Keith Baxter (1971-2008) - drummer for Skyclad

Keith Baxter (19 February 19, 1971 – 4 January 4, 2008) [Wikipedia] (February 19, 1971 - Jan 7, 2008) [Metal Archives]

Keith Baxter was the drummer for folk metal pioneers Skyclad (U.K.). He was involved in other bands, but I do not know that music, so I won't comment on something that I do not know. Keith was with Skyclad from 1990–1995 for the first five albums. In my experience, Skyclad was the first band that played folk metal as a self-aware genre. There was only a tiny glimpse of folk metal in the thrash of the previous band, Sabbat, for which Martin Walkyier was the vocalist. Martin formed the band with guitarist Steve Ramsey from the band Satan (U.K.), a band that is not associated with folk metal but rather with traditional heavy metal. Below, I am including both the information from Wikipedia and Blabbermouth for Keith.

Personally, I am well acquainted with the first three albums. At the time, those albums sounded pretty different and were interesting for the type of melodies in them. In those early days, the thrash, heavy metal, and folk elements were there in abundance, and the music sounded like metal music. Later on, of course, folk metal branched out in various directions. Skyclad was there in the early days of the genre and showed the way to do folk metal. In my opinion, they are a fundamental part of the history of the genre.

Wikipedia: As a teenager he became a founder member of Lancaster thrash metal & drinking professionals, Aphasia, before leaving for folk metal pioneers Skyclad, recording five albums with them before leaving in 1995, to move to London and join 3 Colours Red, with whom he recorded two UK Top 40 albums (Pure and Revolt) and six Top 40 singles. Following the split of the band in 1999, Baxter formed the band Elevation with former bandmate from 3 Colours Red, Pete Vuckovic. The pair signed with Sony but were dropped a year later. He moved back north to Lancaster, and briefly played with the Northern Irish band, Therapy? in 2002. 3 Colours Red formed again soon after that to record a third album (The Union of Souls), but split up again, permanently, in 2005. Following this split, Baxter played with the Lancaster-based Baby Judas. He died after suffering liver failure in January 2008.

Blabbermouth (2008): According to Kerrang! magazine, former 3 COLOURS RED / THERAPY? / SKYCLAD drummer Keith Baxter has passed away. Baxter, who shot to fame with 3 COLOURS RED in the '90s, died of liver failure in hospital on January 4, 2008, surrounded by family and friends. He was 36 years old. Baxter was born in Lancaster, Lancashire, UK. As a teenager he became a founding member of SKYCLAD, recording five albums with them before leaving in 1995 to join 3 COLOURS RED, with whom he recorded two UK top 40 albums ("Pure" and "Revolt") which included six Top 40 singles. Following 3 COLOURS RED's split in 1999, he formed ELEVATION with former 3 COLOURS RED bandmate Pete Vuckovic. The group signed with Sony but was dropped a year later. He briefly played with the Northern Irish band THERAPY? in 2002. 3 COLOURS RED reunited to record a third album ("The Union of Souls") in 2004, but split up again the following year.

Skyclad with Keith Baxter on drums

Drums (1990-1995)

1991 The Wayward Sons of Mother Earth

1992 Tracks from the Wilderness (EP)

1992 A Burnt Offering for the Bone Idol

1993 Power Music Hard Force (Split)

1993 Thinking Allowed? (Single)

1993 Jonah's Ark

1994 Prince of the Poverty Line

1995 The Silent Whales of Lunar Sea

2002 History Lessens: An Introduction to the Artist (Compilation)

2002 Live at the Dynamo (Live album)

2016 A Bellyful of Emptiness - The Very Best of the Noise Years 1991 - 1995 (Compilation)

SKYCLAD - Thinking Allowed (1993 Official Video - HD Remaster)

SKYCLAD - Emerald (1992 Official Video - HD Remaster) [Thin Lizzy cover]

Neil Peart (Rush) - September 12, 1952–January 7, 2020

In the world of progressive metal, Rush is a vital piece of the puzzle. Countless books have been written about them, and there is no doubt that drummer Neil Peart remains deeply respected by both musicians and fans for his thoughtful, intelligent, and complex approach to the kit. In my opinion, Rush must be taken into account when discussing the essence of progressive and technical metal. While it may be true that younger metal bands don't always have a direct connection to Rush’s most influential works, for earlier generations of rock and metal musicians, Rush was fundamental to their musical identity.

In the 1970s, progressive rock was plentiful, but many of those bands weren't interested in playing heavy. Conversely, with the heavy rock bands, it often feels as though the drummer was following the riff or playing in the "pocket" to support the guitar.

In Rush, however, the drumming feels like part of the composition itself, rather than just a time-keeping tool. Listeners across the decades have observed that Peart’s drumming is multifaceted; its complexity and thoughtfulness bridge the gap between progressive artistry and heaviness. While I am not a musician and cannot explain the technical music theory behind the percussion, I know that more knowledgeable people have written extensively on his style, and there are many YouTube people, including other musicians, who have commented on Peart's drumming. I won't pretend I can match their technical analysis.

I enjoy the entire Rush discography, including the 1980s albums that some fans find experimental or less heavy. For me, every era offers something interesting to enjoy. For those who haven't given Rush a chance and are up for an adventure, I’ll recommend one song. (Longtime fans and musicians, please feel free to chime in with your own favorites.)

