Ample Destruction

It is my undefeated opinion that "Ample Destruction" by Jag Panzer can only be adequately reviewed by very cranky old wasteland warrior men with Santa Claus beards that have been sucking gasoline from stranger's abandoned motorcycles to spit some precious drops into their own tanks to make at least the closing hour in some gas station with a crazy crystal meth roof party and at least two stabbed innocent bystanders. By letting a wussified brittle flower pony with Sonata Arctica records in his heart dissect such a glorious barbarian relict from the past, every message of historical significance is swept under the rug by said flower pony's late born incompetence. Yet here we are. Sorry about that. Let me water my first observation by quoting Ra's al Ghul from the first Batman movie: "Training is nothing. The will to act is everything!" Jag Panzer will always be a very fine argument for musical bloodlines. Whatever death and black metal bands are trying to do these days, THIS is the same spirit they are after: An uncivilised, loud, vulgar, lively and yet still logical approach to choking societal conventions around a pain ridden individual. Nothing much has changed between Jag Panzer and Belphegor, it was always a matter of will and not of training. That's why "Ample Destruction" still works for listeners today, its wild and antagonistic style may have outlived its enemies but never its own purpose.

Good lord, this record is raw. Bear in mind that this is still a classic metal record from the mid eighties with all of their limitations and borders. But still, with the performance alone, the band managed to elevate the sum of its parts to something more. Something merciless and brutal. Something old as fuck. These are the tunes that goddamn Conan hears in his head when he is jogging through a desert on his way to another city filled with sin, lust, gore and psychological deformity in the pretty little heads of barely dressed snake cult demon ladies.

You know how most traditional metal records have that ONE beat? The one drum form that happens in almost every song, gives a certain face to the music and contributes to its specific spell or inherent shittiness? Well, fuck me, I have listened to this album a lot more than to the worried words of my mother in regard to my future as an overdosing heroin addict that will die in his own shit, but I could not for the silly little life of me tell you something about that specific Jag Panzer beat. Shit's varied, y'all! It's like the man behind the kit is doing whatever the fuck he wants as time passes on. Wonderful, just wonderful. Sure, you have nice speed metal and heavy metal slamming, but his fills, rolls and crashes have an unknown animalistic quality to them. Imagining the same ferocious, out of bounds stick work on for example a Hammerfall record is fucking impossible. "Can't reason with a man that has death on his mind."

Comparisons to Bruce Dickinson are inevitable, because the dude sure sounds a lot like him, if not a bit younger and... less educated? Which is interesting, because now you get to hear this style of hyper dramatic air siren melody over something a little more scruffy. The dueling lead guitars of Maiden were replaced with a barren but still highly energetic form of caffeinated rythm guitar bulking that is still in place when the singer takes a break and the intense wailing of the solos attacks from all sides. Could this beautiful waste of young energy for something so trivial be copied by grown up men twice their age or pretentious little know it alls like myself? Of course not, that's why most of these eighties revival bands suck ass beyond belief.

There is a wizard at work in the riffs of Jag Panzer. A mean little asshole wizard that will never share his secrets. How can an actually simple, almost punkish and always aggressive form of string punching produce that much atmosphere? I don't know, I really don't know. That's the timeless power of fast hard rock spelling that runs amok through the empty plains as the sun sets in blood red.

There is a tragic element to this album, it's not fully about the fist pumping metal brotherhood with catchy singalong chorus work. Between the lines there is a spirit of hopelessnes, anger and confusion, as it is the case with every teenage boy. Because that's what this album is at heart: A teenage boy. The entertainment factor of nowadays heavy metal bands is missing this distinct feature of innocence. No one had any idea back then what metal actually was or where it was heading. It was just music for the moment, an outlet for every breath of frustration. "Ample Destruction" is almost overflowing with this spontaneous artistic combustion that can be experienced every time you give this album a spin.

When I think of the term heavy metal, "Ample Destruction" is what comes to mind. It completely exemplifies the genre in so many ways, and yet it is in now way generic or trite. The muscular riffs, the belted vocals, and uber-macho atmosphere, it all comes together to produce one of the finest slabs of heavy metal I've ever heard.

Musically, Jag Panzer takes a straightforward, NWOBHM-influenced approach, with thick, chugging riffs and fleet-fingered guitar harmonies, while Harry "The Tyrant" Conklin shows off his powerful vocals, reminiscent of Bruce Dickinson with a touch of Messiah Marcolin. Conklin effortlessly switches between a deep tenor bellow and high pitched Halfordesque screams. The drumwork is admirable, full of meaty fills and fast double bass work. The bass doesn't differ too much from the guitar, but is pleasantly audible and provides a solid backbone. The subject matter ranges from your typical fucking-and-fighting songs, to songs about metal itself, to metal re-tellings of the plot of Nosferatu.

The album starts at 100 mph with "Licensed To Kill," a crushing speed metal number, and from there the album doesn't let up, providing anthem after anthem that stick in your head and don't let go. Jag Panzer knows how to write a catchy, infectious chorus while never losing their sense of heaviness. Closer "The Crucifix" shows that they can make a hell of a ballad too, though the delicate acoustic guitars and choral harmonies eventually give way to soaring guitar leads and huge riffs.

For anyone attempting to get into USPM, this album should be your first listen, but be warned: There's a good chance that "Ample Destruction" will make every other album sound like shit by comparison. The ultimate combination of guitar muscle and vocal power, combined to create an essential slab of metal that won't leave your head for days.

