Sold Date: October 12, 2019
Start Date: October 11, 2019
Final Price: $25.00 (USD)
Seller Feedback: 7407
Buyer Feedback: 2

SHIPPING DOMESTIC $ 6 PLUS $ 3 EACH ADDITIONAL       OVERSEAS FIRST $ 16  1980 was an incredibly important year for NWOBHM. While ’79 could brandish a few gems in its fist, ’80 saw an incredible jumping on the bandwagon, and an unparalled amount of output. While such classic masterworks of the year include Quartz’ Stand Up and Fight, Diamond Head’s legendary debut, Storm Queen’s excellent EP, Def Leppard’s only NWOBHM album and of course, Maiden’s rookie offering; little known outings account for much of NWOBHM’s excellence this year. Angel Witch worship aside, 1980 saw the release of some classic, though lesser known material: Bitches Sin’s excellent demos, White Spirit’s only full-length and many others. Where does Stormtrooper (UK) fit into this? Well, this little single is an excellent and early little showcase of an overlooked and underappreciated NWOBHM act. On this release, the guys exhibit polished sound, uniqueness, and all-round professionalism – a solid release early on in the NWOBHM game – besting efforts offered two years later. Evident here is the shift of decade; Stormtrooper sheds a lot of the tired notions of 70’s blues rock, and kicks you in the guts with NWOBHM stage two – dark, heavy, and with that defining sound which we can all readily identify – captures the time perfectly.

Your title track has enough raucous attitude to assure the discerning listener that this is indeed a metal offering. While not a perfectly crafted metal track, what we have here is professionalism. Much of the stuff I’ve heard from this earlier period of NWOBHM (bar the always professional Quartz lacks the solid, polished feel on this one – and the recording is far from shabby. Your main riff screams classic NWOBHM as the pace of the song thunders along the highway. Use of keys in this one was a good decision – probably a studio –stage decision that results in more of a standout quality. This one has definite pace, especially for ’80. Bass isn’t loud, but stands out nonetheless, rumbling along under the keys, and strong vocal delivery. A bit of a racer from start to finish, this is the shorter track on the album, and couldn’t disappoint any true NWOBHM fan in my opinion.‘I’m Still Comin’ Home’ is the lesser track, perhaps a little too reliant on a rather lackluster verse riff – it redeems itself with the passionate vocals of Paul Merrel (of Jaguar fame), and more thought out guitar section in the choruses. A strong, drawn out finish, with Bonhamesque drums, and false finishes is a nice touch too, perhaps giving the listener a heads up nod that it’s almost time to flip the disc.

This one’s strengths largely revolve around the decent title track, though the latter number is far from poor. Pros here are the considerable pace coupled with the early date of release. A professional air is apparent about this band, something many acts from the classes of ’80-’81 lacked in droves. What you get is a sense that, though these aren’t the strongest two tracks of the year, the band exhibits strength, you get a feeling they’ve been at it a while, rather than simply being naïve upstarts. Two decent tracks of NWOBHM here, contributing to that expansive, though at times questionable, 2nd shelf. Besting efforts by Dragonfly and others, yet nowhere near the revolutionary standard of Venom or Diamond Head – deservedly legends. Well worth checking out if you’re after an ’80 recording with at least some amount of professionalism in the recording.  ONLY RELEASE ORIGINAL UNPLAYED SINGLE