The band famously had a difficult time recording this track because it was so complex; it allegedly frustrated them to the point that they couldn't record it live in a single take. Instead, they had to piece it together from three different sections. It is a long, crazy instrumental, but it’s an incredible listen. While playing it must be a massive mental and physical exercise, listening to it is pure fun to me. Check out "La Villa Strangiato"!

La Villa Strangiato by Rush REMASTERED

Rush - La Villa Strangiato live 1978

Phil Kennemore (Y&T) (1953–2011)

In remembrance of Y&T bassist Phil Kennemore (October 20, 1953 – January 7, 2011)

Y&T is the most fun heavy metal rock and roll: the melodies, the riffs, the singing, the catchy songs, and of course, a mighty rhythm section!

Phil Kennemore was there at the beginning of Y&T in 1974 until the band's first breakup in 1990, and then again when the band was reactivated in 1995 until 2010, when he left the band after being diagnosed with lung cancer.

I am a fan of Y&T and enjoy a ton of their songs across the decades. Of course, with a long tenure with the band, that means that Phil is there for all the hits, rockers, anthems, and ballads.

Y&T has sold over four million albums worldwide. Across five decades, they achieved five Top 100 albums and earned extensive MTV rotation with signature hits like "Summertime Girls," "Mean Streak," and "Don't Stop Runnin'." A powerful band capable of reproducing the sound of their records, they also reached audiences with major songs such as "Rescue Me," "Forever," and "Contagious."

Here, I'm sharing the story of Phil, taken directly from the band's official website:

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Phil Kennemore’s first band consisted of five guys; the only problem was that nobody could play. Phil says he didn’t even know what a bass was-he just knew he wanted to play. Since everyone in that first band played guitar, Phil took two strings off his guitar and decided to be a bass player.

At around age thirteen, Phil bought a St. George guitar at a pawn shop for $35 and a sparkly carrying case for $45. The first song he ever learned to play was Gloria by Them. The very first bass he bought was a no-name bass (Winston?); it was as warped as a Jai Alai racket and cost a mere $5. Phil continued playing (yet he still wasn’t sure what a bass player’s role was). “I would just follow the guitar players. If they were on the third dot, I went to the third dot.” The first song Phil learned that really had bass lines in it was Monterey by Eric Burdon and the Animals. Next, he learned Crossroads by Cream-Jack Bruce’s bass lines (all bass players at that time had to do that). Like so many musicians, after Phil saw the Beatles on The Ed Sullivan Show, he knew come hell or high water, he was determined to be in a rock band, and so he carried on. He was then smitten by the velvet-clad, mod look and sound of Rod Stewart and the Faces and that vibe furthered his desire to be in a band.

Prior to Y&T, Phil played in many other bands (his first band was Crystal Sunshine-the name explains the era); they started off like everyone else playing anywhere they could (Elk’s Lodge, Job’s daughters, parties). While in junior high school, instead of listening to the teachers, Phil would draw a guitar neck on his arm and practice fingering chords. At that time, mentally, he had already decided that he wanted to play in a band; he only did enough schoolwork to keep authority from coming down on him. If he wasn’t practicing guitar on his arm in class, he was doodling-drawing musical equipment instead of paying full attention to the teacher. At home, Phil created his own world-he took the mattress off his bed, put plywood on his bed frame, and made his very own stage where he’d place his amp and perform on “his” stage.

When Phil was in high school, he started a band with his brother Jeff. The band used to perform after school at Jeff’s junior high school on the basketball courts. Phil had already known Leonard Haze (since he was eleven years old), but on one particular day while performing on the basketball courts, along came this frizzy headed dude-Dave Meniketti. That’s the first time Phil remembers meeting Dave. The guys jammed a song together that afternoon. Another tidbit: once Phil’s brother Jeff auditioned for a band of Leonard’s called The Mustangs. Phil didn’t own a real instrument until he was 18. He rode the bus thirteen miles to a music store and paid $55 as a down payment for a used black Fender Jazz. The next month he paid another $50, and then he paid $5 a week until his bass was paid off ($250 total). He rode the bus every week just to smell that bass; besides the smell of excitement, that bass had a certain smell to it that he loved (the wax, the wood). That bass is the same black Fender Jazz that Phil used his entire career with Y&T.

In the early months of Yesterday & Today, the bass player at the time wanted to move on to rhythm guitar in the band instead of bass, so Leonard and Dave called Phil to join on bass. Soon thereafter, they kicked out the old bass player (who was the new guitar player) and they started writing original material. In 1974, Yesterday & Today won first place at the Hayward Battle of the Bands. The band that took second place had a rhythm guitar player named Joey Alves. A week later, Phil, Leonard and Dave asked Joey to join the band – and the rest was Y&T history.

The bass players Phil used as models for the style he felt Y&T needed were Leo Lyons (Ten Years After) and Gary Thain (Uriah Heap), along with many others. Phil’s diverse musical interests would be shocking to Y&T fans. He liked every style of music and said he could not condemn any particular genre (only people with narrow minds should be condemned). He found validity in all music-from the corniest mellow stuff to the most avant garde. Phil always fancied himself more as a songwriter/creative person than a musician. Along with Leonard Haze, Phil performed and recorded Marty Balin’s rock opera Rock Justice.

