the act” the magic seemed to have disappeared though “Out of reach” is still recommended.

Hail to that great year 1983 that gave us “Kill ‘em all”, “Show no mercy”, “All for one”, “Melissa”, “Sirens” and countless marvellous albums but most notably “Court in the act” by the great Satan.

Overlooked essential - 96%

GrimAndFrostbitten, April 24th, 2004

Though this is for the most part in the neighborhood of other NWOBHM acts like Diamond Head, it seems to go a bit beyond that and moves to innovate what they did. Though it came out in 1983, it would have been ahead of its time -- it has some definite speed and power metal elements in it that seem to be a precursor to many of the elements such legendary albums like Walls of Jericho and Battalions of Fear had, and has timeless elements that seemed to have permeated well beyond. The production is clearly from older times and is just a touch raw, but it's otherwise well mixed, with each of the elements distinguishable both as a whole and when focused on individually.

Blind Guardian fans will easily recognize the second track, Trial By Fire, on this, as it was covered very well by them on Somewhere Far Beyond. In fact, that's admittedly how I got into this album, tracking back the original version of at track that was one Blind Guardian. To contrast the two, the original isn't as heavy or fast as the cover, but everything's there compositionally, from the indelible enigmatic twin guitar attack at the beginning to the wonderful basswork and amazing leads. The vocals are a bit different, since there's no backing voclas and the lead singer's voice has a kind of subdued, soft quality to it that makes it quite striking when he hits high notes out of nowhere.

However, this album does go well beyond Trial by Fire in all those qualities, as well. This album is full of quality headbanging riffs, amazing leads and twin guitar attacks, propulsive basswork, and intense and fascinating drum patterns, while managing to take a variety of approaches. Blades of Steel, No Turning Back, and Hunt You Down are solid heavy traditional metal tracks interspersed with some future ideas that you'll have to hear for yourself to truly appreciate. Break Free is 5:23 of straight out speed metal bliss well ahead of its time. The instrumental track, The Ritual, could have been the older brother to Blind Guardian's By the Gates of Moria or Gandalf's Return. Alone in the Dark is a wonderful, fast-paced but gloomy track as well. The additional CD bonus tracks are excellent, too.

If you're a fan of speed or power metal, particularly Blind Guardian, I highly suggest you acquire this amazing, oft-forgotten, but seemingly amazingly influential album. This is essential NWOBHM.