Look around. There's nothing else here. This is it - the peak. Ample Destruction is perhaps the most apt album title of all time. Forty-minutes of unrelenting and pure metal that exemplifies what power is supposed to mean. With their debut album, Jag Panzer effectively defined an entire genre and regional scene. Ample Destruction is the quintessential United States power metal album. When introducing people to the style, this is always my go-to album. It captures the very essence of the movement like no other.

The first time I heard Ample Destruction I was barely 14. I felt like I got punched squarely in the jaw. This isn't what power metal was supposed to sound like - where were the keyboards and layered choruses? I didn't understand what I had gotten myself into at the time, but I was totally enthralled. This started my true obsession with the old-school metal sound. Jag Panzer sounded so familiar, but there was just something extra here.

Ample Destruction's sound is deeply rooted in the New Wave of British Heavy Metal (NWOBHM), with some similarities to bands like Iron Maiden, Judas Priest, and Tank, yet it is entirely its own animal. Jag Panzer took the NWOBHM and added their flair to it. There is hell of a lot more bite here. The riffs are aggressive and they never let up. Harry "The Tyrant" Conklin's vocals are massive and powerful. United States power metal represented an evolutionary step and reaction to the NWOBHM. The base and foundation are very much the same, but everything is exaggerated and taken to the next level. Some bands were more progressive, some opted for bigger vocals with catchy choruses, and Jag Panzer went for simple, cutthroat aggression.

Harry "The Tyrant" Conklin receives regular accolades for his mighty performance on this album and rightfully so. Conklin's vocals are some of the absolute best around. His midrange is powerful and emphatic with plenty of soaring highs to compliment them. The Tyrant has drawn some comparisons to Bruce Dickinson of Iron Maiden due to the similarities in their voices, but that is honestly an injustice for Conklin. Dickinson is a legend in his own right, but doesn't hold a candle to the prowess of The Tyrant.

Ample Destruction is filled to the absolute brim with killer riff after killer riff. It's difficult to pick out a highlight track as they all flow together in one, singular metalstorm. There is very few moments for reprieve as Jag Panzer keep it at 100% for nearly the entire album. The guitars, played by Joe Tafolla and Mark Briody, are masterful and a worthy match for Conklin's performance. The bass, as became standard for most US power metal, is very prominent in the mix. John Tetley's bass guitar works to compliment the guitars and drummer Rick Hilyard is certainly no slouch as his drums round it all out. The production is thick and undoubtedly old-school sounding. It does a wonderful job bringing together the instrumentation while letting Conklin take the lead with his soaring vocals.

There's nothing pretty about this album. It's bare bones, in-your-face, balls-to-the-wall power metal that operates at maximum efficiency. That's where its beauty lies. It is the very antithesis to the current direction of mainstream power metal. This album destroys virtually everything else out there and that is unlikely to change any time soon. The classic of classics.

Album Rating: 100/100

Favorite Track: Harder than Steel

Originally written for RideIntoGlory.com

Jag Panzer's "Ample Destruction" needs no introduction from me, but I'll give it one anyways. It's a classic of United States power metal, and an absolutely relentless one at that. This is the kind of album that eats Nightwish-disciples for breakfast and asks for seconds. It's power metal with power -- riffy and aggressive, and with one of the highest doses of testosterone you can find this side of Manowar.

This much is obvious from the very first riff of "Licensed To Kill" to the death throes of "The Crucifix," with "Ample Destruction" only even flirting with the idea of "letting up" in the first few bars of the latter. The guitarwork throughout, laid down by Mark Briody and Joe Tafolla, is as infectious as it is aggressive, with riffs all over that will stick in the listener's head for days. Eschewing the weedly-deedly technical approach in favor of true power and aggression, it gets the job done with savage efficiency and reckless abandon, especially bludgeoning in tracks like "Generally Hostile." The most widely praised performance on the album, though, is Harry "The Tyrant" Conklin's vocalwork, equally driven to slaughter and featuring those quintessentially '80s falsetto shrieks all too common on albums like this, but they are used to great effect here and do not date the album. You can't help but love the bombastic chorus of "The Watching," with passages such as this inspiring comparisons with Bruce Dickinson, although Conklin's delivery is less operatic and more designed to remotely impregnate unsuspecting female listeners from sheer testosterone overload. Rick Hilyard's drumming, while not particularly flashy except in a few spots, works admirably for the music, and he even provides some nice fills here and there. John Tetley's bass can fortunately be heard, solidifying the all-important bottom end and giving the guitars that extra punch needed to raze all in their wake.

The lyrics of the album reflect its disposition; they consider well-trodden ground like death and how awesome metal is, and do so with a youthful exuberance and a tongue firmly planted in the cheek. Lyrics like the ones found in "Cardiac Arrest" are certainly not the craft of wordsmiths, but they work wonderfully here, with Conklin remaining faithful to his promise to "Use all [his] metal power to give you a heart attack." You would be hard pressed to read that seriously, but a healthy dose of the "just go with it" mentality works wonders. The lyrics, hilarious as they often are, underscore that the album means business, and they certainly suit its title.

This album hardly falters at all, and in these few places the music still is good, just not at the level of the rest of it. The aforementioned beginning of "The Crucifix" is one such passage, slowing down where the band need not slow down, and while the album doesn't strictly follow the Dark Angel formula of "speed, speed, and more speed," it does fare best when it doesn't relent. The whole package is never "weak," though, and so nothing should be skipped.

