| Musical Style: Heavy Metal | Produced By: John Petri |
| Record Label: Pure Metal / Retroactive | Country Of Origin: USA |
| Year Released: 1988 / 2021 | Artist Website: Bride |
| Tracks: 9 | Rating: 80% |
| Running Time: 44:12 |
Let’s not beat around the bush here: Live To Die, the 1988 Pure Metal Records sophomore effort of Louisville, Kentucky based Bride, has all the qualities you would expect from a classic heavy metal album. Bone crushing rhythm guitar? Check. Shredding lead guitar? Present. A high-pitched vocalist that can wail with the best of them? Got that covered, too. Adrenaline fueled rhythm section? Accounted for.
Similar to 1986 predecessor Show No Mercy (also Pure Metal), Live to Die maintains a straightforward metal trajectory, albeit a bit heavier and with more of a bent towards speed metal and thrash. Darker Gothic qualities still arise but not to quite the same extent. What I suggested in my 70% Show No Mercy review continues to hold true in that direct comparison is problematic because Bride does not sound like anyone due to the fact they attempt to imitate no one.
I must confess to being more a fan of Bride’s early nineties blues based hard rock era, keeping in mind I also think highly of its eighties material, although I do not find it quite musically consistent. That said Live To Die sees Bride making steps and strides in terms of its songwriting in that metal anthem “Hell No” and dramatic epic “Heroes” are classics, while bluesy “Whiskey Seed’ and technical metal to “In The Dark” and “Out Of Blood” are choice cuts as well. Thrash heavy “Live To Die” and “Fire And Brimstone” provides solid support. Said inconsistency rears its head in terms of “Here Comes The Bride” which is a bit too thrash based and contrived for my taste. Regardless, the fury and intensity to Bride’s Live To Die performance cannot be questioned.
Perhaps it is more time in the studio, but album finds front man Dale Thompson coming into his own with his signature (for the era) high-end vocal style. Likewise, brother Troy Thompson and Steve Osborne remain a monster guitar team, disclosing tight sounding harmonies and behemoth like guitar riffs throughout. Osborne in particular stands out with his near unparalleled soloing to place him among the era’s best.
Live To Die production sounds fine for the time in a step above Show No Mercy. Re-mastering to Retroactive Gold Disc Edition and splatter vinyl re-issues from the fall of 2021 improved upon things (noting work of Rob Colwell of Bombworks Sound) in producing a full and the better rounded sound rooted in an expanded low end and strengthened guitars.
Retroactive re-issue also features enhanced packaging (accrediting to Scott Waters of No Life Til Metal) to include a 16-page booklet and foil stamped trading card (CD release) and 12 X 12 insert (vinyl). Each is home to second of a three-part interview with Dale, which began on the Retroactive re-issue to Show No Mercy and concluded with Show No Mercy in addition to vintage band photos and three bonus tracks.
Track By Track
“Metal Might” gets things going with its unrelenting double kick drum. Despite the clichéd title, it proves a winner, reflected in its piercing rhythm guitars and uncompromising tempo. Osborne takes over on lead guitar, while Dale complements with several well-timed falsettos.
“Hell No” is highly regarded as a Christian metal anthem. Songs strength resides in its over the top chorus, continually shouting the phrase “We won’t go to hell, no we wont’ go” in anthem like fashion. Riff action borders on the unyielding and momentum the tenacious side of things.
Close the hatches and lower the sails
The wind is whipping great balls of hail
Tempest is raging pulling us down
Time to learn to swim or time to drown
Oars have broken your time to kneel
The storm is screaming with vengeance to kill
Faith has plunged into the sea beneath
Waves beat the ship with iron fist to sink
We won't go to Hell, no we won't go…
Quality maintains on “In The Dark”. Yes, tempo might taper somewhat - at least in comparison to its two predecessors - but song holds up under some slow to faster time signatures (at least for its verses) and elements of the breathtaking (animated chorus). A quieter passage decelerating to classical guitar is prime Bride.
