Register Forgot login?

© 2002-2024
Encyclopaedia Metallum

Privacy Policy

Black Death > Black Death > Reviews
Black Death - Black Death

All Right All You Headbangers Out There! - 82%

psychoticnicholai, August 1st, 2018
Written based on this version: 1984, 2 vinyls, Auburn Records (Limited edition)

No people, Richard Pryor had nothing to do with this band despite the "Black Death" skit. Though the parody band on his show and this band share a name, this band (unlike Pryor's) is 100 percent legit and 100 percent into the metal they play. While Black Death do bear the odd mantle of being one of the first all-black heavy metal bands, race plays no part in how hard these guys can rock. This album is full of energetic guitars, plenty of style, some independent grit, and a level of camp and sleaze that makes this a boatload of fun to listen to. These guys had such a level of enthusiasm and such a strong urge to rock that they get a bit carried away, but that's probably part of the appeal for this album and this band.

These guys make their music embody the spirit all right. Think colliding the flashy guitar-play and crazy falsettos of Judas Priest with the riff-loaded gloom and dirtiness of Black Sabbath, with just a bit of the excess enthusiasm and wackiness of just about every other heavy metal or hard rock band out at the time all concentrated and combined into one package. I mean, this album begins with vocalist Siki Spacek going full ham and telling all us headbangers out there to lock our doors, keep our parents out, and turn the music up LOUD before kicking up the tempo and letting Greg Hicks gallop off with a swift, swinging riff to give us a taste of the rough-and-tumble bangers that saturate this thing. The men behind the instruments make the them blare with vigor, and the vocalist's forceful, zany, and passionate delivery makes this great entertainment. Yeah, it's a bit silly, but where would we be if these guys were "calm cool and collected"? Nowhere! The zeal for rock, the over-the-top singing, the wild soloing, it all solidifies their attitude and is much to Black Death's benefit.

The roughness of this album actually works in its favor, giving it a personality that only a smack-talking madman hellbent on destruction and heaviness could. Heavy, street-cruising riffs give this thing its power. The rougher production makes it seem tough and gritty. The vocals give it personality and a quirky badassery to it with the rougher take on Halford they provide. The only parts where he's not really welcome is on the ballads where he gets too shrill for the more somber instrumental tone. Otherwise, what you get is pure rough rockin' mayhem. Whether going on full blast with "The Scream of the Iron Messiah" and "Here Comes the Wrecking Crew", swinging with "Streetwalker", or plunging slowly into an Iommi-esque riff tomb with "Black Death", you've got a wild streak a mile wide on this thing with a devil-may-care attitude and just enough dirt to the recording to make it feel raw, thrilling, and gutsy. Headbanging guitar riffs and drum grooves abound on this thing, making it feel nice and crunchy. It's also crazy and cheesy enough to draw a wry smile from the listener with all of the horror movie camp and wacky "metal at all costs" attitude that makes this so damn fun.

This is a neat piece of early 80's metal that bleeds passion and goes well over the top with the genre's reckless attitude. It's a great album for cruising down the mean streets and blaring out loudly. Plus, these guys sound like they were having a blast while making this, and it shows. These guys are a bit inexperienced, but who needs that when the songs here are largely cool and they've put their guts into the music this much?

The other kind of black metal - 88%

Valfars Ghost, June 25th, 2018

Though Black Death’s career may not have taken its members very far in terms of success or recognition, this Cleveland outfit was a surprisingly versatile group. Throughout their self-titled debut, you’ll be treated to fun hard rock romps, speedy rampages, and even a sad, moody breakup song. With the band ever willing to switch things up, Black Death is a compelling and fun listen that more than makes up for its occasional bouts of aimlessness with its energy and commitment to delivering a raw, rockin’ good time.

Armed with an obvious appreciation for the hottest hard rock and metal acts of their day, from Kiss to Thin Lizzy to Judas Priest, Black Death seeks to put together a fun, rollicking album. The performances are a crucial part of Black Death’s identity, with each member of the band radiating energy and enthusiasm. Singer Siki Spacek is all over the place, barking through most of opening track ‘Night of the Living Dead’, employing a goofy, sleaze-laden hard rock crooning style in ‘Here Comes the Wrecking Crew’, and unleashing a soaring Halfordian screech on occasion. The rest of the band is similarly spirited and unpredictable, with drum fills, solos, and explosive leads being scattered all over.

