- 01Kingdom ComeUnder his tutelage, Sir Lord Baltimore started work on Kingdom Come, tracking songs in New Jersey.from the chapter
- 02Sir Lord BaltimoreBut the band used that defeat as motivation to write a heavier record, and Sir Lord Baltimore, released the same year, is indeed a marble slab.from the chapter
- 03“Woman Tamer”The atrociously titled “Woman Tamer” is belligerent classic rock, and final song “Caesar LXXI” returns to the rock-opera-doused-in-ether vibe of “Man from Manhattan.”from the chapter
- 04“Caesar LXXI”The atrociously titled “Woman Tamer” is belligerent classic rock, and final song “Caesar LXXI” returns to the rock-opera-doused-in-ether vibe of “Man from Manhattan.”from the chapter
- 05The Axeman ComethIn 1969, the group self-recorded The Axeman Cometh, which, along with 1972’s Psychotic Overkill, didn’t see proper release until the nineties, when Kissing Spell reissued both albums.from the chapter
- 06Psychotic OverkillIn 1969, the group self-recorded The Axeman Cometh, which, along with 1972’s Psychotic Overkill, didn’t see proper release until the nineties, when Kissing Spell reissued both albums.from the chapter
- 07“I’m a Freak”Opener “I’m a Freak” bulldozes forward in unadorned rock. “Tell the Truth” follows course before regressing into primitive doom that sounds similar to Pentagram—except darker, heavier, and more hopeless.from the chapter
- 08Black SabbathWilson hired Mike Waller to take on vocal duties, and, wanting to understand how Sabbath harnessed such threatening vibes, Iron Claw started playing Black Sabbath in its entirety at gigs, working on original material on off-days.from the chapter
- 09“Clawstrophobia”First song “Clawstrophobia” smashes through concrete. Like “Hand of Doom,” the track utilizes transitions between quiet grooves and anxious fast parts to intensify its Neolithic main riff.from the chapter
- 10“Wicked World”“Sabotage” most obviously falls into that when it gains traction with a bluesy lead that’s virtually identical to Iommi’s guitar strut in “Wicked World.”from the chapter
- 11“Winter”A song named “Winter” pretty well captures the music Iron Claw wrote during its second go-round.from the chapter
- 12Hard AttackBut the band’s self-titled record and follow-up, Hard Attack, sent ripples through America’s hard rock underground.from the chapter
- 13“Suicide”from Hard AttackHard Attack’s ninth track, “Suicide,” is Dust’s most badass song, with its Motor City drive and stiff upper lip.from the chapter
- 14Every Inch a ManZior also crafted a heavier album: 1972’s laughably titled Every Inch a Man.from the chapter
- 15ToadToad opens with “Cotton Wood Hill,” a barnburner through and through.from the chapter
- 16“Cotton Wood Hill”Toad opens with “Cotton Wood Hill,” a barnburner through and through.from the chapter
- 17“Life Goes On”By far the heaviest track on Toad, “Life Goes On” claws out of dirt with a riff that would make Saint Vitus proud.from the chapter
- 18MourninFormed after its members’ jazz group, Take Five, broke up, Night Sun put out Mournin’ in 1972.from the chapter
- 19“Don’t Start Flyin”The record closes with “Don’t Start Flyin’,” the atmospheric eeriness of which is enhanced by an oily saxophone.from the chapter
- 20Frost and FireThe quartet put out Frost and Fire on its own label, Liquid Flames, in 1981, which Enigma Records rereleased in 1984.from the chapter
- 21King of the DeadUnable to secure a major label deal, the quartet self-recorded and produced its sophomore effort, King of the Dead.from the chapter
- 22“Black Machine”King of the Dead gallops in the battle-ready tempos of Frost and Fire, but songs like “Black Machine,” “Master of the Pit,” and “Cirith Ungol” prowl in doom-darkened chasms.from the chapter
- 23“Master of the Pit”King of the Dead gallops in the battle-ready tempos of Frost and Fire, but songs like “Black Machine,” “Master of the Pit,” and “Cirith Ungol” prowl in doom-darkened chasms.from the chapter
- 24“Cirith Ungol”King of the Dead gallops in the battle-ready tempos of Frost and Fire, but songs like “Black Machine,” “Master of the Pit,” and “Cirith Ungol” prowl in doom-darkened chasms.from the chapter
- 25One Foot in HellBoth One Foot in Hell (1986) and Paradise Lost (1991) show Cirith Ungol adopting a fuzzier version of Judas Priest’s sound while still integrating Sabbathian riffage.from the chapter
- 26Sad Wings of DestinyBy then, Judas Priest had evolved from a classic rock band to pioneer the NWOBHM style with Sad Wings of Destiny, Sin After Sin, Stained Class, and Killing Machine.from the chapter
- 27Sin After SinBy then, Judas Priest had evolved from a classic rock band to pioneer the NWOBHM style with Sad Wings of Destiny, Sin After Sin, Stained Class, and Killing Machine.from the chapter
- 28Stained ClassBy then, Judas Priest had evolved from a classic rock band to pioneer the NWOBHM style with Sad Wings of Destiny, Sin After Sin, Stained Class, and Killing Machine.from the chapter
- 29Killing MachineBy then, Judas Priest had evolved from a classic rock band to pioneer the NWOBHM style with Sad Wings of Destiny, Sin After Sin, Stained Class, and Killing Machine.from the chapter
- 30The Time LordThe band put out The Time Lord EP and Lords of Hypocrisy in 2004, and then Mythical & Magical in 2006.from the chapter
- 31Lords of HypocrisyThe band put out The Time Lord EP and Lords of Hypocrisy in 2004, and then Mythical & Magical in 2006.from the chapter
- 32Mythical & MagicalThe band put out The Time Lord EP and Lords of Hypocrisy in 2004, and then Mythical & Magical in 2006.from the chapter
- 33Death PenaltyBefore recording its 1982 debut, Death Penalty, Witchfinder General shuffled through a handful of drummers, hiring Graham Ditchfield to play on the album.from the chapter
- 34Friends of HellWitchfinder General put out Friends of Hell in 1983, an album that showcases the group’s NWOBHM propulsion with better production.from the chapter
- 35A Long Time CominBarry Gifford then used “heavy metal” in his 1968 Rolling Stone review of Electric Flag’s album, A Long Time Comin’.from the chapter
- 36As Safe as YesterdayMike Saunders utilized the term to describe Humble Pie’s As Safe as Yesterday in his 1970 review of that record before applying it to Sir Lord Baltimore.from the chapter