| Musical Style: Varies | Produced By: Doug Mann |
| Record Label: Regency | Country Of Origin: USA |
| Year Released: 1988 | Artist Website: |
| Tracks: 9 | Rating: No Quote |
| Running Time: 36:12 |
Regency Records 1988 compilation album East Coast Metal (ECM) shares its platform with Regency cohorts California Metal (1987) and California Metal: Volume II (1988). Premise is simple: put the top unsigned Christian metal and hard rock bands of the time in a studio to record one or two songs and release in follow up an album comprising said songs with the goal of each band signing a label deal. Whereas initial impression is ‘good in theory but not in practice’, concept works in light of how the two ‘California Metal ‘releases introduce a slew of bands that went on to become household names in the burgeoning eighties ‘white metal’ scene: Deliverance, Recon, Neon Cross, Ransom, Guardian and Mastedon
ECM enjoys similar levels of success but with the main distinction an obvious different time zone. Well known bands Rage Of Angels, Believer, Arsenal, The Lead and Second Chance (later to change its name to Armageddon) went on to label success and release at least one full-length album. Others such as Apostle and Taker despite being highly talented prospects sadly failed to sign a deal despite recording one or more promising demos. Musical forms realized in the process include melodic metal, power metal, traditional metal, thrash and hardcore punk.
Good news is ECM does not comprise a bunch of muddy sounding demo cuts, but rather features solid production highlighting a fluid and sheer sound that does each band justice despite as noted varying musical forms. Lone misgiving is that in places rhythm guitar deserves to accent a bit more substance.
Apostle gets things going with its dynamic track “The Sword”. The Jacksonville, Florida based power trio represents one of the best ‘fish stories’ of the eighties ‘white metal’ scene from standpoint of the one that got away. Despite releasing a string of highly regarded custom cassette demos - Chariots Of Iron (1987), Hymns (1988) and Metal For The Master (1989) - Apostle never signed a deal and was not heard from again subsequent to 1994 swan song effort Prepare To Meet God.
Which I find disappointing in light of the fact musically Apostle is right down my alley with a sound I identify as neo-classically influenced US power metal. Founding member Matt Harding plays no small role in this regard with his high end and soaring vocal style and combusting (not to mention highly skilled) lead guitar work, which he takes ample opportune to bestow either way on “The Sword”. Song otherwise revels in a swift tempo beset by corpulent double bass and swarthy vestiges not unlike Sacred Warrior 1988 debut Rebellion.
Second ‘fish story’ revolves around melodic heavy metal act Taker. Making Virginia its home, Taker debuted in 1987 with a four-song demo that was well received by the Christian hard music community, with White Throne magazine editor Dave Johnson going so far to suggest the group is not only ‘totally original to the point I can’t compare them to anyone’ but also ‘the tightest band in white metal today’.
Taker presents with two songs: “Yesterday, Today And Forever”, a sweeping ballad highlighted by expansive classic tenor vocalist Kevin Potter, and “Living By Faith”, a high-spirited hybrid traditional and melodic metal piece. Problem, however, is that neither song is actually Taker in that a drum machine was used in place of timekeeper Charlie Osterhoudt, while a studio musician replaced guitarist PJ Bussey, whom Johnson describes as ‘the best new original guitarist I’ve heard since Yngwie…’
In order to hear the true Taker one must listen to the debut demo, which much to our good fortune Roxx Records reissued in 2014 as part of the Taker compilation entitled It Is Finish: The Complete Anthology to also include both ECM tracks, three from an Image Records recording session and the groups final 1989 demo Blood.
Rage Of Angels is one of the most immediately recognizable acts of those remaining to grace the ECM lineup. Groups addition “Reason To Rock” is also included on its Regency 1989 self-titled debut, which is considered a classic among eighties metal enthusiasts with ‘its bountiful energy, ingenious songwriting and accomplished musicianship’ (quoting the 90% Angelic Warlord review).
It is tempting to label Rage Of Angels ‘glam’, ‘hair’ or ‘pop’ metal, and while that might not be inaccurate, its twin guitar attack of Frank DiCostanzo and Greg Kurtsman not to mention double kick drummer John Fowler combine to bestow a bit more muscle than certain contemporaries. Hence, “Reason To Rock”, a raring four minutes of understated hooks and rambunctious energy to go along with Dan Mariano’s at times high end and others grainy vocal delivery.
Finally, the ECM version to Reason To Rock” differs from that on Rage Of Angels, noting the repeated ‘make Him, make Him, make Him’ chanted backing vocals covering the final seconds (missing from the debut).
