Anger ain't a mood, it's a god damn way of life. If you're a fan of any hardcore, you'll love this.
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Satan, Liquor, Drugs, Music
| 1. Kosmos;Vegetable Man |
| 2. Kylesa;Interstellar Overdrive |
| 3. Intronaut;Arnold Layne |
| 4. Stinking;Lizaveta Matilda Mother |
| 5. Jarboe;Late Night |
| 6. Pentagram;Flaming |
| 7. Giant Squid;Octopus |
| 8. Yakuza;Lucifer Sam |
| 9. Jesu;Chapter 24 |
| 10. Unearthly;Trance Long Gone |
| 11. Dredg Astronomy;Domine |
| 12. Circle;Rats |
| 13. Zodiak;See Emily Play |
Wicked Lady exemplifies the "record collector" bands that gain new life through reissues: in this case, Kissing Spell's albums The Axeman Cometh and Psychotic Overkill. Their appearance marked some belated recognition for the power trio, which Northampton singer-guitarist Martin Weaver formed in 1968 with drummer "Mad" Dick Smith and bassist Bob Jeffries. However, Wicked Lady never came within a whisper of the stratospheric status attained by Cream, or the Jimi Hendrix Experience. The band's liberal use of feedback -- and large biker following -- kept them relegated to clubs, even during the twilight hours of the psychedelic era. Awash in drink and drugs, Wicked Lady split up in 1970, but Smith and Weaver soon regrouped with new bassist, Del "German Head" Morley. The new lineup duly set about documenting its existence, as captured on Psychotic Overkill -- whose feel is looser than Axeman Cometh. The effect is a shotgun marriage of Black Sabbath-style rifferama, supported by a less risk-taking rhythm section. Weaver's vocal style lacks charisma, but his wah-wah and fuzz-driven guitar style carries the day. The highlights include a bluesy cover of Hendrix's "Voodoo Child," the sex 'n' drugs snapshot of "Sin City," and the howling, 21-minute epic, "Ship Of Ghosts." But Wicked Lady's erratic ways proved too difficult for clubowners, who eventually refused to let them play. (At one gig, the band reportedly played the same song over and over until an irritated management pulled the plug on them.) Wicked Lady imploded in 1972, but Weaver rebounded that same year by joining the Dark, a more psychedelic- and progressive-outfit.
The opening track is an industrial / black metal dirge backed up with bagpipes. Keep in mind, this album was made in 1969, many years before either black metal or industrial music was invented. Also keep in mind that this album was made by a pair of pop-music professional studio musicians. Lots of drugs were involved. I have no evidence to back up that statement, but it goes without saying. The album continues to get stranger, with collages of sound and music that conjure the most horrible imagery. This album induces fear among the sane. It climaxes at the seventh track, Toth, Scribe I, when the slow-dawning realization of what the listener is actually listening to reveals the true depths of insanity to which these people have sunk. I don't whant to give it away...One small correction, the album was originally released in 1968.
Lucifer's Friend was a 1970s German hard rock and progressive rock band who often incorporated elements of jazz and pop music.
Despite the band's German origin and progressive rock stylings, they are not usually classified as krautrock which had a more electronically oriented sound.(shits from gayopedia)
This is the first album by heavy metal/progressive rock band Lucifer's Friend, released in 1970. There are many Black Sabbath and Led Zeppelin influences heard throughout this album, most notably the dark lyrics heard on many songs, especially the song "Lucifer's Friend." There is a little controversy that "Ride In The Sky" is a rip off of the "Immigrant Song" by Led Zeppelin, but this is not true due to the fact that "Ride In The Sky" was written before Robert Plant wrote "Immigrant Song."
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