And rightfully so, Glover is a singer with range and presence. Both are definite thumbs up in my book. Let’s look at another pioneer in Cleveland, Ohio’s Siki Spacek.

Black Death and Early Ohio Metal

The lead singer and guitarist for pioneering Black heavy metal band Black Death, Siki embodies everything I like about open musicians.

Just being open to different genres or bringing in elements from different eras. Black Death was the start and it came out at a time when the Ohio metal scene was getting its first bands such as Destructor, Chastain, and Axe Master. Bands were exploring both heavier and faster sounds and while many didn’t continue or release a full length, some demos show that “This band was on the right track.”

Black Death was no different in their demos with the second and third having songs worthy of full length placement.

What I dig about Siki’s vocals on this release is that there’s a lot of grit and soul to it. It gives some tracks such as “When Tears Run Red” and “Streetwalker” a different air than pounders like “Scream of the Iron Messiah” and “Here Comes the Wrecking Crew”.

Now, I’ve been listening to interviews to fill myself in about what happened with the band and Siki Spacek post-debut album. A lot occurred in metal worldwide after 1984—in Ohio metal alone—where’s like “Siki’s vocals would fit this.” I have the same thoughts about contemporary Guy Speranza of Riot. It’s a very “what if” scenario where you can plug an artist into different genres, bands, and on particular albums.

For those with long memories, think about that period where Rob Halford being interested in doing black metal was of note.

The Iron Messiah Returns

Decades later and with the band Black Death Resurrected, and Siki delivered The Return of the Iron Messiah. It fit some of what I figured Black Death would’ve grown into in a follow-up—only with modern production and a lot more experience playing. Similar to going through UK thrash veterans Onslaught’s discography—where the band got faster and even more aggressive with modern releases—Black Death Resurrected was a faster, darker BD.

The approach of this band was rooted in the original but it sounded how the band should sound almost 30 years later. That is, if we had 30 years of releases in that time to see the band grow. It was a familiar sound with new energy that delivered a new release filled with pounders.

With that said, The Return of the Iron Messiah dropped in late 2015. Where did Siki ply his vocal talents after?

Three

I touched on the Ohio metal scene of the 80s, the 21^st century of the scene saw a faster breed of bands such as Midnight and Vindicator. It also saw some solo projects and projects from OG acts such as Winters Bane, headed up by vocal veteran Tim “Ripper” Owens.

Eight years after The Return of the Iron Messiah, Siki Spacek returned with his vocal and guitar stylings. With the power trio Three, you see Siki in the mix of a darker, slower metal. There’s a 70s-early 80s doom sound with a lot of cavernousness, it also sounds like straight up late 70s metal from the period at the same time. It’s a change in pace if you’re familiar with some of the stuff Siki’s voice has been involved in but his voice fits this sound.

Ultimately, Spacek is a singer I wish there was a lot more from, heavy metal, doom, speed metal, blues, funk—straight up hard rock—the guy’s voice could fit in with a couple different genres and add an old school “street metal” sound.

If you’re familiar with the work of Siki Spacek, what are some of your favorite releases? Also, if you’re into the Ohio metal scene, share some of your favorite bands.

Staff Writer; James “Metal” Swift Jr.

This talented writer is also a podcast host, and comic book fan who loves all things old school. One may also find him on Twitter at; metalswift.

Exciter (Judas Priest – Stained Class, 1978)

Debuting in the opening song “Exciter”, this character is described as something of a redemption-bringing powerhouse. He’s either capable of transversing space or worlds, brings light, wields powers of fire and just seems like a world-beater. From the song itself:

Everything he touches fries into a crisp.
Let him get close to you, so you’re in his trip.
First you’ll smoke and smoulder, blister up and singe.
When ignition hits you, the very soul of your being will cringe.

Stand by for Exciter.
Salvation is his task.
Stand by for Exciter.
Here he comes now.

He’s a Captain Marvel, a Goku, a Superman—someone who could turn a planet into hourglass sand with a blast from space. You know, if they were on a tight schedule or just didn’t have time for whoever is on that planet’s sh**.

Exciter could be introduced as some sort of elder god, celestial being, alien—he has the power to come and go as he pleases after all. For human mortals, Exciter would probably be described as the embodiment of the sun and he’s not beyond rewarding and punishing.