This same enthusiasm seems to have also been a bit of a hindrance. These guys were so ready to rock out as hard as they could that they don’t appear to have put a great deal of thought into the album’s structure. There are too many wandering guitar solos here, particularly in ‘Streetwalker’. Additionally, there are a lot of parts throughout the release that suffer from a lack of focus. The menacing Black Sabbath-esque stomp of the 9-minute title track is probably the best example, overflowing as it is with Bill Ward-inspired fills and plenty of aimless guitar noodling allowed to go on too long. A lot of these fills and high-flying solos are magnificent, bursting with gleeful energy and making the album plenty of fun but they just appear too often and at the expense of the songs' cohesion.

This album’s production is an essential component of its larger-than-life personality. Black Death seems almost like a live recording by a band that’s having a lot of fun but isn’t terribly disciplined. Spacek, on the opening track, even tells you to turn your volume up, as if he’s right there with you. He and the other band members sound fully alive here. Listening to this album, you can tell these guys are having fun and are effortlessly comfortable working together. Each instrument is fully represented, with guitars sounding sharp, the drums having plenty of punch, and bassist Darrell Harris providing a throbbing backbeat that ties the more frenetic playing of his bandmates together.

Black Death’s self-titled debut, which, until 2015, was their only album (the band was named Black Death Resurrected when it put out that 2015 release, though), captures a young band at the height of its exuberance. No caution was exercised here and no concessions to the mainstream were made. This release is an honest statement from a band determined to have as much fun as possible with the music they loved. I’m hard-pressed, in fact, to name a metal album more passionate and explosively energetic than this one. Black Death, despite plenty of holes in its songwriting, is a good time loaded with more high-pitched screams, bombastic drumming, blistering riffs, and red hot solos than you can handle.

Wild, Raw, Unhinged U.S. Underground Classic! - 93%

razorfistforce, April 23rd, 2014

The totally wild and rad album cover of Black Death's self-titled '84 LP perfectly captured the essence of this great Cleveland band and the music contained within. No one could ever accuse Black Death of false advertising! As an African-American band, Black Death were an unusual commodity in the often very white 80's American heavy metal scene. However, Black Death were unique in many ways beyond their skin color.

Coming from the rust-belt city of Cleveland, Ohio, Black Death's roots extend back to 1977. Their early days were chaotic and saw several line-up changes (original bassist Clayborn Pinkins was shot and killed in '79) before finally achieving local notoriety in '80-'81. This connection to the sounds of the late-70's is quite apparent in Black Death's unique style of unhinged, flamboyant early 80's U.S. heavy metal. Black Death's influences are often quite easy to detect, ranging from Judas Priest, Black Sabbath, Kiss, Motorhead. etc., to hard edged early proto-punk groups like MC5, The Stooges, and The Dead Boys. This punk influence is most obvious in the band's attitude and their very rough-edged, energetic, over the top, garage rock production approach. This LP just smokes! It's extremely "live" sounding and raw, yet well-recorded (considering that it is a lower-budget, indie release). Released by Bill Peters on his legendary Cleveland-based independent metal label Auburn Records (who at the same time were releasing excellent LPs by fellow Cleveland acts like Shok Paris, Destructor, Breaker, Purgatory, Havoc, etc.), Black Death was one of the label's earliest non-compilation releases. Comprised of a 7-song LP and a bonus 2-song 7" EP, Black Death's debut was quite a package. But was the album any good? Put simply, it isn't just good it's absolutely awesome!

