Diamond Head
Lightning To The Nations

THE REVIEW

The masterpieces among the masterpieces of rock music stand out from already great albums for marking an epochal shift, containing those songs that became anthems for the generations of the '70s and '80s, giving birth to new styles, musical genres, or simply having a great impact on the masses. Generally, these absolute masterpieces were acclaimed by critics, sold millions of copies, and are still a must for many nostalgic fans and new enthusiasts interested in the rock cult. If in the '70s and '80s rock had said a lot, considering also its metal and punk derivatives (rock is a very broad term), in the Nineties, even considering the Seattle scene, rock reached a point of no return (called artistic death), all styles were experimented with and explored. Metal is still trying to carry on, but no matter how excellent the current bands' performances may be, they are always replays of things already done. Punk died where it was born.
Returning to the main path: the album in question is one of the most important in rock history because it brings the conjunction of two genres (Hard Rock and Heavy Metal), but unlike other masterpieces, it did not sell what it perhaps deserved (however, music should not be evaluated based on sales).

If someone knows Diamond Head today, they owe it almost exclusively to Metallica, who covered half of this LP (see "Garage Inc."). Speaking of this album, one must consider not only the rock of the Seventies but also the two main branches of metal, the one born under the aegis of Judas Priest and the fierce and nihilistic one of Metallica. This is the midpoint between Led Zeppelin and Metallica. The riffs are cleverly camouflaged in Hard Rock style, and with a correct interpretive key, the one used by Hetfield and co., it could be understood that they were already metal. Sean Harris sings like Robert Plant and plays rhythm guitar (Hetfield?), Brian Tatler is half Page and half metal, Colin Kimberley is already a heavy bassist, and he is the supporting pillar of the rhythmic section, Duncan Scott follows classical rhythms, perhaps too little powerful (this is one of the factors that place this album in limbo between Hard Rock and Heavy Metal), but this is absolutely not a flaw.

If it was said that Metallica with "Kill'em All" put into practice the teachings of Motorhead, Diamond Head were no less important in influencing Metallica themselves. The inventors of Thrash Metal (some call this Heavy and Maiden Classic) were already performing Diamond Head's songs in '81, making them heavier. The main riff of "Am I Evil" is repeatedly found as a form in "Kill'em All". Motorhead's energy and speed and Diamond Head's riff, that's what early Metallica were. If I mention Metallica several times, it is because the bands owe something to each other. Diamond Head became famous thanks to their songs being publicized and played live by Metallica. Metallica were inspired by Diamond Head and, also thanks to them, have sold over 50 million records.

Taking each song individually, it must be said that they are all masterpieces.
"Lightning To The Nations" is metal played with Hard Rock hints. Fast, galloping, and engaging riffs.
"The Prince" has an original and fast progress. The bass is almost at the same volume as the guitar, Tatler paints a fabulous solo in the middle of the song, while the drums, as already mentioned, always have that limit of not impacting as much as the bass in the rhythmic section.
"Sucking My Love" is the longest track (9.31), more complex in structure, and where Harris gets closest to Robert Plant, with plenty of orgasmic moans. The two central solos are beautiful, where even the solitary bass run finds glory.
"Am I Evil" is the metal song, and this is understood by hearing Harris lower the tone. Military march style introduction, then the guitar, after the fast solo, strikes with a granitic riff leading us to the chorus. "Am I Evil? Yes, I Am" is a phrase every metalhead should know by now. The song is aggressive, but as if that wasn't enough, it increases in tone and speed. Even the sterile drums find a certain aggressiveness. During the solo, Harris's riff seems the direct ancestor of "The Four Horsemen".
"Sweet And Innocent" is pure adrenaline, totally different from the previous one, more Hard Rock than metal. Harris rises an octave again, and another masterpiece is completed.
"It's Electric" is pure rock'n'roll. Harris sings fast and aggressive. The solo is Metal. A Classic.
"Helpless" starts with a charging pace, manages to be even faster, the rhythm varies, and the singing is very engaging. An absolute masterpiece.

I recommend this gem to those who appreciate New Wave Of British Heavy Metal bands or to those who want to know and delve into Metallica's origins.
One of the 10 most important albums in metal history and also one of the most underrated. Epochal.