Reading the titles of the songs on the album gives you a pretty good idea of what can be found within; the names "Harder Than Steel" and "Generally Hostile" describe the mood of this album perfectly. "Ample Destruction" is among the most revered US power metal releases, and rightly so, as it remains to this day a shining example of no-frills power metal with true power.

Jag. Fugging. Panzer. This is a band that is pretty much synonymous with terms like underground, ’80s classic, and balls-out, aggressive power metal. Formed in 1981 and influenced by the first major lash of the New Wave of British Heavy Metal (think bands such as Iron Maiden, Saxon, Venom, and Diamond Head), Jag Panzer found themselves as one of America’s prime underground heavy metal bands. Starting off as Tyrant in 1981, the band eventually changed its name to Jag Panzer in 1983 and put out the Tyrant demo, which quickly became a hot item not only in the USA but also in Europe and Japan, despite only being obtainable through import. But that would be just a glimpse into the tank-destroying juggernaut that would be their debut LP, Ample Destruction.

Like I mentioned, the style found on Ample Destruction is power metal. But even though most people’s idea of the genre stems from Dragonforce, I can assure you that this has very little in common with the “far away” Guitar Heroes of yesteryear (and most metal fans will be quick to tell you Dragonforce are more of an exaggerated parody of the genre than a band to be reckoned with). While this album is full of catchy choruses and fizzling guitar work, it’s just as pumped full of abrasive and heavy guitar riffs that chug and smash like an alcoholic gorilla. While you could argue that the raw, angry thrash metal elements are strong in this one, the riffing just doesn’t have that hardcore punk tinge like the thrash titans of the time, such as Metallica, Exodus, or Overkill. And the clean, virtuosic, catchy sung choruses and melodic, soaring dual lead guitars leave this album predominantly in power metal territory.

Harry Conklin’s vocal work on this record is devastating as much as it is invigorating, having ranges that almost turn into gruff snarls while also being capable of hitting Bruce Dickinson-like falsettos (although at times they do sound somewhat strained). It’s almost as if he’s the general in a metal war-opera while Mark Briody and Joey Tafolla act as guitar-wielding commanders. Lyrically, the subjects of this album range from battlefields, to standing up for yourself, to Nosferatu, to just full-on raw energy. The music and lyrics of this album combined create a mental image somewhere along the lines of a motorcycle race between two Terminator/ninjas that takes place in the middle of tank-blasting, chaos-infested trench warfare while the two competitors lash back and forth and steal your girlfriend in the process. It’s raw, powerful, and ballsy, yet catchy and memorable all at the same time.

Unfortunately, Jag Panzer would miss their chance at a bigger heyday. The band didn’t release another record until 1993 with Dissident Alliance, nearly ten years after their debut. Even then it was an almost completely different line-up and style, and the album is generally panned by all metal fans alike. However, the remaining original member Mark Brody did manage to pull the rest of the original band together for another 13 years of almost-as-awesome material, remaining in the same holy unlight of the underground until calling it quits this year. If you’re looking for a ballsy, ’80s as hell metal record that is abrasive as it is melodic, this is your record.

Best Tracks: Warfare, Symphony of Terror, Harder then Steel, The Watching, Reign of the Tyrants, The Crucifex, Cardiac Arrest

From a dull thud to a roar, 1984 would see the Panzer patrol achieve one of the very best traditional/power metal albums in all US history as they stepped into the studio to knock out their timeless offering to our delinquency: Ample Destruction. This is anything but elegant metal music, but it manages to capitalize on every strength of the 1983 Tyrants EP. The production has been polished, the riffs are improved, and the 'Tyrant' himself has managed to trump his prior performance, reining himself somewhat but still delivering a varied and unforgettable array of siren calls and soaring testosterone. The man is easily a match for a John Arch (early Fates Warning), Lizzy Borden or Joe Comeau (Liege Lord's Master Control), and he lends this effort an enormous appeal which was virtually unrivaled in this country until a few years after the fact.

He continues to mirror his UK counterpart Bruce Dickinson, and yet this is only when he fares in a particular range. The rest is pure Conklin. Fates Warning's Night on Brocken also comes to mind when drawing a comparison, yet the music of Ample Destruction is clearly superior to that record (which was released the same year). The riffs are bad ass American metal, clearly derived from your more street level, blue collar NWOBHM acts or the German pounding of Accept, but then scoured with spikes and blades of melody that easily helped to push this genre forward and never in reverse. The musical core of Mark Briody, John Tetley and Rick Hilyard were joined here by guitar guru Joey Tafolla, yet you'll find no excess of shredding indulgence beyond what is simply required of each track, carefully glazed in delightful, epic melodies that catapult the music beyond the steelyard and into the stratosphere.

If "Licensed to Kill" does not immediately get your heart raging and pining for the sounds of unfettered 80s heavy metal, I don't know what will. Congratulations, you are officially a poseur. Hang up your tights and go hang out at a yogurt bar with your Blackberry and $60 hairstyle. Frenzied, charging riffs moored by a solid rhythm section and Conklin's characteristic howling that utilizes both an acidic bite and a venomous bark, great leads and only 3 minutes to get your ass kicked by the next track, "Warfare", which is one of the most memorable and hilarious the band have released, with a stock NWOBHM rhythm akin to an "Am I Evil" or any number of Priest tunes, anchored by the Tyrant's extended versus that radiate charisma, before the ultimate gang shouts of 'warfare' by the band, enveloping his shrieking. A true highlight of fist shaking, head banging rapture.

