| Musical Style: Heavy Metal | Produced By: James Griffin |
| Record Label: Patmos / Roxx Records | Country Of Origin: USA |
| Year Released: 1985 / 2019 | Artist Website: |
| Tracks: 9 | Rating: 85% |
| Running Time: 41:40 |
As the name suggests, Shreveport, Louisiana based Philadelphia derives from the sixth of the seven Churches of Asia as presented in Revelation 3:7-13 as its moniker and not necessarily the ‘city of brotherly love’. Despite apt reputation as one of the foundational bands to have emerged from the mid-eighties Christian metal scene - the Philadelphia 1984 Patmos Records debut Tell The Truth reportedly pre-dates Stryper EP The Yellow & Black Attack from the same year - the groups origin actually traces to the late seventies. Founding members bassist and vocalist Brian Clark and drummer Brian Martini at the time were in a mainstream band named Survivor (not the same Survivor with the hit “Eye Of The Tiger”) when Clark, having made a decision of faith, decided to set aside music for a year. Fast forward to the early eighties, and Clark and Martini, who came to the faith from the result of Clark’s influence, once more join forces but with the guitar team of Phil Scholling and Ronn Flowers that rounds out the Philadelphia lineup.
Tell The Truth presents with its share of rough edges - it was produced by James Griffin, who previously won a Grammy for his work with the famous disco song “Ring My Bell” (by Anita Ward) - but otherwise served to unleash the signature Philadelphia traditional metal sound. “Livin’ The Love”, “Razor’s Edge” and eight-minute epic “New Jerusalem” hint of the groups potential but as is common to debut albums, Tell The Truth descended into the erratic, noting lackluster tracks “No Compromise” and “No Time For Honey”. Philadelphia 1985 sophomore effort Search & Destroy, on the other hand, better realizes that potential. Also on Patmos and produced by Griffin, Search & Destroy finds Philadelphia taking the next step musically in presenting with both the overall heavier vibe and greater consistency in terms of the more well-rounded package of songs. It also serves as a concept album in basing around a character named Bobby, who goes through abuse, addiction and crime but in the end finds salvation.
The Search & Destroy re-issue history traces to 2000 and Magdalene Records, whom re-released it alongside bonus material in the form of two new songs recorded at the time, “Please My Love” and “Kids In America”, in addition to three live tracks from the group’s performance at Cornerstone 1986. One cannot fault the decision to use the original red tinted cover art, but liner notes to feature a yellow font over an all too bright red background are next to unreadable.
Everything improves with the January of 2019 Roxx Records CD and vinyl re-issue to Search & Destroy. It begins with cover art, representing an upgraded, full color interpretation to the original, and liner notes, with a light yellow font over a less demanding on the eyes blue-ish to black background. CD bonus material comes in the form of a previously unreleased song entitled “Losin’ Out”. In terms of re-mastering, it is no contest from how the Roxx Records version improves over its Magdalene predecessor with the brighter, crisper and cleaner sound.
Albums six-minute title track gets things going to a minute and a half instrumental build up starting to wailing sirens that give way to a drum solo and the anthem-like guitar riffs to carry its distance. Aggression gradually builds moving ahead, as “Search & Destroy” plunders through its cogent verse sections on the way to a refrain to repeat its title in coercive fashion. No doubt, Philadelphia wears its NWOBHM influences on its sleeves on this one.
Not so on “Bobby’s Song”, a medium good melodic hard rocker derivative to a commercial eighties sound with a slight AOR bent. Far from bad but not a showstopper either, the song prances at an upbeat tempo to melodic guitars and hooks of an unpretentious variety. I give it a ‘thumbs up’ as one of the albums more reserved and laid back, albeit a hesitant one.
Albums lone ballad follows in “Oh My Boy. It presents with a creepy Alice Cooper-like vibe - or at the very least represents the darker and more somber Philadelphia side - in serenely drifting from the start to affable guitars. As impetus heightens, full on metal guitars supplant, elevating what amounts a moody scene, while the emotionally charged lead guitar plays every bit the decided role. Metal ballads work when effectively executed, and such is the case here.
Manifesting a return to traditional metal territory, “Judgment Day” kicks in at once to the heavy-set bass to compel its hard charging verses only to build further incentive for the razor edged guitars to lead the way to the brazenly done ‘they call it judgment day’ refrain. Soaring feedback carries things in between. Instrumentally, Scholling and Flowers again carry things with their keyed up harmonies.
Halfway in and Clark stands out with his at times mid-ranged and others upper end vocal delivery that helps lend to Philadelphia its own distinct sound. At the very least this contrasts with contemporaries Mike Lee and Josh Kramer - as good as both are and I remain a fan of each - whose abilities help invite their respective bands Barren Cross and Saint comparison to Iron Maiden and Judas Priest either way. As its own band, it is not possible to telegraph Philadelphia in such specific fashion.
“Mirror Man” sets apart as a terse but explosive three minutes. No doubt, it reflects Philadelphia’s heavier side, with open-air guitar to start gives way to front to back gallant riff action, but also makes its penchant for melody a focal point, as revealed in the hook-filled liking throughout. The group again puts its precise harmonies on display for another monster rhythm section.
“Fastrack” heightens energy to the next level. With distorted feedback to start, the song almost sets a speed metal tone with its animated flair to find brazen guitars (noting by far albums best stretch of soloing) and heavy set rhythm section (in reference to the determined work of Martini) collide. One cannot help but appreciate the youthful exuberance at hand.
“Showdown” tempers with its emotional mid-paced groove, ranking alongside albums most melodic with its immediately recognizable chorus but also emulating the Philadelphia moodier side with its subtly done darker vestiges. Once more, the group puts its priceless guitar melodies on display to lend an accessible edge to what is one of the albums heavier tracks.
Closing cut “Decision Time” opens its first minute acoustically as Clark allows a gentler side to his delivery for a worshipful effect: Son of God, Lamb of God. Lift on high the sword. Father above, God of all love. Jesus is the Lord
Energy elevates exponentially to follow, with galloping riffs leading the way to create an epic like scene in which full doses of melody and classic metal class help to rank “Decision Time” with the Search & Destroy best. Scholling and Flowers again aptly demonstrated why they rank among the top guitar duos of the period.
With a distinct bass line and understated guitars, demo cut “Losin’ Out” reflects more upon melodic hard rock as opposed to the group’s signature heavy metal. This potentially owes more to low budget production, which highlights some understandable thinness. It would be interesting to see how it might have turned out if given time to develop in the studio.
In my review of the 2016 Philadelphia comeback album Warlord - 31 years between albums has to be some type of record, correct? - I not so subtly suggested that Search & Destroy is of such quality it deserves to be re-issued a second time. A full measure of thanks goes to Roxx Records for going the extra mile and allowing the re-issue to happen in such a highly upgraded form. As for Search & Destroy, it is well above the line as a (mostly) traditional metal album from a talented band just starting to hit its musicianship and songwriting prime. It is too bad it took over three decade for the band to makes its presence felt again.
Review by Andrew Rockwell
Track Listing: “Search And Destroy” (6:01), “Bobby’s Song” (3:53), “Oh My Boy” (5:12), “Judgment Day” (3:52), “Mirror Man” (3:10), “Fastrack” (4:32), “Showdown” (4:28), “Decision Time” (5:57), “Losin’ Out” (4:36)
Musicians
Brian Clark - Lead Vocals & Bass
Phil Scholling - Guitars
Ronn Flowers - Guitars
Brian Martini - Drums
