REVIEW: ARGENT – Hold Your Head Up

 

ARGENT – Hold Your Head Up (1978)

Embassy

Some records are valuable for what is on the vinyl rather than for what they fetch in a collector’s guide. Hold Your Head Up is one of them. It is a ten-track compilation released in 1978 on CBS’s budget imprint Embassy. It is not a new Argent album. The band had disbanded in 1976, and this LP brings together songs from the group's most productive years.

Argent was formed in 1969 by former Zombies keyboardist Rod Argent, who brought together guitarist and vocalist Russ Ballard, his cousin Jim Rodford on bass, and drummer Bob Henrit. Former Zombies bassist and songwriter Chris White also played an important role in the band's early development as a songwriter and producer, although he was not a performing member. The band's biggest hits were "Hold Your Head Up", which reached No. 5 in both the UK and the US, "God Gave Rock and Roll to You", which reached No. 18 in the UK, and "Tragedy", which reached No. 34.

Argent's sound sits between pop songcraft and progressive rock, with a harder edge that grew as the albums went on. Rod Argent's Hammond organ is the signature instrument. It carries the melodies, drives the long solos and gives the band a sound that is immediately recognisable. Around it, Russ Ballard's guitar brings a riff-based, more direct rock approach, while the rhythm section keeps everything tight and song-focused.

The band had two distinctive songwriting voices. The Argent/White compositions, such as "Hold Your Head Up" and "Celebration", lean towards keyboard-led arrangements, strong vocal hooks and room for instrumental passages. Ballard's songs, such as "Liar", "Tragedy" and "God Gave Rock and Roll to You", are punchier, built on guitar riffs and big choruses. Together, they gave Argent a mix that was catchy enough for the singles charts and ambitious enough to appeal to a progressive-rock audience. Louder described them as a bridge between 60s pop and the harder rock associated with Cream and Led Zeppelin, which is a fair summary of where they sit.

Side one opens with the full-length "Hold Your Head Up" (Argent/White, 6:15), rather than the shorter radio edit, and Rod Argent's organ solo is one of the reasons to hear it that way. "Liar" (3:14) and "Celebration" (2:52) follow, before Russ Ballard's "Tragedy" (4:46) and "Man for All Reasons" (4:44).

Side two begins with "God Gave Rock and Roll to You" (6:45), followed by "Thunder and Lightning" (5:05), "Like Honey" (3:15, Argent/White), "It's Only Money (Part 1)" (4:04) and "Highwire" (3:20, Rod Argent). The balance between the Argent/White compositions and Ballard's harder, riff-led songs shows why the band worked: two different songwriting voices pulling the same group in different directions, with Rod Argent's musical contribution providing a distinctive identity throughout.

The sleeve is simple and striking. Four fists hold up a white card that carries the tracklist, and the back cover repeats the design with the credits, including an illustration credit to Michal Bonora. It looks like a late-70s budget sleeve, and it works.

The song that gives this record much of its lasting reputation is "God Gave Rock and Roll to You". Written by Russ Ballard and recorded by Argent in 1973, it appeared on their album In Deep before being released as a single that year. It reached No. 18 in the UK, while in the US it peaked at No. 114 on the Billboard Bubbling Under chart, just outside the main Hot 100. Its significance, however, extended well beyond its original chart performance. KISS recorded it in 1991 as "God Gave Rock 'n' Roll to You II" for the Bill & Ted's Bogus Journey soundtrack, substantially rewriting the verses while retaining the recognisable chorus. The song subsequently appeared on their album Revenge (1992) and their live album Alive III (1993). It was also Eric Carr's final recording contribution to KISS. Although Eric Singer played drums, Carr contributed backing vocals, making the recording particularly significant in the context of his final months with the band. Ballard's songwriting reached other hard-rock audiences through different artists too, notably Rainbow, who recorded his compositions "Since You Been Gone" and "I Surrender".