'Trample the cities leaving dust in our wake
Not a thing left alive, run before it's too late
The women, the children, the young and the old
Nothing will escape the Panzer stronghold'

Laughing. My. Fucking. Ass. Off. Directly into the surge of the "Symphony of Terror", with its galloping momentum, elevating chorus vocals, squealing fills and a truly Maiden atmosphere, just a lot angrier. "Harder Than Steel" joins "Warfare" on the highlight reel, with its glamorous flowing melody that is almost impossible to escape, especially when dowsed in Harry's phrasing follies and the rich, full production that resonates across the nightscape of your childhood. "Generally Hostile" is a bit more sparse in nature, crashing along in due course but loaded with more epic guitar leads and a pissed off finale of the band shouting 'no mercy'! "The Watching" rocks along with delicious, almost folk like grace and powerful ballast, the chorus once again reminding me of something Maiden might have written in their heyday, if they were all adorned in black and spikes. "Reign of the Tyrants" channels some speed metal and cussing into a hard ass chorus glazed over with ascending melodies.

At this point, I do feel like the record takes a small dip in quality. "Cardiac Arrest" is every bit as intricate as any other track on the record, but for some reason I simply can never remember it, there is no single element of rhythm here that draws the ear, not even the tiny screaming teaser leads that herald the final verse. "The Crucifix" was originally intended for the Tyrants EP, a moody and slower piece than one is naturally accustomed to from Jag Panzer in this era, and it takes some time to truly develop into something special, after a mediocre middle sequence. The organs and vocal choir that serve as an intro are lovingly rendered here, and I did like the clean guitar, synthesizer and emotional, folkish vocals Conklin uses before the 2:00 mark.

I can think of very, very few USPM albums that I would hold in higher esteem than Ample Destruction, and most of those would have the names Fates Warning or Lizzy Borden attached, or maybe Riot's Thundersteel. It is astounding just how well this record holds up to the ages, sounding nearly as fresh in 2010 as 1984, and this is all due to the devoted songcraft and vibrant production values that were poured into it. The balance of simple rhythms and quality, proficient leads is undeniable, and this is easily my favorite performance in the recorded studio discography of Harry Conklin. This naturally would have been followed by the original Chain of Command (which didn't get a final release until many years later), but various complications forced the band into hibernation until the awful sophomore Dissident Alliance, which is not even worthy of devouring this record's steaming defecation. In fact, nothing else Jag Panzer will ever record can match this album's permanence, and I expect you all to do your part and own this.

-autothrall
http://www.fromthedustreturned.com

Everyone knows Jag Panzer and how they have released the greatest American heavy metal classic ever and then they turned to slower mid-paced shit, well I have a different take on it. I see the debut Ample Destruction to be a fine album, definitely one of the better heavy metal albums out there, but not quite as good as it’s made up to be, and then there are the later career albums are fairly dull and hit or miss but I actually enjoy Mechanized Warfare. Anyway, I’ll probably be shot at first sight for saying this isn’t a masterpiece of heavy metal because it seems like everyone worships this album, BUT I’ll be one of the few that find this to be a decent album and not as good as everyone makes it out to be.

First off, I’ll mention the good things: Harry fucking Conklin is the man, he’s got a great voice and rips off some wicked falsettos and is an absolute asset to Jag Panzer, just listen to his awesome performances of Licensed to Kill and the opening to Symphony of Terror, he’s got a magnificent voice perfect for traditional classic heavy metal up there with the likes of Rob Halford, Eric Adams, Bruce Dickinson, and the likes having an epic soaring voice that just tops everything else in the music. Mark Briody and Joey Tafolla are a great duo, Briody shreds his way all around the place, and typical fast shredding that is very catchy. There are some absolutely catchy and enjoyable songs on here and then there are just some plain boring clunkers. Fortunately it seems like the songs that hit harder are better than the ones that are dull. Songs like Warfare are just plain kickass, 5 minutes of pure heavy metal and then Symphony of Terror with the awesome Maiden-ish gallop and keeping pace the entire time with awesome guitar skill, as well as Conklin over top being his badass self.

Harder Than Steel has a decent Judas Priest like main riff and starts off with more Tyrant screaming his lungs out with such force but I swear if it weren’t for him singing with such power and doing it all in stride the music wouldn’t be as good. After the solo though in Harder Than Steel the main riff continues but it seems to just drag on and get boring. Same with Generally Hostile, having flashy and fun lead guitar work but other than the last minute of the song it’s totally boring; if only the whole song was as kickass as that last minute and 10 seconds or so that would be one fucking awesome song. The Watching is a decent song with a nice semi mid-paced gallop that is fun for headbanging and other than the solo it’s really nothing special. I usually skip this song because it has nothing memorable in it, I mean I can find plenty of fun solos all over the place as well as better mid-paced numbers. As for Reign of the Tyrants, cut out the first 58 boring seconds and you have a fucking awesome song with a great main riff that at least varies itself other than keeping up and still not being more than a mid-paced clunker. Tyrant once again does a wonderful vocal performance on this song as well as once again an awesome solo that really rips the flesh!