There’s some easy, low-hanging lore off the bat for Exciter as part of a Metal Gods world.

The Sentinel (Defenders of the Faith, 1984)

Often battling our last entry for the top spot of my favorite Priest character, The Sentinel is probably the easiest to brainstorm. He’d also probably be the easiest to get on screen, comic, or video game. In “The Sentinel”, he isn’t described as a galactic superhero-tier force. Instead, he’s something of a post-apocalyptic cross between Batman and Judge Dredd:

Sworn to avenge
Condemn to hell
Tempt not the blade
All fear the Sentinel

Amidst the upturned burned-out cars
The challengers await
And in their fists clutch iron bars
With which to seal his fate
Across his chest is scabbards rest
The rows of throwing knives
Whose razor points in challenged tests
Have finished many lives

I’d read that comic—especially if it’s in 2000 A.D. The Sentinel is a vigilante or perhaps a mercenary who roams what has to be a destroyed or overrun city. His existence is proof that there’s little to no order going down here. It’s a great setting for such a character and seems ready for an adaptation. There might need to be a budget to factor in special effects but not to the level of a galaxy or universe-spanning science fiction adventure such as Exciter and our third entry.

Painkiller (Painkiller, 1990)

Yes, I’m sure y’all are tired of seeing Painkiller mentioned on this site. It’s my favorite Priest album and a fun as hell listen. It’s a great drinking and reading or gaming album and the titular character is something that rivals Exciter.

Whereas Exciter is the sun or light and leans towards being a force for justice and retribution, Painkiller really seems like he could be either a force for universal and dimensional law—or chaos. He’s that powerful, that destructive and how Halford describes him as the rest of the band just saws and rips for six minutes and change is enough to warrant some adaptation.

Faster than a bullet
Terrifying scream
Enraged and full of anger
He’s half man and half machine

Rides the Metal Monster
Breathing smoke and fire
Closing in with vengeance soaring high

He is the Painkiller
This is the Painkiller

Planets devastated
Mankind’s on its knees
A saviour comes from out the skies
In answer to their pleas

What an introduction! And that’s the thing for the three characters mentioned and more to be mentioned: the basic lore is there, just make stories around that. Or start on the career-spanning concept album. I mean, I’d love a Priest comic where Painkiller appears or The Sentinel is grimly correcting wrongs indefinitely but a concept album would be cool as well.

If you’re a Judas Priest fan or know your Metal Gods lore, what characters stood out to you across their albums? Let us know in the comments!

Staff Writer; James “Metal” Swift Jr.

This talented writer is also a podcast host, and comic book fan who loves all things old school. One may also find him on Twitter at; metalswift.

Background of the Piece

Earlier that week, I’d listened to a couple of bands from the 1980s while scrolling Encyclopedia Metallum. I was cross-referencing for another album dive and began thinking “Honestly, these bands were harder and heavier than a lot of the other popular glam acts.” I tend to focus on bands that weren’t as successful as the headliners of the decade or dissolved—but they released a full length.

Angus gave a couple of other bands that definitely fit the bill and gave their take on the term “glam metal”:

This is pretty much my view on the bands included. They were merely using imagery to promote their stuff more. Some bands had the talent but probably didn’t have the charisma or PR to pop purely on talent. Remember this is the music industry and you’ve got to sale and be marketable to some degree. Their degree was looks.

Of course, other bands were pretty mid and got by with looks and charisma—it was very to professional wrestling. There were several bands that MTV simply lumped in because glam metal was the hot flavor at the time and the bands heavily promoted were obviously doing well.

As for the names dropped: it’s as he said revisionist history. Those bands mostly heavy and had a harder sound. Their three crimes were having buzz, being in the same touring tier as some the bands firmly in glam metal, and having a power ballad somewhere in their catalog.

I’d even add Vandenberg which I felt was more like a very heavy hard rock band. Heading for a Storm slammed from start to finish. I would add Mötley Crüe for it’s first three albums as a kind of unintentional King or Glam Metal but Skid Row seemed like a better addition to the list.