This is a budget compilation rather than a rarity, so it is more interesting as a piece of musical history than as an investment. The tracks originally appeared on Epic during the early 70s, and those original album pressings are generally the ones collectors seek. A clean copy of this Embassy LP is an affordable way to own many of the band's best-known songs, including the longer album versions of its major tracks.

Hold Your Head Up is not the definitive Argent statement, because that is spread across their studio albums, but it is a very good introduction. It is full of memorable songs, held together by Argent's keyboards and Ballard's guitar, with at least two tracks that have enjoyed a long second life. For an inexpensive budget-label pressing, that is a lot of music.

Nick Parastatidis

REVIEW: EMPIRE OF THE MOON, Hecate Unbound E.P.

 

EMPIRE OF THE MOON, Hecate Unbound E.P. (2026)

III Damnation productions

Μετά από καιρό, λίγο νέο σκοτεινό φως.

Μια ελληνική μπάντα που, ω του θαύματος, παίζει Black Metal ελληνικής νοοτροπίας! Ένα σχήμα με βασικό πυρήνα τους Ravenlord Wampyri Draconium και Ouroboros, με τον Enocian Dreamer στο μπάσο, παρουσιάζει δύο «νέα» κομμάτια έπειτα από αρκετό καιρό.

Πρόκειται για το ομότιτλο Hecate Unbound και το Mastery of Blood (Alt. Version), στα οποία συμμετέχουν επίσης ο κύριος Stefan Necroabyssius των Varathron, μια παλιά (και βεβαίως τωρινή) δόξα του εγχώριου ακραίου ήχου, στα φωνητικά, ο Nick Yngwe στα ντραμς και ο Achilleas C. στις κιθάρες.

Η παραγωγή των δύο κομματιών είναι καθαρή και σκοτεινή, παραμένοντας πιστή στο σταθερό ύφος με το οποίο μας έχει συνηθίσει το σχήμα μέσα από τα ολοκληρωμένα άλμπουμ του, «Πανσέληνος» και «Έκλειψις» (με τους τίτλους γραμμένους, βεβαίως, με ελληνικούς χαρακτήρες, ακόμη και στα εξώφυλλα!).

Αξίζει να σημειωθεί ότι τα δύο κομμάτια δεν προέρχονται από την ίδια ηχογραφική περίοδο. Το Mastery of Blood ηχογραφήθηκε το 2013, αν και το mastering είναι πρόσφατο, ενώ το ομότιτλο Hecate Unbound αποτελεί πιο πρόσφατη ηχογράφηση.

Να αναμένουμε κάτι παραπάνω; Νομίζω πως πρέπει...

English:

A Little New Dark Light After All This Time.

A Greek band that, believe it or not, plays Black Metal with a distinctly Greek mentality! Built around the core members Ravenlord Wampyri Draconium and Ouroboros, with Enocian Dreamer on bass, the band presents two “new” tracks after quite a long absence.

The tracks are the self-titled Hecate Unbound and Mastery of Blood (Alt. Version), both featuring some additional contributions. On vocals, we have Mr. Stefan Necroabyssius of Varathron, a veteran (and, of course, still active) figure of the Greek extreme metal scene. Nick Yngwe handles the drums, while Achilleas C. contributes guitars.

The production is clear yet dark, remaining faithful to the band's established sound, which listeners will recognise from its full-length albums «Πανσέληνος» and «Έκλειψις» (with the titles, naturally, written in the Greek alphabet, even on the covers!).

It is worth noting that the two tracks do not originate from the same recording period. Mastery of Blood was recorded back in 2013, although its mastering is recent, while the self-titled Hecate Unbound is a more recent recording.

Should we expect something more? I certainly think we should...