Phil Kennemore, original bassist for Y&T passed away on January 7, 2011, from lung cancer. Phil will forever be missed and his mark on Y&T and rock music will continue to be celebrated by the band and by fans worldwide.

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This band is multidimensional and does so many moods so well. Usually, I would not recommend watching a full concert, but Y&T sounds so good live that in this case, if you like American big rock, American classic heavy rock, and American hard rock heavy metal, this concert shows the various moods that the band does. I could have chosen other concerts from later on in the 1980s when they had become even meaner, leaner, well-oiled touring machines, but I like this video; it is from the mighty, legendary Reading Festival.

In this concert, Phil Kennemore is the gentleman in the red pants! By the way, he does the lead vocals on the song "Squeeze" at about the 26-minute mark.

In general, the critics agree that the band issued a classic trilogy: in 1981 (Earthshaker), 1982 (Black Tiger), and 1983 (Meanstreak). These albums are recommended for new fans. Anyway, here are also some of the classics!

Y&T - UK Reading Festival 29-8-1982

Y&T - Hurricane

Y&T - Winds of Change (Live)

Y&T - Contagious

INDUCTION - Steel And Thunder (Official Lyric Video)

Power metal fan, Check out this official information about this new power metal album for 2026.

Induction

Love Kills!

Reigning Phoenix Music

6 February 2026

Power metal upstarts INDUCTION aim to astonish and amaze with their highly-anticipated third album, Love Kills!. Catchy melodies and upbeat riffs dominate the soundscape, capturing the band’s energy as a relentless force to be reckoned with in the modern metal world. Though eclectic and refreshing, Love Kills! remains underpinned by a lingering sense of nostalgia for the power metal legends who inspired INDUCTION. The band pays homage to their roots while introducing less traditional elements and building a new, intriguing sound. The result is an album that is sure to please longstanding fans, while also exciting newcomers and proving that power metal is here to stay for years to come.

About INDUCTION:

In the heart of the power metal resurgence stand INDUCTION, a name that has quickly become synonymous with the genre’s new wave. Led by Tim Kanoa Hansen, son of metal legend Kai Hansen (HELLOWEEN, GAMMA RAY), INDUCTION are a force to be reckoned with, igniting stages and captivating audiences worldwide.

Their rise began with a bang as their sophomore album, Born From Fire, was released under the wings of Reigning Phoenix Music, earning widespread acclaim and solidifying their status in the genre. Notable praises include being crowned “Power Metal Rising Star of the Year” by Rock Hard in 2022 and drawing the attention of German TV channel SWR, which chronicled their ascent in a documentary.

Building on this momentum, INDUCTION embarked on high-profile tours alongside metal giants such as STRATOVARIUS, SONATA ARCTICA, BATTLE BEAST, GAMMA RAY, ACCEPT, and more, showcasing their polarising live energy and winning over audiences across Europe and also Japan.

Though widely considered a progressive power metal band, INDUCTION refuse to be confined by a single genre. With each release, they defy expectations, seamlessly blending and evolving the boundaries of their music while staying true to their unmistakable core.

As they march toward the release of their eagerly awaited third album, Love Kills!, INDUCTION remain a hungry force in the metal galaxy, fuelled by a passion for music and an unwavering commitment to their craft. With the rallying cry “We bring the heat!” echoing in every riff and chorus, they invite fans to join them on their epic journey through realms of myth, majesty, and POWER!

INDUCTION are:

Gabriele Gozzi | vocals

Tim Kanoa Hansen | guitars

Justus Sahlman | guitars

Dominik Gusch | bass

Markus “Maks” Felber | drums

Russ North (Cloven Hoof) (1965–2025)

In Remembrance of Russ North (July 22, 1965 – January 1, 2025)

To fans of lesser-known British heavy metal bands from the 1980s, Cloven Hoof is an underrated group. Formed in Wolverhampton, England, in 1979, they were active until 1990 and reformed around 2000. Despite numerous lineup changes, only founding bassist and principal songwriter Lee Payne has remained a constant member. The band released two demos and an EP in 1982, a studio album in 1984, and a live album in 1986. It appears that around 1987, the band became inactive or split, largely due to the lineup changes that plagued them.

While it is not entirely clear if the band officially ended, the trajectory changed significantly when singer Russ North joined. His voice became vital to the sound of 1980s Cloven Hoof; he was known for a powerful, operatic range that helped transition the band from their early metal-rock roots into a more polished power metal sound. Russ joined in 1987, replacing the original vocalist, David Potter. His arrival marked a major shift in the band’s identity. Along with guitarist Andy Wood, North helped create what many fans consider the band’s most important era.

He made his studio debut on the 1988 album Dominator. His soaring vocals were a perfect match for the album's sci-fi and epic fantasy themes. He followed this in 1989 with A Sultan’s Ransom, an album that fans of underground late-80s British heavy metal hold in high regard. Even though the band achieved critical success with these records, they struggled with the changing musical landscape, and the group seemingly disbanded in 1990.

Russ eventually returned to the band in the 2000s. Although he left and returned a couple of times, his tenure did not end well. According to Wikipedia, “North was dramatically sacked by Cloven Hoof in 2012, following an appearance in Cyprus where he was too drunk to even stand on stage. Payne declared himself ‘humiliated, ashamed and disgusted’ at North's act of ‘professional suicide,’ and the incident effectively ended the 30-year friendship between the two.”