The LP opens with the excellent "Night Of The Living Death" a tune which gives the listener a little sample of everything that is to come on the album. Vocalist/guitarist Siki Spacek's delivery is like the bastard spawn of Tim Baker of Cirith Ungol, King Diamond, Cronos of Venom, Mark Shelton of Manilla Road, and a gruff biker MC. Put simply, Siki is one of a kind when it comes to vocals as he ranged from super high screams to very low gruff exhortations. Also within this first track, it's quite apparent that Black Death like their 70's guitar tones. Tons of overdrive and killer use of wah-pedal makes the whole album a headbanger's delight when it comes to pure riffage, electrocuting leads, and wailing hard rock madness. Guitarists Greg Hicks and Siki Spacek were admittedly rough around the edges, but fantastic musicians with tons of soul and guitar prowess. While I don't think Black Death intended to be any form of a "retro" act, their penchant for learning the tricks from the classic 70's Priest LPs, etc., just gives them this vintage sound which is simply timeless.

The LP's second tune, a heavy as hell workout called "The Hunger", features tons of way over the top vocals from Siki as well some hilarious lyrics like "when you feel the need...I'm gonna drown you in my seed". The tune kicks into an up-tempo classic gallop for the solo which proceeds to lead back into the crushing, very Sin After Sin-era Judas Priest riff. Already after just two tracks it's also quite apparent that Black Death's tunes are quite catchy, a factor which cannot be understated in explaining why this LP is so beloved. Track 3 is a stoned-out dirge called "When Tears Run Read". Very rooted in the '70s, this creepy exercise rides the fine line between pure brilliance and pure hell. The tune builds into an intense barrage of Hicks/Spacek guitar leads and ends with a "Victim Of Changes"-esque vocals assault. Track 4, "Fear No Evil" is a masterpiece of early '80s U.S. heavy metal. From its intro which is a heavy metal reading of "The Lord's Prayer" the tune quickly hits a tremendously heavy groove (very '70s) over which Siki spins a lyrical tale of racial war, political corruption, warfare, and eventual doom. This superb track ends with a great wailing guitar jam. The perfect way to end side one of the LP.

I can still remember the first time the needle dropped on side b of Black Death's LP and the insane brilliance that is "The Scream Of The Iron Messiah" came roaring out of my speakers. It still gives me chills every time I hear it to this day. For fans of obscure, real-deal, underground '80s metal of the American variety, "Scream Of The Iron Messiah" is simply as good as it gets. I still find it unbelievable that it hasn't been covered countless times. So why's the track so great? The needle drops and you're hit with 15 seconds of blasting anticipation. Then, following a pick-slide, the song just kicks down the door. The most up-tempo (but not thrash) track on the LP, it is simple traditional metal perfection. From the perfect headbanging tempo to the searing dual wah-pedal leads to the simply epic vocal assault, the song just kills. You really get to hear tow talented Black Death's rhythm section was on this tune as bassist Darrell Harris and drummer Phil Bullard (who sadly died in 2009) drive this freight train of a tune straight into your brain. And oh man is this song catchy! Of all the tunes on the LP this track may have the most insane vocals of all. For some metal heads it may be a bit too over the top vocally in the same way some don't enjoy bands like Exciter, Blessed Death, Destructor, etc. due to their singer's vocal style. As far as I'm concerned, the vocals are simply rad....and "Scream Of The Iron Messiah" is one of the most badass opening tracks to any side b of any metal LP ever recorded.

Next up is the slightly more restrained but edgy and WAY cool hard-rockin' metal track "Streetwalker". A very well-conceived tune with more solid leads and a great chorus makes this another stellar track. The 12" ends with the 9+ minute long title track in "Black Death", a truly moody, drugged-out piece of Sabbath/Priest worship crossed with all the best, heaviest music of the '70s, amped up to 11 for the wonderful year that was 1984. The track is derivative and may be a touch too long, but it serves perfectly as the LP closer. Which brings us to the bonus 7".

The bonus 7" EP which came with the album includes two tracks which are each unbelievable. I don't blame Bill Peters for spending the extra cash on this release to include a bonus EP with two tunes of such high quality. Both are supremely catchy and have a tinge of pop to them that none of the 12" tracks equal. "Here Comes The Wrecking Crew" is just such a fun track. It's nearly impossible to dislike. With its classic anthem-styled chorus and wicked double-bass assault, it's fun as hell ("take those clothes off NOW!!!"). The bonus 7" ends with the metal perfection that is "Retribution". Easily one of the single greatest Black Death tunes of all, "Retribution" is simply classic. From its sweet NWOBHM gallop to the awesome catchy chorus, it's true metal at its most pure and a perfect way to wrap up what would sadly be the only LP Black Death ever released.