Second Chance is another conspicuous name, with main reason how it (again) switched to the Armageddon moniker ahead of the 1989 release to its very fine Talkingtown Records debut The Money Mask. Group plays non-commercial traditional heavy metal in similar vein as Saint, Knightriot and Judas Priest. Lead vocalist Mike Vance fits the bill accordingly, imbuing the Armageddon selection “(Liberation From) The Blazing Wasteland” with a combining of off the charts falsettos and lower register brawn and sinew. Song otherwise hits like a ton of bricks with bludgeoning guitars, assaulting leads and punching low end setting a tone not for the faint of heart.
For those wondering, when listened alongside, it is difficult to distinguish the ECM rending to “(Liberation From) The Blazing Wasteland” with that appearing on The Money Mask. I am not suggesting they are the same versions, but rather I hear no outstanding qualities separating the two unlike Rage Of Angels’ “Reason To Rock”.
Arsenal is first of two female front bands to grace ECM. With eighties melodic metal and hard rock its calling card, the group features one of the top front women of the era in Christine Steel, whom brings a searing delivery akin to Nancy Jo Mann (Barnabas). Arsenal presents with a pair of songs in “Message Of Love” and “Stand Strong”, each of which appeared on its inaugural self-titled demo from 1985 but not its 1990 Regency Records debut full length Armored Choir.
“Message Of Love” is a slow and driving cut with bluesy guitar signatures, while “Stand Strong” ups energy with plainspoken hooks and flashy lead guitar work of JD Miller. When listened alongside, the two present a rawer if not heavier sound than the more polished leanings to Armored Choir.
Arsenal fans are encouraged to track down the group’s turn of the century Peace Child demo, which in my opinion represents its best work with a classic rock influenced bluesy hard rock sound. Peace Child features new Arsenal guitarist Kevin Pike, whom has released a pair of standout instrumental hard rock albums with Roxs Records, Guitar Graffiti (2022) and Heavenly Realms (2024).
Second is the Nina Llopis fronted The Lead. In revisiting the group’s contribution “Tunnel Vision”, I hear a crossover punk metal that is not my cup of tea. I find it difficult to identify, for instance with Llopis’ aggressive punk sneer vocals that while I am certain fit the music (and I am sure she is talented in this regard) also go over my head. As for “Tunnel Vision”, I take to the instrumental first minute with its melodic bass line but tend to pass on the chaotic four to ensue. “Tunnel Vision” made its initial appearance on The Lead’s 1987 EP The Past Behind.
Last but certainly not least is Believer and its stunning technical thrash metal cut “The Chosen”. I find “The Chosen” fast, tight and aggressive in featuring the shouted vocals of Kurt Bachman, which while not my thing (in terms of thrash I prefer the melodic tincturing of Deliverance front man Jimmy P. Brown II) no doubt fit the music. Since “The Chosen” did not appear Believer’s acclaimed R.E.X. Music releases Extraction From Mortality (1989), Sanity Obscure (1990) and “Dimensions” (1993), it makes ECM that much more a valued collector’s item.
Believer proves groundbreaking from standpoint of which its cut “Dies Irae” (off Sanity Obscure) is renowned as one of the forerunners to the symphonic metal scene with its use of operatic female vocals and classical instrumentation. “The Chosen” might not be quite as eloquent, but it is home to an opening encompassing acoustic guitar backed by jazzy bass and instrumental passage highlighting a classical flair.
ECM proves a solid release I might not rank quite high as the revered California Metal, but I place above California Metal: Volume II with what in my opinion is a stronger roster. It is not possible, for example, to go wrong with any album compiling songs from Believer, Arsenal, Second Chance/Armageddon, Taker and Apostle. If a fan of any artist represents or style therein, I encourage making ECM a priority purchase- that is if you can find it. Long out of print after passing of over thirty years, ECM deserves to be re-mastered and reissued.
Review by Andrew Rockwell
Track Listing: Apostle - “The Sword” (3:30), Rage Of Angels - “Reason To Rock” (3:56), Arsenal - “Message Of Love” (3:54), The Lead - “Tunnel Vision” (4:57), Taker - “Yesterday, Today And Forever” (4:22) Second Chance - “(Liberation From) The Blazing Wasteland” (3:50), Arsenal - “Stand Strong” (3:36), Believer - “The Chosen” (4:07), Taker - “Living By Faith” (3:56)