The Crucifix is supposed to be their magnum opus, being one of the greatest songs ever and while I’ll go ahead and be one of those people that says the same thing about Fade To Black (even though I 100% disagree in that situation), where the first half of the song should be thrown away and let the last half just be there and slay all the competition. There is even a decent bass line, it’s the second time in the entire album I’ve actually heard the bass! The last part of The Crucifix is absolutely perfect heavy metal, I swear if the whole album had been as quality as this part or as good as Warfare or certain moments in Symphony of Terror then this would deserve all those 100%’s given to it already.

The biggest downside of the album that puts me off the most and is the absolute killer point is the production. It’s terrible plain and simple. Oh c’mon now, even for 1984 there are just as good albums out there with great production, go check out the Maiden, Priest, Manowar, Metallica, Megadeth and so on albums and you’ll find better production as well as better music. Personally I don’t think that it’s not the worst production, hell it’s not even THAT bad, but there is something wrong probably in the mixing that messes it up and ruins it for me which I can’t get past. I can still listen to Ample Destruction, for certain parts like the latter half of pure heavy metal of The Crucifix, the killer anthemic Warfare, and the fun Symphony of Terror but the rest to me is just mediocre, dull or boring. If this didn’t have Harry Conklin on vocals I’d completely dismiss this and barely listen to it, fortunately he’s the savior here with a little help of Mark Briody. So while people will think this is heresy, I claim Ample Destruction isn’t a masterpiece or as good as everyone says. Yes, it has it’s damn fine moments with some fucking killer heavy metal moments that certainly deserve notice, but in the end I find myself not being as captivated mostly because there are more prominent drawbacks than highlights. I’d say download the 4 decent songs and leave the rest because those moments are definitely worth it while the rest aren’t anything special. Harry Conklin’s the man, Jag Panzer better be happy he was here for this debut because he saved this from being a disaster!

I remember first hearing about Jag Panzer after Chris Broderick joined Nevermore for a tour when Steve Smyth was out with liver problems (if I remember correctly). Afterwards, I did a little research on Jag Panzer and realized that they were one of those classic early speed metal bands (my knowledge of metal history isn't perfect, I'll admit), so I figured I'd better hear some of them. I tried out Thane to the Throne because that was the highest rated album with Broderick on guitar and decided it was boring. I then discarded Jag Panzer and an overrated band and never gave them another chance.

Months later, Chris Broderick was recruited to Megadeth. I made a comment on MetalCrypt.com about how I liked to prospect of him joining Nevermore a lot more, and that I wasn't a big fan of Jag Panzer. I was rightfully told that if I didn't like their later material, at least give the debut a chance. I swear, that site has not let me down yet.

As soon as Licensed to Kill starts ripping through your speakers, you realize that you are about to witness an aural assault on par with the likes of classic Priest in terms of historical importance. Why this band was never as big as Priest or Maiden is beyond me, because I prefer this over some of the early Iron Maiden albums when it comes to classic heavy metal from the 80s. This completely obliterates some of the classic albums that came out of of 1984, I mean it. Defenders of the Faith? *Phht* It is right on par with Powerslave, which was also released this year. Anyways, the riffs are fast and powerful, and the chorus is extremely catchy. Harry Conklin is one hell of a vocalist, and he does not hold back for one second here, especially those screeches in the chorus. SCREEAAAM!! Some sweet solos are showcased here as well.

Man, if that opener was any clue as to what I was about to endure, I should've known that the next'un, Warfare, would demolish me as well. It starts with a riff similar to Curse of the Pharaohs or 2 Minutes to Midnight, and while I wouldn't rank it above either of those two classics, it is indeed a thundering classic in it's own right. Symphony of Terror comes up next, and starts off with a strange drum beat and Conklin singing over it. This only lasts about six seconds before an exhilarating wail is let out and the song gallops into full gear. This one is a bit more mid paced that the two opening speed monsters, and it feels like it isn't quite as good as it could be. But there is no denying that the catchiness that exudes from this one is no less than the previous two. If this band can do one thing right, (other than kicking complete ass) it is writing memorable riffs and vocal lines, thusly creating memorable songs. Harder than Steel starts with a very Maiden-esque riff and never slows down, another great tune.

Generally Hostile finally kicks it back into full gear with another speed metal monster. This one is fast as hell, and that's just how we like it. The Watching starts off on a bit of a low note, and is the weakest track on the record in my opinion. It's not bad, but it just doesn't seem up to par with the rest of the songs at all. Kind of hard to explain why, maybe it sounds a bit more restrained, or like they wrote it late in the studio or something, just to add another track. I feel the same is true for the album's "epic" number, The Crucifix. I feel it just kind of plods and doesn't have the same heavy metal fervor or conviction that Licensed to Kill or Generally Hostile had.

The two songs that fall in between The Watching and The Crucifix are also exceptional. Reign of the Tyrants is one of those songs that you can just tell will rule before it even starts. Chock full of awesome riffs and soaring vocals, it's kind of hard to deny this one of it's badassery (for lack of a better term). The same can be said about Cardiac Arrest, except I find it to be even better than the preceding track. The lyrics are really dumb, but it doesn't detract from the music like some other bands manage to do. The screeches in this one just reinforce the downright awesomeness of the record.