Both Wikipedia and Metal Archives note that Russ North was involved in other rock and metal bands, though they did not reach the same level of recognition as his era with Cloven Hoof. Personally, I am only familiar with his singing in Cloven Hoof and am not knowledgeable enough to comment intelligently on the more obscure bands he joined, some of which are not even listed on Metal Archives.

Cloven Hoof has continued after Russ and remains active to this day. I enjoy their latter-day music as well.

For fans of traditional heavy metal, I believe it is worthwhile to check out Dominator (1988) and A Sultan’s Ransom (1989). If you appreciate traditional heavy metal vocals, his performance is certainly something to experience. See if you like it!

Cloven Hoof - Highlander (from the 1989 album A Sultan's Ransom)

Thin Lizzy's Phil Lynott (1949-1986)

In Remembrance of Phil Lynott (Thin Lizzy) (August 20, 1949 – January 4, 1986)

To talk about vocalist/bassist Phil Lynott is to talk about Thin Lizzy.

Given that I do not live in Ireland, I don’t want to state something inaccurate, and Irish readers should feel free to correct the following statement if it is inaccurate: The music of Thin Lizzy has remained popular in rock music culture, and even broader culture in Ireland. I looked up a few examples of this and found that it seems like the music of Thin Lizzy is certainly remembered in Ireland.

I point this out because, here in the United States, Thin Lizzy has remained a popular name in hard rock and heavy metal, even though its iconic vocalist/bassist Phil Lynott died in 1986. Thin Lizzy comes on the radio, and it has probably been used in television commercials, to name but a couple of examples.

I’m certainly no expert on Thin Lizzy. Actually, the rock music author Martin Popoff has written more than a few books about Thin Lizzy. He’s certainly an expert, and he has done a bunch of YouTube videos in which he talks about Thin Lizzy and gives his opinion about the band’s discography, including their albums from worst to best, going from number 12 to 1.

In terms of the history of the band, the band’s official website provides the following information. The following history is taken directly from the band’s website.

THE DUBLIN DAYS: 1969-1971

One of the defining rock groups of the 20th Century, Thin Lizzy began life in Dublin in 1969 when childhood friends Phil Lynott and Brian Downey were approached by two former members of Van Morrison’s band ‘Them’, Eric Wrixon (keyboards) and Eric Bell (guitar).

Prior to this Lynott and Downey had been playing together as ‘Orphanage’, along with Pat Quigley on bass and Joe Staunton on guitar. The newly formed Thin Lizzy saw Brian Downey on drums and Lynott playing bass and vocals.

Their first release, on Parlophone, came in July 1970. It was an original composition of Lynott’s called ‘The Farmer’. Out of 500 copies pressed, 283 sold. An inauspicious start maybe, but the band were destined for great things.

Soon after, Wrixon left the band and the remaining three members continued to play live most nights of the week. Peter Eustace, the group’s roadie recalled: “Thin Lizzy was very much Eric’s band at the beginning, and Phil barely got a look-in. My earliest memory of Thin Lizzy live was that it was just Eric going through his Jeff Beck and Jimi Hendrix routines.”

Signing to Decca Records, their first album ‘Thin Lizzy’ was released in 1971. Speaking of the group’s recording sessions, Bell said: ‘We were totally bombed for the duration of that record.’ In spite of this, ‘Thin Lizzy’ and their next album ‘Shades Of A Blue Orphanage’ were described as intriguing, quirky LPs that tended to defy easy categorisation. Although neither album charted, their early fan based was helped along by DJ Kid Jensen who would feature them on his radio Luxembourg show, and they began to build a strong underground following.

ON THE ROAD: 1972-1974

During 1972 they toured Europe, but it was only really back in Ireland that their tours provided the funds to keep the band going. Despite this, they knew that if they wanted to break into the wider market they had to persevere with playing in England.

Later that year, Slade went on tour and Thin Lizzy were booked as their support. Decca released a record to coincide with this tour, and chose Lizzy’s unique rock version of a traditional Irish folk song: ‘Whiskey In The Jar’. Although the song stayed in the top of the Irish charts for 17 weeks and reached number 6 in England, the band were annoyed at being lumbered with a ‘folksy’ label that they were determined to shake off.

Work began on their third album ‘Vagabonds Of The Western World’ and was released in the autumn of 1973. Combining the traditions of Pop Art on the cover and a yarn about the ‘Legend of the Vagabond’ along with a shamrock design on the back, this album demonstrated the growing progression of Phil’s vision for the group: mystical Celtic meets hard hitting rock.

Downey said: ‘The quality of Phil’s song writing and the aggression in our playing made it a good album. I think ‘The Rocker’ just about sums up what Thin Lizzy was all about at that time.’

During this period Phil began to take up the creative reins of the band and Eric Bell left the group in 1974. He was replaced by Gary Moore for a few months as they continued with an Irish and then an English tour. A series of dates in Germany followed this, with guitarists Andy Gee and John Cann.

Despite the live work, chart success continued to elude the band and Lynott and Downey were on the verge of calling it a day. Instead they signed up two new guitarists – Brian ‘Robbo’ Robertson from Glasgow and Californian Scott Gorham, and a new era dawned for Thin Lizzy.The deal with Decca had run its course and the newly formed line-up then signed with Phonogram. Their fourth album ‘Night Life’ was released in November 1974 and they continued to grind away on the road, honing their act and becoming a tighter and more accomplished group.