Glam Metal Ran So That Nu-Metal Could Fly

Now, I’m in my late 30s so I wasn’t around for when hair metal and glam metal ruled the world—as have been said in a VH1 docuseries or two. I was around for numeral, which we’ve gone into before. There are definite similarities between the two since the main culprit of pushing the two genre periods—MTV—was back to lumping bands into categories. Now, I’m big on genres. For research purposes and my own musical adventures, genres are a massive help.

However, when they’ve organized all willy-nilly and we have bands that maybe shouldn’t be lumped into that specific box—even if they’re both rock bands—that’s never good. I’ve listened to many a band from the late 90s-early 00s and thought “No, this is just aggressive hard rock.” Alternative rock is a dicey one as well because radio stations at the time played whatever MTV played. The harder and heavier stuff—your Marilyn Mansons and Slipknots of the world—came on after 9 PM usually but they’re all airing on this alternative rock format.

I’ve actually found more accurate answers from message boards, comments, podcasts, and blogs by passionate fans of the music. Anyway, thanks for your comment Angus! I’m still adding comments, so expect another trip Into the Mailbag soon!

Staff Writer; M. Swift

This talented writer is also a podcast host, and comic book fan who loves all things old school. One may also find him on Twitter at; metalswift.d

Part of it could be because it seems like a waste now since music releases are eaten through so rapidly. In the 1970s or 1980s, a live album could thrive because the window between full-length releases was more flexible and often lengthier. Now, it’s like a one-and-a-half-year to two-year turnaround before fans start believing you fell off.

So, recording the performance for audio? It can seem wasteful because when will they listen to this again? How often are they going to listen to it? In the 21^st century, it makes more sense to record it for streaming video.

Personally, I’ve always felt this was a less convenient option because I’m usually working on something and listening is better than having to give my undivided attention to something. However, consumers tend to be very visually stimulated so video it is.

The Art of the Live Album

Both methods allow the fans to experience the show. Streaming video allows you to actually see everything as it happened which is great but the live album allowed your imagination to run wild. Well, it ran wild until the live tape or whatever dropped.

Again, you’ve working with audio only. If you’re chilling and focusing on the music and the audience, you probably form an idea of the performance itself from what you’ve seen or know of the songs. You know, how they’ve been performed live in the past.

I often think about those early live album fans and how they didn’t even have the resources to see previous performances. No YouTube, DailyMotion, or any of that. Hell, the technology to view it at home wasn’t widely available or of a consumer-friendly price. I doubt many record labels were clamoring to do live tapes or live Betamax. It would’ve been a loss of money.

Well, perhaps. Unless the KISS Alive tape would’ve been enough to stimulate the VCR market. If KISS had VCRs flying off the shelves, more labels would’ve just thrown bands out there since everyone believed they had the next KISS or whatever band.

My favorite live albums will always be the ones from smaller venues. While I love a big arena performance with the razzle-dazzle and stage stuff, there’s just something about the production and sound of a live album from a bar show.

“Raw” isn’t exactly the word I’m looking for because the production is cleaned up and whatever muffling is reduced as much as possible. Well, for most releases. In other cases, the audio imperfections are left because it’s authentic to the performance—and that works for me! It all goes into painting a picture of the performance, after all.

Those smaller shows actually make you feel like you’re at the actual show most of the times. A bigger show often sounds like the television broadcast version made it to the live album. It’s definitely the live show on these specific dates but they had that nice festival or label budget to work with on this show. However, some festivals you simply want to see and hear that large performance such as live albums that come out of the Wacken tour. I mean, yeah you could just go on YouTube and see these performances as well and more recently, I’ve found myself watching performances over going back and listening to live albums.

There are some I always revisit such as Judas Priest…Live from Memphis 1983 or Combat Tour Live: The Ultimate Revenge released in 1985. However, it looks as though full show uploads and the best live bits are making the live album a tedious project in the 2020s. It’s somewhat of a shame because there are acts that might never perform live or record their live performances for video. Audio might be a more cost-effective means to do a live but if there the demand isn’t there for live albums in general, that’s vault material.

What do you think? Are live albums dying or are they already in the dirt?

Staff Writer; M. Swift

This talented writer is also a podcast host, and comic book fan who loves all things old school. One may also find him on Twitter at; metalswift.