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: NATIONAL HEALTH - Of Queues and Cures

 

NATIONAL HEALTH - Of Queues and Cures (1978)

Charly Records

National Health emerged in 1975 from the Canterbury scene, the loose community of English musicians connected to Soft Machine, Caravan, Gong, Egg and Hatfield and the North. After Hatfield and the North disbanded, keyboardist Dave Stewart and guitarist Phil Miller continued working together and were joined by keyboardist Alan Gowen, whose earlier band Gilgamesh shared the same jazz-rock orientation. The group was never a commercial force. It was a collective of highly skilled composers and players who favored intricate writing over radio-friendly songs. Their self-titled debut appeared in 1978, and Of Queues and Cures followed in 1978.

The second album arrived with a changed lineup. Bassist Neil Murray, who played on the debut, was replaced by John Greaves, previously of Henry Cow, which brought a more angular, Rock in Opposition sensibility into the group. Murray’s career is worth noting because it took him far from Canterbury. A bassist of remarkable range, he worked with Colosseum II, Gogmagog, Gary Moore, Cozy Powell’s Hammer, Whitesnake, Vow Wow, Black Sabbath, the Brian May Band, the Peter Green Splinter Group, the Michael Schenker Group and Snakecharmer. His time in National Health shows how fluidly musicians moved between jazz-rock and hard rock and metal in this period, and it is one of the more concrete links between the Canterbury world and heavier music.

The core quartet on the record was Stewart on organ, electric and acoustic piano, and synthesizer, Miller on guitar, Greaves on bass and vocals, and Pip Pyle on drums, supported by guests who add flute, clarinets, oboe, trumpet and steel drums. The album was recorded in July 1978 at Ridge Farm in Surrey using a mobile studio, which gives the sessions a relaxed, countryside character. Charly Records issued it in the UK under catalogue number CRL 5010. The title plays on the “queues” and “cures” of the National Health Service, a dry joke that fits the group’s name and the understated, slightly absurd wit that runs through Canterbury music.

The music is largely instrumental and built on composition rather than improvisation alone. The album opens with Dave Stewart’s “The Bryden 2-Step (for Amphibians),” whose first part is a brisk, shifting theme in which organ, electric piano and guitar interlock. Its second part closes the album and frames the record as a whole. “Collapso” is a lighter piece with a Caribbean flavor and steel drums, offering a humorous break from the denser material. John Greaves’s “Squarer for Maud” is the most cerebral track, a long and carefully structured piece that reflects his Henry Cow background. Side two begins with Phil Miller’s “Dreams Wide Awake,” a lyrical showcase for his warm, distinctive guitar tone. Pip Pyle’s “Binoculars” is another extended piece, and “Phlakaton,” an eight-second fragment, is a characteristic joke. Because the band is mostly instrumental, its lyrical themes are secondary and tend toward gentle surrealism, wordplay and English eccentricity rather than protest or narrative. Much of the humor lives in the titles themselves.

As for rarity, the original Charly pressing is a sought-after item among progressive rock collectors rather than an extreme rarity. It was a small-label release by a cult act, and clean copies tend to command moderate prices. CD reissues, including those from Cuneiform, make the music easy to obtain. Current market values vary with condition, so Discogs sales history is the most reliable guide.

The band’s legacy is that of a respected but specialist group. The album is frequently cited among the high points of late-1970s Canterbury jazz-rock, and it was followed by D.S. al Coda (1982), a tribute to Alan Gowen, who died in 1981. Its influence is better described as part of a broader tradition than as a direct lineage. Metal musicians drawn to jazz-fusion and progressive music, such as those in Opeth, Cynic and Atheist, share some of its harmonic and structural ambition, but I am not aware of documented statements crediting National Health specifically, so the connection should be presented as stylistic affinity rather than confirmed inspiration. Stewart’s rigorous writing and the group’s blend of complexity and humor remain its most lasting contributions. Drummer Pip Pyle died in 2006 and guitarist Phil Miller in 2017, and their work continues to find listeners through reissues and word of mouth.