Okay, I feel I've done nothing but gush, but this is a record that actually deserves the praise it is given. It is innovative, fun, destructive, and historically relevant, although it seems to have unfortunately be lost due to the amount of heavy metal classics released around the time. The Watching and The Crucifix drag it down a bit, but it is otherwise a classic of heavy metal that was sadly forgotten in the sands of time. Essential listening for all metalheads.

I have to move backwards when it comes to metal from the 80's. I'm too young to have had the fortune of having this era of metal in my adult life. Despite the inevitable passing of time and younger listeners emerging, it's just short of appalling that the garbage that panders to the masses takes precedence over albums like this. Over metal like this.
Compare the big money-makers the big labels promote and all the kids rave about (and I won't mention any band names, lest I should scar some tender hearts), to this mighty piece of classic metal. Things just don't add up.

Anyway, I was impressed with some newer Jag Panzer, and I became aware of this album’s classic reputation. But ever a skeptic, I didn't actually search this album out. I happened upon a copy. So, I figured why not.

It has not left my car since. It is probably the most played album in my car ever. This is pure, unadulterated, no-bullshit METAL. True metal, as it’s supposed to be.

This just plain kicks the shit out of the vast majority of American metal released in the last two decades. I just can't help but sing every line while listening to it. Rarely do you find an album without any ho-hum songs, but it's really got to be of a higher caliber to pull off every single song totally kicking ass. But why classic?

What with the raw, actually metallic sounding guitars churning out brilliant, hugely powerful riffage, and leads that give Maiden a run for their money. The uncompromising exemplary drumming, and Tyrant's unparallelled soaring vocals. The bass (this is what I love about old recordings) provides awesome support for the killer riffage, and pumps right through. Trim off all the fat, so there is absolutely no filler, with every song flowing smoothly like water, and pure metal-as-fuck killer lyrics, and you have a honest to goodness heavy metal classic; you have Ample Destruction. An album with a life span as long as your own. Indeed a classic among the hordes of heavy metal releases of it's time.

This is absolutely essential heavy-fucking-metal.

In most fans of traditional 80s heavy metal, or power metal, or thrash metal, there exists some sort of primal instinct to love something that just flat out mauls your ass with simplistic yet catchy guitar work, drum beats, and powerful vocal lines. While not all of these bands are the most technically proficient, and while they may not play a very flashy style of metal, there's just a certain spark about these stripped down 80s bands that has a special place in our hearts. Maybe it's the unbridled, raw energy in these bands; that energy that modern bands have a harder time of capturing. It's a youthful rebellious streak in these bands that is long gone in most modern bands due to the glossed up production, the downtuned guitars, or the overuse of keyboards, and generally the loss of the huge amounts of attitude contained in the bands that founded the heavy metal genre. No, no modern metal can ever compare to stuff like Jag Panzer's debut, no matter how good it is. This is a treat.

Get ready to be assaulted by about ten thousand volts of raw fucking power after putting this one on. Jag Panzer's debut is widely acknowledged as a metal classic, and rightfully so! I have to say I agree with every inch of the praise given to this one. While 100% may be a hard score to give something, and originally I was going to give this album a few points lower, but it does deserve this perfect score. It just has that extra spark that elevates it to a level far beyond any other. Few albums are as energetic, powerful, and just completely fucking METAL the way this one is. For the uninitiated, Jag Panzer play old school US power metal with catchy, jumpy riffs, solos that soar to the clouds, courtesy of guitar virtuoso Mark Briody, and the powerful, ready vocals of Harry 'The Tyrant' Conklin, and it's a combination that works so damn well that you can't help but keep pressing the repeat button on this one. I've been listening to it for 5 months, and it just gets better every time!

There's something about this album that makes it unique, even though the style of music being played isn't abnormal or anything. On their 'Tyrants' EP, they played a very NWOBHM-slanted style of heavy metal, but here things have changed a bit. The music here is much more polished then on the debut, with cleaner solos and much better vocal work from the Tyrant. I guess the best way to describe this is an 'American' sound. It's polished and not stylistically different from the classic British heavy metal bands, yet the attitude is a lot more in your face and muscular, not as party metal oriented or laid back as some of the NWOBHM movement was. Jag Panzer go for the throat here, and they'll tear your tender skin to shreds without so much as a second thought. There are no songs glorifying sex, beer, or the night life on this album; just ass-kicking, straightforward power metal of the highest caliber. These lyrics rule, they're just completely metallic, triumphant and bad ass in every way. Harry Conklin's voice is what seals the deal for this whole 'American' sound, I'd say. He has this deep, charismatic bellow that ensures he's not called a clone of anyone out there, and it gives Jag Panzer an unmistakable attitude and energy that few other bands could manage.

This is some damn catchy stuff. This isn't really metal that grows on you; this stuff is good from the start. The catchiness really does give it a boost---"Licensed to Kill", with it's speed-metal trappings and killer chorus ("SCREEEAAAM!"), "Warfare", being the Judas Priest influenced rocker that it is, with that awesome chorus and midpaced stomping riffs, "Symphony of Terror" utilizing the old galloping Maiden riff that's so damn popular...aw, fuck, every song here rules. "Harder Than Steel" is a driving, pounding heavy metal anthem that just might be the best song here, and "Generally Hostile" is a speedy, attitude-filled rocker with enough energy to power a small city for a few weeks. "The Watching" is a semi ballad with a searing, emotional guitar solo that sends chills up my spine even now, and "Reign of the Tyrants" and "Cardiac Arrest" make for quite the duo of classic, jumpy '80s heavy metal ("I'll use my metal powers, to give you a heart attaaaaaaaaack!"). It all leads up to the epic super-ballad "The Crucifix" with awesome lyrics and what just may be Harry Conklin's best performance to date. Maybe. Even the bonus tracks on some of the bootlegs are good - "Eyes of the Night" in particular standing out as a triumphant slab of epic heavy metal glory that would fit just fine on the main album. There isn't really an explanation for how Jag Panzer managed to rule so much here. The band just had some sort of driving force in 1984 that got them to create this, one of the most consistent, catchy, and powerful metal albums ever.