In the end, Black Death's 1984 LP will always be kind of a love it or hate it album for many people. But it is just so heartfelt and oozing with sincerity that it will forever hold a very special place in my metal heart and deserves its rightful place in metal history. Thankfully, time seems to have been on Black Death's side. In many ways it seems that the album has aged like a barrel of good Scotch whiskey. As a true cult classic it has taken a while for the legions of Black Death fanatics to coalesce. The original LP is now a highly sought after collector's piece and a new generation of fans is experiencing the insanity of Black Death via vocalist/guitarist Siki Spacek's and Greg Hicks reincarnation Black Death Revisited, who in early April 2014 played to an adoring and awestruck crowd at the annual Ragnarokkr Fest in Chicago. So hopefully there will be more Black Death gigs and a discography of all their recorded material is soon released. There is certainly enough demand!

Lock Your Doors and Keep Your Parents Out - 78%

SlaySlaysButAlsoReviews, February 8th, 2012

It’s dirty, it’s heavy, it’s fast and it’s metal. It’s Black Death and they will shit on your grave and laugh.

Black Death was an interesting act. Their weird style of crunchy rhythms and progressive bridges didn’t exactly make them stand out. It was the fact that they were an all afro-American metal band, and one of the first out of Cleveland. Maybe it’s just me being racial but I always feel that afro-American metal bands bring something interesting to their music. Sound Barrier brought elements of funk to their metal, Body Count brought elements of rap to theirs, Katon of Hirax had a bit of Motown in his vocals, and Black Death… Black Death had power.

Black Death is a cheesy but charming and over the top, fun heavy metal album. It’s almost full of hits, the only misses being their ballads and even those aren’t that bad when you’re really in the mood for them. The hits range from long and powerful, almost doom metal type of songs to fast and in your face hard-rocking speed metal crushers. On top of that they’ve added these progressive elements to most of their songs that unfortunately tend to drag on a bit too long if you’re not in the mood for it. It’s a style that I haven’t really noticed before.

The guitars are highly energetic and there is always a solo in the background, in verses, over choruses, all over the place. The bass is loud and clear and when it’s combined with the rhythm of the drums like it is on “The Hunger”, it almost sounds like a if freight train came through town to destroy everything in its way. The drums on their own lack energy and tempo, but it’s nothing noticeable of you don’t pay attention to them. The vocals are a bit awkward in the mix but convincing and full of passion when the train starts rolling. I find them to be a strange combination of Mike Muir (Suicidal Tendencies), Tony Portaro (Whiplash) and even Rob Halford of Judas Priest at times. He’s very good at adjusting his vocals to the different moods of the songs and plays an important factor in all of them as well.

The production is nothing to complain about. It’s decent and doesn’t need to be any better than it is for this sort of style.

All in all, this is a very good album that I would recommend to anybody with a boner for power. It’s got everything, high pitch screams, catchy metal riffs, progressive elements and a bunch of black dudes ready to kick you in the face. Enjoy it.

Who Knew, Metal was Born in Cleveland? - 94%

eaterofthoughts, May 11th, 2009

If you dig bands like Motorhead, Iron Maiden, Mercyful Fate, Black Sabbath, Cirith Ungol then you absolutely should try this band out. Blasting from the heavy metal hotbed known as, Cleveland, Black Death only released a handful of material and was gone in a flash. But make no mistake, the material they did release was solid, well written, composed, practiced, and executed. Black Death pulls out the ripping dual lead, full throttle rockers ala Judas Priest or Motorhead, then out of nowhere, lead singer Siki Spacek will let loose a King Diamond soaring falsetto wail. There are more than a few amazing guitar hooks, that will definitely make you wonder why you havent heard these guys yet. (for example see 2.2 min into the track, "The Scream of the Iron Messiah"!) Black Death are not afraid to slow it down and get all proggy either. When I say prog, I mean more in that Black Sabbath-Vol.4 or Cirith Ungol sort of way. Overall, if you like metal, you should do yourself a favor, and stop not listening to Black Death.