POWER-CHORD PROGRESSION: 1975-1979

The next album ‘Fighting’ in 1975 saw Lizzy’s style develop further with the harmonised guitar-lines of Gorham and Robertson backed up with power-chord rhythm work. As Scott recalls: ‘Wishbone Ash had done the twin guitar thing before us, but we took the idea and put it into a hard rock context, with more aggression.’

Their hard work was rewarded with the breakthrough album ‘Jailbreak’ in 1976 and the single ‘The Boys Are Back In Town’. Both were massive international hits with the single hitting number 8 in the UK charts. Reaching the top 20 in the US, the album sales exceeded 100,000 copies – far and away their best success to date. Riding this wave, their next album ‘Johnny The Fox’ released in October 1976 went gold confirming their status, and the single ‘Don’t Believe A Word’ reached number 12 in the UK charts.

Following a sell-out British tour at the end of 1976, the band were all set for an American tour when Brian Robertson was injured and they were forced to cancel.

Instead they went to America as the supporting band for Queen, and drafted in Gary Moore as a replacement for Robertson. Once the tour had ended, Robertson confirmed he would not be returning to the group and the three-piece of Phil, Brian Downey and Scott went on to record the 1977 album ‘Bad Reputation’. In the end Robertson did return to re-join Lizzy during the album recording and stayed with the group doing session work and guest appearances until August 1978 when he finally left to form ‘Wild Horses’.

‘Bad Reputation’ was released in September of 1977 and stormed to number 4 in the UK charts. Coming as it did on the back of ‘Jailbreak’ and ‘Johnny The Fox’, this cemented the band’s position as one of the most successful rock bands of the time.

Thin Lizzy embarked on a US tour in the autumn of 1977 and the following year they began mixing work on a double album ‘Live and Dangerous’. They strived to recreate the energy and excitement of their stage performances in the studio and the album was a hit on both sides of the Atlantic. The track ‘Still In Love With You’ is considered by many to be a highlight of Phil’s career.

Later in 1978 they took off for another US tour, this time with Gary Moore replacing Robertson once again. Also absent was Brian Downey. “I was totally exhausted”, he said. “I just couldn’t take it anymore. I didn’t want to see another stage again, and I certainly didn’t want to go on to Australia, as had been proposed.” The band booked drummer Mark Nauseef, who had been playing with the Ian Gillan Band, as Brian’s replacement for the tour.

At the end of the 1978 tour, Phil, Scott, Gary and a now rested Brian Downey came together in London and Paris to work on the next LP, ‘Black Rose – A Rock Legend’. Released in 1979, the central piece of the work was the title track, in Gaelic ‘Roisin Dubh’.

Back on the road in the US, frictions within the band grew and resulted in Gary Moore being replaced by Midge Ure halfway through the tour. Guitarist Dave Flett, ex-Manfred Mann’s ‘Earth Band’, was also bought on board for the dates in Japan, which enabled Midge to switch to keyboards for some songs and saw the phenomenon of three lead guitars at the front of the stage.

Following the tours, Darren Wharton was recruited as a full-time keyboard player enabling Midge to honour his previous commitment to join a new group, Ultravox.

Dave Flett was replaced by Terence Charles ‘Snowy’ White in 1980 who also debuted on that years ‘Chinatown’ album, but ultimately gave way to John Sykes who brought with him the younger energy needed for a Thin Lizzy guitarist.

THE LAST STAND: 1980-1983

The next album ‘Fighting’ in 1975 saw Lizzy’s style develop further with the harmonised guitar-lines of Gorham and Robertson backed up with power-chord rhythm work. As Scott recalls: ‘Wishbone Ash had done the twin guitar thing before us, but we took the idea and put it into a hard rock context, with more aggression.’

Their hard work was rewarded with the breakthrough album ‘Jailbreak’ in 1976 and the single ‘The Boys Are Back In Town’. Both were massive international hits with the single hitting number 8 in the UK charts. Reaching the top 20 in the US, the album sales exceeded 100,000 copies – far and away their best success to date. Riding this wave, their next album ‘Johnny The Fox’ released in October 1976 went gold confirming their status, and the single ‘Don’t Believe A Word’ reached number 12 in the UK charts.

Following a sell-out British tour at the end of 1976, the band were all set for an American tour when Brian Robertson was injured and they were forced to cancel.

Instead they went to America as the supporting band for Queen, and drafted in Gary Moore as a replacement for Robertson. Once the tour had ended, Robertson confirmed he would not be returning to the group and the three-piece of Phil, Brian Downey and Scott went on to record the 1977 album ‘Bad Reputation’. In the end Robertson did return to re-join Lizzy during the album recording and stayed with the group doing session work and guest appearances until August 1978 when he finally left to form ‘Wild Horses’.

‘Bad Reputation’ was released in September of 1977 and stormed to number 4 in the UK charts. Coming as it did on the back of ‘Jailbreak’ and ‘Johnny The Fox’, this cemented the band’s position as one of the most successful rock bands of the time.