Nick Parastatidis

Align the Tide Release New Single and Music Video “A Murder of Crows”

 

Maltese metal band Align the Tide have released “A Murder of Crows,” a new single and music video that continues the group’s move toward a darker, heavier and more atmospheric modern metal sound.

The follow-up to their previous single “JINN,” the track is built on contrast, balancing aggression with atmosphere and giving the song room to “breathe” before returning to its heavier passages. The title, an English term for a flock of crows, is reflected in an ominous visual and musical identity that avoids genre clichés.

“We wanted the track to have its own atmosphere and personality, rather than trying to create a new version of what we have already released,” the band said.

About Align the Tide:

Formed in September 2015, Align the Tide are a five-piece metal band from Mellieħa, Malta. They have performed in Malta, Europe and the United States, including a 2018 US tour supporting Mushroomhead and a 2024 appearance alongside Suicide Silence. Their albums Dead Religion (2019) and Hollow (2022) were released through Cleopatra Records.

REVIEW: WHITESNAKE, Slip Of The Tongue

 

WHITESNAKE, Slip Of The Tongue (1989)

ΕΜΙ

Δίσκος καψούρα!

Ο David Coverdale είναι ένας και μοναδικός! Διέθετε την πιο μπλουζίστικη χροιά φωνής (πλέον δεν ξέρω...) και το ανάλογο παρουσιαστικό. Το 1989, παρέα με το supergroup του, αποτελούμενο από τους κυρίους Steve Vai, Adrian Vandenberg, Rudy Sarzo και τον «τούφα» Tommy Aldridge, όλοι μαζί έκαναν την «παραδρομή της γλώσσας τους» (Slip of the Tongue).

Σοβαρά τώρα, κάποτε σνόμπαρα αυτόν τον σύμπτικτο δίσκο (το CD λέω), αλλά πλέον, βλέποντάς τον πιο ώριμα, θεωρώ ότι αποτελεί κορυφαία στιγμή του συγκροτήματος, τουλάχιστον της ύστερης περιόδου των '80s. Αν θέλεις να τον πεις και λίγο Glam ή Hair Metal, δεν πειράζει. Εντάξει, δεν είναι και τίποτα φλωρολελέδες (τύπου Def Leppard ή Poison) οι Whitesnake! Hard Rock με μια δόση λακ στα μαλλιά, ναι, το λες!

Το «Judgment Day» —και τα δόντια απ' το σαγόνι μας για ρέστα— και το επανηχογραφημένο κλασικό «Fool for Your Loving» του 1980 είναι τα μεγαλύτερα χιτ του δίσκου. Το ομώνυμο «Slip of the Tongue», το ταξιδιάρικο «Sailing Ships», το «Wings of the Storm» και η μπαλάντα «The Deeper the Love» ακολουθούν.

Η επετειακή έκδοση του 2019 περιλαμβάνει, ανάμεσα στα έξι bonus tracks, και το «Sweet Lady Luck», ένα κλασικό b-side κομμάτι που, κατά τη γνώμη μου, θα έπρεπε να βρίσκεται στην κανονική κυκλοφορία του άλμπουμ.

English:

A Love Affair of an Album!

David Coverdale is one of a kind! He had one of the most bluesy voices around (although, these days, I'm not so sure...) and the looks to match. In 1989, alongside his own supergroup, featuring Steve Vai, Adrian Vandenberg, Rudy Sarzo and the big-haired Tommy Aldridge, they all collectively committed a little “slip of the tongue.”

Joking aside, I used to turn my nose up at this rather over-the-top album (the CD, I mean), but with a more mature perspective, I now consider it one of the band's finest moments, at least during their late-'80s period. If you want to call it a bit Glam or Hair Metal, so be it. Let's face it, Whitesnake are hardly a bunch of sissies like Def Leppard or Poison! Hard Rock with a generous helping of hairspray, now that's a fair description!

