Lizzy Borden - Love You to Pieces [1985]

You know, I think I've been fairly grounded in my criticism of Lizzy Borden to this point. That could have to do with the fact that neither their debut demo nor Give 'em the Axe were exquisite examples of this band's potential, or that I was consciously avoiding doing so to maintain some amount of credibility for when the rave inevitably began, but that all ends here. Yes, I'm a pretty serious fanboy of the band in question, and yes, with Love You to Pieces, all bets are off. My indifference effectively died roughly three seconds into "Council For the Cauldron" with the intricate and wickedly beautiful guitar melody that erupts into a speed metal riot of the highest order. That would be the first of many, I would come to learn, as this is only the first in a series of anomalously good albums; and while I may prefer the spotless Visual Lies, it's hard to fault their full length debut for not being so absolutely perfect.

First and foremost, we must address the travesty that is the cover. Let me give you some personal background. I didn't live a second in the eighties, so the whole glam image has never seemed as repugnant to me as it might have to those who had to suffer seeing "I'll See the Light Tonight" juxtaposed with "Every Rose Has its Thorn" on MTV. I never cared for most of the music the scene produced (and I absolutely abhor much of it), but the actual image has always kind of appealed to me in a retro sense. It's almost like fascinating history that raises curiosity and interest because I didn't get the chance to experience it myself when I would have very much liked to. However, even with that said, what in the unholy hell is this mess? It's like wrapping a bar of gold in a used tampon. The only thing missing is the sticker demanding, "HEY! YOU! DON'T BUY THIS!" Imagine Ample Destruction or A Skeptic's Apocalypse with this artwork. What could possibly be the benefit of scaring the target audience of the music with an image that probably emasculated metal fans everywhere and stole the functioning of their ever-scarred eyeballs?

That was basically Lizzy Borden personified, though. With their ridiculously flamboyant image and terrible album art, as well as their confrontational attitude when looking at society, they were basically begging not to be liked. Luckily, if this was their mission, they failed miserably thanks to the fact that the actual music is utterly astounding. Granted, they're still quite an acquired taste. Lizzy himself was probably the biggest love/hate factor the band had, for his helium-addled shrieks and wails put quite a pain in the eardrums of many an unwilling listener. I for one love his vocals to death. His purity of voice (which has persevered to this day) and instantly distinguishable accent never fail to thrill me, as do his high pitched cries and outstanding phrasing. You never forget a Lizzy Borden vocal line. It just doesn't happen, and the lyrics, though somewhat typical and reflective of the time, are made outstanding due to their flair for simplicity and their eternally memorable nature. Themes of rebellion, love, anarchy, and power reign supreme in this vibrant musical setting, one marked by timeless melodies of both the vocal chord and the axe.

Many unsuspecting glam fans lured in by the AIDS-ridden pictorial hook were probably taken aback by the sheer amount of instrumental talent involved here. The group still had its most dynamic duo of guitarists at this point, with both Tony Matuzak and Gene Allen at the helm. In flurries of rollicking NWOBHM riffing, blue collar US power influences, and quick spouts into early speed metal (see "Godiva") these guys pave a complex web of guitar-work that remains accessible and even slightly radio-friendly. The latter factor would become prominent as the band consciously moved into more commercial territories and acquired a crystal-clear production, but that can be traced back to tunes like the excellent "Save Me," whose simple hooks, melodic leads, and swinging chorus instantly engrave themselves into the memory. Look elsewhere to find unforgettable pieces like the galloping "Warfare" and "American Metal." I would deem the latter as one of the best metal anthems ever composed, soaring high and marching triumphantly under the star-spangled banner. Usually I find any song involving the US to be a pandering and ill-advised propaganda campaign, but the passionate delivery, gang-shouted chorus, and piercing vocal summoning all create a spine-chilling serenade to the music we love.

Overall there are just too many highlights to name, like the inspiring balladry of the title track, which never goes stale. I really like the production here, which plays rough for the style but remains clear enough to discern each element in the mix. This was band with a vision to share and to cherish, and a sound strong enough to permeate all the hairspray and makeup and leave a permanent impression in the mind. The sudden leap from their somewhat plain traditional metal beginnings to a true force to be reckoned with can seem quite dumbfounding, but the music here proves to be just as sharp as the blades on the band's legendary logo. Listening to this, it's hard to believe Lizzy Borden would only hone their songcraft further and serve up an even better platter of melodic perfection just two years later. The rest, my friends, is history.

   Overall: 9.25/10 (Outstanding)

Lizzy Borden - Give 'em the Axe [1984 EP]

Immediately after recording their demo and picking up a deal with the budding Metal Blade Records, the Borden family blitzed the studio to record this scrappy little EP. I always imagine them in full, ludicrous attire, probably falling down drunk, and using that pathetic, little chainsaw from the Menace to Society cover to break off the lock only to find that the door was open all along. Lizzy himself then proceeds to toss out the unfortunate band cowering inside. In this case, it's John Arch and company recording Night on Bröcken, but you know Archie; he typically takes it well, temporarily returns to his work as a lumberjack, and, not being one to waste any storytelling potential, secretly recounts the tale backwards through the course of The Spectre Within. Yeah, it's in there. Trust me. Meanwhile, all the goofing off stops when the 'record' button is pressed...