Thin Lizzy embarked on a US tour in the autumn of 1977 and the following year they began mixing work on a double album ‘Live and Dangerous’. They strived to recreate the energy and excitement of their stage performances in the studio and the album was a hit on both sides of the Atlantic. The track ‘Still In Love With You’ is considered by many to be a highlight of Phil’s career.

Later in 1978 they took off for another US tour, this time with Gary Moore replacing Robertson once again. Also absent was Brian Downey. “I was totally exhausted”, he said. “I just couldn’t take it anymore. I didn’t want to see another stage again, and I certainly didn’t want to go on to Australia, as had been proposed.” The band booked drummer Mark Nauseef, who had been playing with the Ian Gillan Band, as Brian’s replacement for the tour.

At the end of the 1978 tour, Phil, Scott, Gary and a now rested Brian Downey came together in London and Paris to work on the next LP, ‘Black Rose – A Rock Legend’. Released in 1979, the central piece of the work was the title track, in Gaelic ‘Roisin Dubh’.

Back on the road in the US, frictions within the band grew and resulted in Gary Moore being replaced by Midge Ure halfway through the tour. Guitarist Dave Flett, ex-Manfred Mann’s ‘Earth Band’, was also bought on board for the dates in Japan, which enabled Midge to switch to keyboards for some songs and saw the phenomenon of three lead guitars at the front of the stage.

Following the tours, Darren Wharton was recruited as a full-time keyboard player enabling Midge to honour his previous commitment to join a new group, Ultravox.

Dave Flett was replaced by Terence Charles ‘Snowy’ White in 1980 who also debuted on that years ‘Chinatown’ album, but ultimately gave way to John Sykes who brought with him the younger energy needed for a Thin Lizzy guitarist.

[The end of the history, as written on the band's website.]

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As fans of the band may already know, after Phil Lynott's death, some of the remaining members have carried on performing the music of Thin Lizzy live, but without releasing any new albums under the name Thin Lizzy without Phil Lynott. That is the story of the post-Phil Lynott Thin Lizzy, and I'll leave that interesting story for another occasion. The band's website states: "Although he had begun work on a new album, Phil finally succumbed to the excesses of his lifestyle and died on 4th January 1986. He left behind a legacy of work that continues to inspire and captivate audiences old and new, and carved out his well-deserved place among the greats of 20th century musicians." Phil Lynott was severely addicted to heroin. His story is an important cautionary tale. I (Metal Bulletin Zine) have seen YouTube videos in which the drummer Brian Downey says that it was Phil's heroin addiction that broke up the band. In other cases, people pulled back from having contact with him or working with him because, as some of them have said in various YouTube interviews, they had a difficult time dealing with him; others have stated that they did not want to be around to see what he was doing to himself—killing himself, as some put it.

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No doubt, fans have different opinions about their preferences for Thin Lizzy albums. I will simply suggest some introductory Thin Lizzy music. If you like the sound of the band, I would say that all eight albums from 1975 to 1983 are good places to start, every single one of those albums.

Thi̲n̲ ̲L̲i̲z̲z̲y̲ - Ded̲i̲c̲a̲tion: The Very Best of Th̲i̲n̲ ̲L̲i̲z̲z̲y 1991 (full album)

Thi̲n̲ ̲L̲i̲z̲z̲y̲ Thun̲d̲e̲r̲ ̲a̲nd Lig̲h̲t̲n̲i̲n̲g 1983 full album

Early Days of Swedish Heavy Metal: Ragne Wahlquist (1955–2025) (Heavy Load)

In Remembrance of Ragne Wahlquist (Heavy Load) (January 23, 1955 – January 2, 2025)

Given people's short attention spans and the constant churning of music fashions, trends, gimmicks, and subgenres, it is understandable that metal music fans might not know about a Swedish heavy metal band called Heavy Load that began in 1974.

The work of guitarist/vocalist Ragne Wahlquist (1955–2025)—and his brother Styrbjörn Wahlquist (drums and vocals)—is an important step for heavy metal in Sweden. The brothers helped bring a new heavy rock sound to a country where hard rock, in general, was not yet popular in a big way at that time. Formed in Stockholm in 1974, the brothers are a very important piece of early Swedish heavy metal. The band's foundational period, between 1978 and 1983, produced the recordings that are most interesting from the perspective of a student of heavy metal music from Sweden. Heavy Load brought Norse mythology into their music, using it as a central part of their album covers, imagery, and lyrics.

Full Speed at High Level (1978)

Metal Conquest (1981)

Death or Glory (1982)

Stronger Than Evil (1983)

Fans of the band were excited when Heavy Load returned to the stage in 2017. This comeback culminated in the release of Riders of the Ancient Storm in 2023, their first studio album in 40 years. Unfortunately, as the band was working on yet more new material, Ragne passed away on January 2, 2025, at the age of 69. Heavy Load is widely recognized as the first Swedish heavy metal band and a pioneer of Viking themes in metal music. The vision of the Wahlquist brothers represented a do-it-yourself spirit that helped build the Swedish metal scene from its humble beginnings.