Production? It may not be the clearest or the most polished, but this is pretty fucking good for 1984. The guitar tone is galloping and muscular (although it could certainly be heavier...that's just a minor quip, though), the drums pound down hard enough to crack some heads, and the bass clicks and whiddles away, all while Harry Conklin's magnificent midrange belts out the lyrics. Nothing is really put in the forefront over the rest, and nothing is really neglected. Musicianship? All the instruments here are extremely well handled, not sloppy or uninteresting in the least. Mark Briody's guitar wizardry is evident in pretty much every track, especially the closer "The Crucifix" with it's acoustic passages that just randomly explode into a headbanging metallic fury, much like Iron Maiden's "Hallowed Be Thy Name" or Judas Priest's "Beyond the Realms of Death." The drumming is excellent as well, with some very nifty galloping drum intros on songs like "The Watching" and "Licensed to Kill." Musically, Jag Panzer are quite an interesting amalgamation of early Iron Maiden and Judas Priest with the more Americanized heavy metal stylings of Riot and Savatage, and they have their own sound here - not sounding like a ripoff of any band in particular, just playing old school heavy metal the way it was meant to be played.

To sum things up, Jag Panzer rules, and this album is absolutely essential for fans of this genre. I can't think of a better way to be introduced to a band than an album like this, so if you haven't heard it, then find it at any cost possible. One gripe is how this album has been out of print for eons, and the only way to get it is through bootlegs or downloading. Which is sad, because this album deserves recognition as a classic. It doesn't look like we'll be getting a reprint of this any time soon, so find this if you can, and enjoy it. This is one lost treasure that's sure to rock your world on ten different levels if you actually manage to track it down. My highest recommendation.

"I have yet to give out a 100. Not sure if I ever will. It'd have to change my life or something", that's something I was originally saying when I first started reviewing here. Well, fact of the matter is this album, "a thunderbolt from hell", has practically changed my entire outlook on metal. I loved metal before. Then I heard this, now I live metal. Though I cannot hide the fact that the first time I listened to this album, I was speechless, but not exactly in a good way; I didn't really like it. To this day I can't really explain why, or what it was, maybe I just still hadn't opened up to a lot of metal and my tastes were still thin and strict, maybe I was too blown away to think. However a few weeks later I was interested to hear it again, this time I was taken to the Heavens and Hell at the same time, completely blown away, completely utterly destroyed and reconstructed as a totally different metal fan than I was before. Ever since I listened to this album and worshipped every second of it, I've come to appreciate so much more metal and so many doors have opened up for me. This was like, my gateway to real metal. Maybe that's not enough to justify the perfect rating, a rating I don't see myself giving any other album out there ever again, but this album just really changed the way I looked at things. My Ample Destruction of enlightenment!

Boring and short life story aside, this album is untouchable at every corner. More than likely crafted at the Pantheon itself. If you don't know about Harry "The Tyrant" Conklin, well simply put you have absolutely no idea what you've been missing out on. His range is beyond incomparable, only a few of the transcended vocalists like Bruce Dickinson would be a fair comparison, and The Tyrant may very well be even better. And just as a few vocalists such as Manowar's Eric Adams, The Tyrant is completely self-distinguished, there is just hardly anybody out there who sounds anything quite like him and his incredible voice. Though even a godly vocalist can be held back and may not possibly give it their all, regardless that is not the case here at all, as he gives 110% throughout the entire experience. Explosive powerful screams ignite throughout songs, his commanding mid-range will make you shiver, and his emotion is at a nonstop titanic level. There is no question that even today Harry Conklin is an incredible vocalist, and just about everything he's graced his voice with such as Titan Force and Satan's Host further showcased his endless power, but his singing here is hands down the best he has ever done. The energy is off the charts. You will worship him after you hear this.

Though it'd be a sin to only give Harry Conklin a 110% here. Jag Panzer's main figure and guitarist Mark Briody lays out some of his best skills throughout here along with secondary guitarist Joey Tafolla. Bassist John Tetley finalizes this thick atmosphere and solidifies the sound, while drummer Rick Hilyard keeps the march going on its unstoppable rampage. And it just keeps getting better when you hear the instruments themselves, the sound and the overall production. Its completely out of this world, as there's hardly anything out there of this time that sounds remotely like this at all. The closest comparison's I could make would be possibly early Mercyful Fate or Sword, and either way this is still in a world of its own. The overall sound and production is thick and heavy, though by saying this you should certainly not think of anything such as Nevermore, not at all. There's just so much crunch to this album it makes just about any other 1984 release look like a kids game. Every instrument is crystal clear, along with Harry's soaring and beautiful vocals. The guitars are extremely interesting, razor sharp for the most part and the solo's sound perfect. A perfect production, and the sound is consistent and every song sounds just right. Just what genre does this fit in? Its own realm really, though its also always been seen as a good example of early US power metal. When the power literally had its emphasis on strength and force.