“Out For Blood” stands out with its technical nuances. Technical in that it also houses its share of time changes, starting its verse sections gradual and ominous only to gain impetus as rhythm guitar kicks in to carry things to the heavy hitting refrain. Three minutes of explosive energy might be the best way to explain things. Lyric snippet:
You slip a note under the table
And wait for a handful of change
You've grown weak, honor is lost
You got the ransom He paid the cost
Crying over eternal fate
Judas kiss, Judas kiss
Out for blood, you're out for blood
It is on albums title track those thrash elements come into play. No, “Live To Die” might not be ‘melody driven’ but still proves powerful all the same with its resolute focus and vigorous refrain to voice the classic statement: “I’m not the preacher, I’m not the priest/I’m not the devil/I’m not the beast/I’m not a prophet/I’m not a witch/Live to die, die to live”. It also features albums best stretch of nasty lead guitar. Lyric snippet:
I'm not going to be the one to tell you
That we don't need guns
But I know one thing for sure
We don't need more war
I won't be the one to say
That you need religion
But without a Savior
There's no chance to be forgiven
“Fire And Brimstone” hits with all the forth of a runaway freight train. Also bringing some thrash influences, song slows the tempo with its ‘chugga-chugga’ riffs in standing out with its full on power. Similar to “Live To Die” not the catchiest but unrelenting nonetheless. Another extended instrumental stretch.
“Whiskey Seed” rates with my Live To Die favorites. This one represents a return to a melody driven form while hinting of the bluesy direction Bride would take a few years later. Quite the plodding bass line underpins things (re-mastering really shines here) but it is the catchy chorus - one of Bride’s all time best - that gives the song its appeal, at least to these ears. Soloing (sounding as if Troy’s work) is appropriately blues driven. Lyric snippet:
So you want to drink because it makes you feel so big
Pour it down I'll break you like a twig
I am the whiskey you shoot in your veins
I am the bullet you put in your brains
I am the letter you leave on your bed
I am the angel that meets you when you’re dead
You're so young but you want to feel so old
The only way to be hot gain the world and lose your soul
How convenient a group named Bride entitles a song “Here Comes The Bride”. Unfortunately, I find it a two and a half minute thrash assault that does not do anything for me- despite the passing of over thirty years I have failed to grow into it. Thrash fans, on the other hand, will be certain to embrace it: as the saying goes, ‘beauty is in the eyes of the beholder’. Lyric snippet:
I'm the man in white
The eagle in flight
I'm clean and pure
My heart is sure
Got feet of brass
I'm first and last
Sharp two edged sword
Nail scars
I hold the stars
I live forever more
“Heroes” represents another Bride classic. It starts to chilling narration as eerie keyboards haunt the backdrop. “Heroes” proves dramatic its remaining distance, delivering duel instrumental sections carried by tight guitar harmonies and imposing chorus making a decisive statement:
Heroes, heroes, heroes are not here to stay
They will all fade away
Except the one who raised
You have to appreciate the ‘outro’ as the word ‘heroes’ gradually morphs into ‘He rose’. You also cannot help but wonder when Dale is going to come up for air during the lengthy scream he cuts loose at the five and a half minute mark! Lyric snippet:
I'm standing on the sword of the Dragon
He can't pull it from beneath my feet
Down in the darkened cavern
In the field of blood I'll watch him bleed
Watching the smoke rise from the wounded hero
Standing dazed in the acid rain
A bitter taste in the air
I hear the danger of the tightening chains
The bonus tracks are essential. First two were recorded live in 1989, including “Too Late For Me”, a laid back and easy going piece drifting to distant guitar and drum rolls, and “Dirty”, an animated hard rocker combining equal parts brash guitars and raspy vocals to sound like a Kinetic Faith outtake. A demo version to “All Hallow’s Eve” (one of my favorites off Silence Is Madness) might be abbreviated at two and a half minutes but includes the songs signature doom-like to Gothic overtones and recognizable creepy melody.
As for Bride’s eighties releases, I rate Live To Die a notch below Silence Is Madness but a step above Show No Mercy. Musically, I identify with it as intensely done straight on metal woven with speed and thrash energy bursts. Prime Bride when factoring the high-octane lead vocals and acute guitar work to magnify what amounts some classic material:
“Hell No”, “In The Dark”, “Whiskey Seed”, “Heroes”, etc. Yes, several cuts took some time to grow on me but essential all the same. If you missed Live To Die back in the day or are interested in a highly upgraded and re-mastered version, then make the Retroactive re-issue a priority purchase.
Review by Andrew Rockwell
Track Listing: “Metal Might” (3:35), “Hell No” (3:53), “In The Dark” (4:10), “Out For Blood” (2:58), “Live To Die” (2:54), “Fire And Brimstone” (4:27), “Whiskey Seed” (3:41), “Here Comes The Bride” (2:27), “Heroes” (7:13), “Too Late For Me” (live bonus track) (3:43), “Dirty” (live bonus track) (3:25), “All Hallow’s Eve” (demo bonus track) (2:32)
Musicians
Dale Thompson - Lead Vocals
Steve Osborne - Guitars
Troy Thompson - Guitars
Frank Partipilo - Bass
Stephen Rolland - Drums