Okay, so maybe I let my imagination run a bit wild there, but that just about reflects the energy ever apparent in Lizzy Borden recordings. There's a feeling of controlled insanity with these guys in their early output; you know that any minute they could fly off the handle and start burning stuff, and they have the equipment and mental state to do so. However, their unquenchable thirst for destruction isn't so much threatening as it is brought on by their love of fun and partying. This factor would become more evident lyrically on the band's full lengths, but the energy is still present right here on Give 'em the Axe even if their impeccable brand of melodic mastery wasn't quite reined in yet. This follows the path of the demo, featuring the same style of brief tracks with NWOBHM-influenced guitar melodies and Lizzy's always perfect vocal chords. In terms of content, it isn't exactly bursting at the seams, but I was relatively satisfied nonetheless.

The EP begins with the title track, which was destined to become a lead in at concerts with its direct nature and themes involving the band's titular character. The main riff is a bit plain for my tastes, but the song still succeeds thanks to strong performances. Of all their tracks, "Kiss of Death" probably embraces the band's traditional metal influences the most, busting out a riff Iron Maiden could have utilized on Killers. No, it isn't quite as good as the Fates Warning rendition (Archie's revenge!). "No Time to Lose" closes out the original material, which is speedier (and better) than the other songs. The chorus is excellent, easily the catchiest thing here. I've never cared for Lizzy Borden's covers, but "Long Live Rock 'n Roll" entertains thanks to the strength of the source material. I must say that Lizzy's voice doesn't really fit here, though.

Lizzy Borden's non-album releases have never thrilled me (especially the dismal Terror Rising EP), but I'd easily call Give 'em the Axe the best of the few, a worthwhile purchase for NWOBHM loyalists and fanatics of the band's early work as well. It serves more of a purpose as a crucial cog in their natural progression and history than as a highly enjoyable listening experience in my opinion, since this group wouldn't quite arrive until their full length debut, but I can't discredit it for what it was: a nice little taste test for the four course feast to come. It also delivered the first sight of one of the most awesome logos ever forged forth from the lair of self-aware 80s cheese, although (ahem) I prefer its later incarnations of green and yellow or the USA flag's colors. That was the time, though, when the most outlandish victims of style could still possess substance behind them.

   Overall: 7/10 (Good - bullets start to fly)

Lizzy Borden [1983 DEMO]

Lizzy Borden spawned amid the beginning of metal's most important transitory era. The once fervent flames of the NWOBHM were beginning to burn out as most bands were either striving to become more aggressive and technically proficient (resulting in the formation of thrash), or progressing their songwriting to new heights and penning melodic ideas far exceeding the confines presented by metal's 'first wave'. The latter group, during the oft lauded golden period of US power metal, would spawn the Fates Warnings and the Crimson Glorys of the world, and with them would arrive perspective-changing masterpieces like The Spectre Within, Awaken the Guardian, Transcendence, and Hall of the Mountain King.

Then there was Lizzy Borden, who plainly distanced themselves (or himself) from all that psychological stuff and delivered a hot slab of traditional metal riffs, hard rock energy, and showmanship finesse with a seemingly endless supply of charm. I'll save the outright worship for later, since their first two releases (the demo and EP Give 'Em the Axe) aren't exactly exemplary examples of this band's brilliance. However, I can't stress enough how impressive of a release this demo truly is. Released the year of the band's conception, Lizzy Borden already noticeably had it going on. Most of the tracks here would go on to appear on the ensuing EP and the group's incredible full length debut, Love You to Pieces. "Warfare" and "American Metal", two of their most persevering and enchanting anthems, appear here in prototype form with remarkably few changes from the professional versions to come.

Unfortunately, a couple glaring flaws keep this from classic demo status and push it closer to a 'hardcore fans only' type of release. Most notable, of course, is the production. I mean, wow. If Lizzy Borden managed to pen their deal with Metal Blade so quickly purely on the basis of this recording, then I'd like to honor Brian Slagel with a full salute and hug him for the output this pairing would soon produce. The sound is muffled nearly beyond any comprehension, almost as if it was a live bootleg that was recorded by a kid too young to make it into the gig. The lead guitar is almost nonexistent in this stew of ambiguity, and the natural power of Lizzy's pristine shrieks is reduced considerably. For lack of a better word, it just sounds bad. Amateurish, even, which a shame considering the professionalism and obvious talent of the band.

The second (and less significant) caveat is that the band is still in the development stage here, which is more of an interesting flaw than a detrimental one at the demonstration stage. Aside from the aforementioned classics and "Psychopath", these tracks wouldn't quite be up to snuff to appear on any of Lizzy's full-lengths. They were still in their stage of producing almost exclusively three minute songs, treading the line between the mid-pace material of British influence and outright speed metal in the way of Agent Steel or Exciter. Of most interest to fans here will be the two tracks that never saw the light of day on any official release by the band: "Over Your Head" and "Hungry For Her Love", two very brief numbers that put on an electric show of Maiden-esque guitarwork. They reflect the material soon to arrive with the EP, though only the titular "Give 'Em the Axe" would make the cut (ha!) for understandable reasons. Neither is particularly memorable, putting the pedal to the metal put rolling over the ear with little impact.

What we're left with is more of a curiosity than an essential listen. Only the unhealthy Lizzy-heads like yours truly will be able to decode the opaque haziness of the production, and the rewards found after doing so are merely "interesting" at best. Fans of the band's early era will want to experience it for historical significance or the sheer thrill of digging into the vault, but I'd suggest skipping it entirely and combing the glorious treasure trove on the horizon. The commercial potential of the band hadn't quite emerged from the primordial dust at this point, and neither had their more refined songwriting. The power and hunger is there, but it lies buried in sound constraints and youthful roughness. The fog would soon, but not immediately, be lifted...

   Overall: 6.25/10 (Fair)