Each and every song is an indescribable mega hit, except for the odd and so very random instrumental track. But its only a minute long ,and you probably won't even notice it. "Licensed To Kill" may very well be one of their most commanding and greatest songs ever written. It definitely does its job at unleashing the demon rage within them, as you "Feel the nails in my baseball bat". "Warfare" unleashes a more catchier tune, and has one of their most craziest solo segments on here, a very long and diverse one at that. "Symphony of Terror" keeps this pace while giving it a darker edge. The next track, "Harder than Steel" is an interesting one. Supposedly one of Mark Briody's least favorite songs, and on top of that I can't help but feel a heavy dose Van Halen influence with the main riff, but with PURE metal written all over it! Maybe a little more groovy and not as destructive as their other songs, but still one of the best on here. "General Hostile" follows suit of the first track stepping up the speed and intensity and the incredible guitar work is riddled all over. This is the song that hits you with that thunderbolt from hell, so grab that shield and put your seatbelt on! They show no mercy for the weak! "The Watching" is an extremely proud and powerful song, where The Tyrant may take the spotlight. You're already knocked back in your seat, but then "Reign of the Tyrants" comes around and completely kicks you over and stomps on your face! Hands down one of their more aggressive songs when it comes to the pace and instruments. "Cardiac Arrest" is a little more off the wall, with some incredible virtuosity displayed from just about everyone and comes out as one of the more dynamic songs. The final piece to this puzzle is their epic monster track, "The CrucifiX". An emotional ride that'll make you eagerly craving for more.

There are dozens upon dozens of different versions of this album out there, and chances are you may get a few extra tracks thrown in. How do some of them hold up? Well, consider yourself lucky if you wind up with "Black Sunday", "Eyes of the Night", and "Lying Deciever". The first isn't exactly anything special, a little too out there perhaps, but the next two are pretty awesome and more diverse than some of the other stuff on this album. Harry's vocals on "Eyes of the Night" are especially amazing too. The version/bootleg I got actually includes the "Tyrants" EP. I won't go into a lot of detail with these songs, but they're actually not that bad at all. Though, they're very -different-. Yes even if you thought "Ample Destruction" was different enough compared to Jag Panzer's newer works, just wait until you hear the EP. The NWOBHM influence is definitely all over those tracks, but its tipped off with quite a dark atmosphere, maybe even enough to be compared to one of Harry Conklin's other short lived bands, Satans Host. Definitely odd but worth hearing. Regardless, if my version came with no bonus tracks or anything, my rating would remain unaffected.

Overall, this album is an experience I will probably never forget. It pretty much made me appreciate a wider variety of metal. Its one of those albums I can put in my CD player or blast in my car at any given time, day, week, whatever mood, whenever and become enthralled with it over again and again. If you still haven't heard yet, this is a pure heavy metal classic, and from here on Jag Panzer would never release something of this quality again, but they graced us with one of the greatest albums of all time. This is an absolute-no-questions-asked-must-own for any metal fan! No word can do my eternal recommendation justice.

This album completely and utterly owns everything in sight!! There really isn't anything that sounds much like it - sure, there are the influences (Diamond Head, Blitzkrieg, Judas Priest, a bit of Iron Maiden), the stuff that for no apparent reason happens to sound similar (Overkill "Feel the Fire"), and then the countless failed imitators upon countless failed imitators that just wish they could kick this much ass for this long (Gothic Knights come to mind).

The most impressive part of this album is the vocals - Harry "The Tyrant" Conklin definitely gives 110 per cent at all times - imagine Dan Beehler (Exciter) mixed with Rob Halford (uhh... Poison?), with lots of fucking shrieks, and also the most powerful midrange vocals this side of Bruce Dickinson.

The guitar work is also really great - both in the solos and the riffs. There is a definite very heavy NWOBHM influence here. The album is not quite as fast as Blitzkrieg "Blitzed Alive" but the riffs are similar, and some of the melodic ideas are quite reminiscent of "Lightning to the Nations". Also, as I mentioned - Overkill "Feel the Fire". There are a few thrashy riffs in here, and some of the solos remind me of that album too.

Best songs... pretty much all of the original 9 songs are quite indispensable - some of the bootleg re-releases staple on some extra tracks which aren't quite as good (leftovers, demo sessions, etc... a song called "Black Sunday" is merely okay, and appears on pretty much every re-release). "Licenced to Kill" opens the album in stirring fashion - a bit of Mercyful Fate at work here too, since the intro riff is a bit like that of "Evil".

"Warfare" is probably the catchiest song on here... "no time for excuses, now that I have the Earth!!" Also, "Reign of Tyrants" (aka "Under the Knife") has a really nifty intro riff.

But, the best song - THE CRUCIFIX!!! It's similar to stuff like "Winds of War" (Helstar), "Child in Time" (Deep Purple), or "Rebellion in Dreamland" (Gamma Ray) in that it starts off slow, gets heavier and heavier, and then for no apparent reason completely fucking explodes in your goddamn face, shredding arteries and ripping viscera. Just because it can. That main break riff exhibits more gross ownage than Wall Street, and puts to shame the thousands of bands that just want to sound like this.

Yes, this is probably the finest example of 80s power metal. Not fast enough to be speed metal, nor quite the right riff style for thrash - but what it does, it does extremely fucking well. If you can find it, GET IT!