Perhaps one way to put Heavy Load in perspective is to consider what Mikael Åkerfeldt, vocalist/guitarist for Opeth, wrote after Ragne's death:

"HEAVY LOAD are Sweden's first Heavy Metal band and also contributed to the scene outside of their own music by operating Thunderload Studios. Ragne also authored the two epic books 'The Wahlgaard Saga Pt 1 & 2.' A project I know he was incredibly fond and proud of, and is well worth investigating. Ragne (nor Styrbjörn) never compromised with anything related to his artistry and creativity. Despite the hardship that comes with this stance in the commercial world of music and art, it certainly demands one's respect. I experienced this determination when Ragne and Styrbjörn kindly invited me over to Thunderload Studios to hear a rough mix of their latest masterpiece 'Riders Of The Ancient Storm.' It was incredible! Just to sit there and eat cinnamon rolls and drink coffee with these two legends of heavy metal would have been well (or more than) enough for me. But to then get a pre-release listening to their first record since 1983!? It was awesome to the point of absurdity. The brothers were so proud (as they should be). They treated me with such respect and warmth that day (and every other time we met). I will never forget it. Ragne's music will surely continue to shake the very foundations of Valhalla! He will be sorely missed!"

If you have never heard their music, no doubt it will sound old because, well, it is. Their debut was released in 1978. That being said, speaking for myself (Metal Bulletin Zine), I would still recommend checking out their music. Their 1970s album is interesting as a diverse work of its time, while the early 80s work shows them going for a leaner, meaner, and more streamlined sound—more in line with the emergence of the new sounds of the 1980s heavy metal explosion.

Heavy Load (SWE) - Full Speed at High Level (1978) Full Album

Heavy load - Metal conquest (EP) - 1981

Heavy Load - Death or Glory (1982)

Heavy Load Stronger Than Evil full album 1983

ELETTRA STORM (power metal) - Ride The Rainbow (Official Video)

Italian power metal band Elettra Storm dropped a video for “Ride the Rainbow,” a track from their new album Evertale, which came out on Scarlet Records this past October. They are a melodic power metal band that I've been scrutinizing in detail.

“Ride the Rainbow” is a mid-tempo number, which stands out since most of their songs are much faster, that brings out the band's anthemic qualities and is sure to get the audience singing along. The chorus and guitar melodies are very easy to join in with. It kicks off with a simple piano intro and builds into a moody verse, eventually hitting a big hook and a solo that’s got some real vibes to it. Lyrically, it’s about a father’s perspective on how life changes after having a son. It covers the fears, the bonding, and that unique experience of watching your kid grow up. It’s a cool, personal touch for the genre.

The band put themselves on the map with their 2024 debut, Powerlords, and they’ve really dialed in their sound on this new release. Some of the tracks have a bit of a proggy edge, while others lean heavily into the speed power metal style. No matter the tempo, the melodies are super catchy!

Also, I’ve been digging into the lyrics to check on their quality, and it’s clear the band loves to tell stories and inspire their listeners. That seems to be their main theme: writing stories, some of which feel inspired by classic literature or traditions. Overall, they make a real effort to keep the lyrics concise while maintaining a certain narrative or poetic flair. They keep everything fan-friendly and smart. I’m definitely enjoying this album.

In case you like the song, I have included two more videos from the same album.

ELETTRA STORM

Evertale

Scarlet Records

24 October 2025

ELETTRA STORM - Ride The Rainbow (Official Video)

ELETTRA STORM - Blue Phoenix (Official Video)

ELETTRA STORM - Hero Among Heroes (Official Video)

https://www.facebook.com/ElettraStorm

UNBURIER - technical death/thrash metal from the UK

Unburier

As Time Awaits (EP)

release date: unknown (2025 or 2026)

1.Continuum 4:00

2.Abyssal Uncertainty 5:29

3.Survive the Vermin 4:59

Man, I don't know this band, so I was not expecting much because I had no reason to. Frankly, I am just getting into their music and just beginning to listen—you know, really listen, like, for real, to hear what it is all about. They are a new band to me, and Metal Archives shows that they formed in 2018 and have a couple of EPs before this one. They have a bunch of thrashy riffs, which is a great decision on their part, and they have technical death metal guitar work, of course, and it sounds good, too.

I'll tell you what I really like: effort! They are working hard to give audiences good guitar work and good songwriting within this genre. They have great melodic-shred solos and are clearly working on putting together good, thoughtful lyrics. Some of it is abstract, which I like. Are they concerned about political matters, environmental matters, or personal matters? Or is this a type of astronomical observation with a bent towards existentialism? Maybe all those things. Anyway, I like the lyrical effort (the lyrics are posted on Bandcamp; thank you, Unburier) to accompany the hard work on the instrumentation. The music is tight and precise, and it is very metal, which I like. I hope that they never forget the shred-melodic aspect as they become more experienced in their technical prowess.

I like the vocals. I feel like I can understand a lot of the vocals; it is pretty clear enunciation. Still, I hope that they keep exploring the details and variations of the vocals. Sometimes there are some crazy, brief vocal moments (for example, I really like the vocal expression at the 2:15 mark on the song "Harmonious Absolutes" from the 2024 EP Nebulous; listen and you'll see what I mean.). It's important to explore different vocal expressions or sounds. There are some cool, crazy screams, which I like. Here and there, I hear tiny moments of metalcore vocals show up for a second or two, and that's cool, too.

I say: keep it up! One of the problems in extreme metal is run-of-the-mill growling: monotonous, boring, pedantic, average growling that often seems to be there simply because the band doesn't want to be an instrumental band. Sometimes the growling seems like an afterthought, and when that happens, I don't like it. For these reasons, I'm liking where this band is heading: the music, the vocals, and the lyrics. I like the skill, the thoughtfulness, and their obsession with details.