“Judgment Day” — the kind of track that makes you want to tear your jaw off — and the re-recorded version of the 1980 classic “Fool for Your Loving” are the album's biggest hits. The title track, “Slip of the Tongue,” the atmospheric “Sailing Ships,” “Wings of the Storm” and the ballad “The Deeper the Love” follow close behind.

The 2019 anniversary edition includes six bonus tracks, among them “Sweet Lady Luck,” a classic B-side that, in my opinion, should have been included on the original album in the first place.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: EXELOUME - Fairytale of Perversion

 

EXELOUME - Fairytale of Perversion (2011)

ViciSolum Productions

It is obvious that people are showing an increasing interest in the various subgenres of metal, and I think that is a good thing. Here in Greece, judging from the live shows I have attended lately, thrash metal seems to be attracting a little more attention than before. I believe that the genre is also experiencing a new period of popularity in other parts of the world. EXELOUME is a Norwegian metal band whose members have considerable experience in the scene, and with Fairytale of Perversion, they join forces to present their own approach to contemporary thrash metal.

Regarding the technical aspects of this release, I have to admit that the production and mixing are very good. The sound is modern, powerful and clear, allowing the listener to appreciate the individual elements of the band's music without sacrificing the overall impact. The musicianship is equally impressive, with the members demonstrating considerable technical ability without allowing their skills to overshadow the compositions themselves. Their playing remains focused on serving the music rather than becoming an exercise in technical proficiency for its own sake.

As for their influences, EXELOUME combine the familiar characteristics of US Bay Area thrash metal with some old-school death metal touches, which are particularly evident in the vocals. This combination gives their music a heavier edge while keeping it firmly within the thrash metal tradition. In general, Fairytale of Perversion is a pleasant listening experience, and there is no denying that the band knows how to deliver its music with precision, energy and a polished sound.

However, despite these positive elements, the album has a significant disadvantage: its overall approach is rather familiar, bringing to mind numerous other contemporary thrash metal bands. More importantly, the compositions tend to sound too similar to one another, making it increasingly difficult to distinguish individual tracks as the album progresses. As a result, the songs struggle to establish their own identities, and once the record is over, there is not much that remains in the listener's memory.

Fairytale of Perversion is an album with impressive production, capable musicians and all the necessary technical qualities to satisfy fans of modern thrash metal. Unfortunately, these strengths are not matched by equally memorable songwriting. It is another release that sounds good while it is playing but leaves little behind once the final notes have faded. A record that may appeal primarily to devoted followers of the genre, although those looking for more distinctive compositions might find it difficult to become fully engaged.

Nick Parastatidis

REVIEW: ALPHA TIGER – Man or Machine

 

ALPHA TIGER – Man or Machine (2011)

Sonic Attack Records

“Man or Machine” is the debut album of the German metal band ALPHA TIGER, or more precisely their first release under that name. Until early 2011 the group was known as SATIN BLACK, and under that moniker they put out the album “Harlequin” in 2008 and the demo “Martyr’s Paradise” in 2010. The name change also brings a change of direction: where SATIN BLACK leaned towards a thrashier sound, ALPHA TIGER play U.S. power metal with a number of European power metal elements, a combination that gives the album a classic yet fresh character.

The album makes a very strong impression. The vocals of Stephan “Heiko” Dietrich are outstanding, powerful and expressive, and they carry the melodies with confidence from the first track to the last. The guitar work is equally impressive, with inspired riffs and melodic leads that give each song its own identity. The album is consistent throughout and has no weak moments, yet a few tracks stand out clearly: “Starrider”, “Against the Time”, “Karma” and the title track “Man or Machine” are the highlights and are bound to leave a lasting impression on any listener.

So far it is the best album of the year in my view, and a safe choice for every fan of classic metal, who should not hesitate to pick it up. The band has made a promising start under its new name, and the next release is awaited with great anticipation.

A final word on the artwork: the cover is a pleasure to look at. It is handcrafted in spirit and avoids the sterile, computer-generated look of many modern covers, which suits the music inside well.

Ioannis Kaskamanidis