About Unburier: Hailing from the south of England, UNBURIER stormed onto the death metal scene in the summer of 2022 with their debut EP Twisted Existence. The EP showcased the band's undeniable technical abilities, in addition to their raw and harrowing sound. In 2024, UNBURIER returned with their follow-up EP, Nebulous, on which the band refined their songwriting and technical prowess. On this release, the band ventured even deeper into the realms of their death metal influences, among which they count DEATH, NECROPHAGIST, and REVOCATION. Having conquered stages alongside the likes of SANGUISUGABOGG, CRYPTA, and PARTY CANNON, as well as making notable appearances at Bloodstock Open Air and Incineration Festival, UNBURIER continues to carve a path alongside giants of the death metal genre. Their upcoming third EP, As Time Awaits, sees UNBURIER blending old- and new-school death metal styles with technicality, hooks, and razor-sharp songwriting. Carrying the torch of the classic death metal sound into a new age, As Time Awaits is certain to enthrall longtime fans of the genre.

Survive the Vermin by Unburier

Unburier- Nebulous

https://www.facebook.com/unburierband/

Dawnbreaker (black metal) - streaming new song

Check out the new song, "Freed from the Curse of the Law," from the January 2nd, 2026, album Pactum Sanguine Novo by the extreme metal entity Dawnbreaker from the United States. This is the sixth album, and the project has been active since 2018. If this is anything to go by, expect intense black/death metal. In the past, the previous albums have been fast, blasting extreme metal. We'll see where things go when the new album arrives.

A Metal Archives review once observed about Dawnbreaker: "We can assume that Dawnbreaker is destined to carry the torch lit by Australia's Mortification and be known as the best in Christian death metal. Deus Vult is reminiscent of all the great debut albums in early thrash, death, and black metal. A must-own for devout metalheads hungry for the magic of metal’s past."

Pactum Sanguine Novo by Dawnbreaker

https://www.facebook.com/dawnbreakerworship

Alexi Laiho (1979–2020): A Spectacular Light Burns Out Too Fast -- In Remembrance of Alexi Laiho (Children of Bodom) (April 8, 1979 – December 29, 2020)

People were confused!

Or, at least, some people were. It took a few minutes to properly hear what was going on. It was not avant-garde nor experimental, but somehow the particular configuration of elements had not been done quite like that—not from the perspective of the vast majority of metal audiences, anyway. That first Children of Bodom (Finland) album, titled Something Wild (1997), offered a curious and exciting type of sound: a mix of shred and neoclassical extreme power metal with black metal vocals. It certainly was not common to hear all those elements brought together under one umbrella. It sounded fun, skilled, and a bit weird, or if not weird, at least novel. The maverick responsible for such a vision was only 18 years old when that debut album came out: Alexi Laiho on guitars and vocals.

What was it about that debut album?!

Who knows! It sounded confident, new, and familiar at the same time. It wasn't reinventing the wheel; black metal was not new by then, and neoclassical shredding was well-known, too. Yet, it was a fun combination. The young Finnish band worked neoclassical shred into extreme metal, blending high-energy riffs with high-speed, classically inspired segments.

The keyboards! The interplay between Alexi’s guitar and Janne Wirman’s keyboards was cool. The keyboards weren't just providing background atmosphere; they engaged in fast, lead-heavy duels that became a hallmark of their sound.

What genre was it? It had the aesthetic and vocal rasp of black metal, the precision of thrash, and the melodic sensibilities of power metal. Could extreme music be catchy and melodic? Apparently so.

There was a sense of "rock star energy" brought back to a technical subgenre. Along with Gothenburg bands like In Flames, At the Gates, and Dark Tranquillity, all of which had, in certain forms, paved the way for melodic extreme metal, Children of Bodom helped make melodic death metal a popular sound. However, these Finns sounded faster, more keyboard-driven, and more technical, a bit more virtuoso, if you will.

Anyway, after the debut album, the band became much more successful, and subsequent albums cemented their place in metal history. I know some people really like 1999's Hatebreeder, and some feel that everything finally fit into place perfectly with 2003's Hate Crew Deathroll. Speaking for myself, in my own worthless opinion as Metal Bulletin Zine, I think I prefer the third album, Follow the Reaper (2000). Of course, they made a bunch of other albums after those, but I think those first four are the better musical output.

Alexi, to me, never seemed like a real man, a mature adult, but more like an immature man-child. Sometimes he seemed to be trying too hard to prove he was cool or rebellious. His nihilistic, atheistic, and pseudo-satanic views were clearly dangerous. His substance abuse, specifically his extreme alcoholism, and his depression accompanied him in the hedonistic, godless way of life that a rock star leads. This led him down dangerous paths and, eventually, to his death from tremendously excessive drinking. Many of these issues can be found in his lyrics, too. In terms of the music, the lyrics are some of the weakest elements of Children of Bodom. Frankly, a lot of the lyrics are mind-numbingly stupid.

However, overall, the music of Children of Bodom brought interesting combinations to the table, and much of that music still sounds fun to listen to today.

Children of Bodom - Deadnight Warrior

Children of Bodom - In The Shadows

Children of Bodom - Children Of Decadence