Tank
Honour & Blood

Line up:
Algy Ward: Vocals, Bass
Mick Tucker: Guitars
Cliff Evans: Guitars
Graeme "Crash" Crallan (R.I.P. 2008): Drums

While searching for the various (actually there are only two) reviews of Tank here on DeBaser, I noticed, with a hint of bitterness, that no one has been inclined to review their fourth, immense effort: this "Honour and Blood" with the cover alongside, probably realized with brutal and frantic brushstrokes that make it not entirely different from an impressionist painting. A tank, an imposing Tank, seems to advance towards the enemy, giving the impression of having left behind a multitude of victims, both civilians and opponents. Therefore, war is the inspiring theme of this album, the coldest, most chaotic, and cynical war that Algy Ward (vocals and bass) and associates have always loved to address/denounce in their albums, which is why they have been a notable source of lyrical/musical inspiration even for the extreme Heavy Metal bands that began to surface during that period (Sodom above all).

"Honour And Blood" was released in 1984, a year in which the NWOBHM had already reached its highest artistic levels and in general, the historical Heavy Metal scene was beginning to compete with faster and more extreme subgenres, such as Speed and the newly born Thrash Metal.

I consider the album as the band's definitive maturation, a more than valid proof that could entirely challenge the belief of many that Tank is essentially a spitting image of Motorhead. Nothing could be more false when listening to this record, in which certainly the influence of Lemmy and company still partially persists, but the lineup renewal has also affected the sound: from a power trio they were (Filth Hounds Of Hades and Power Of The Hunter) they changed into the classic four-piece lineup (an event that already occurred in the previous album This Means War) following the departure of the historic brothers Mark Brabbs (drums) and Peter Brabbs (guitar) in favor of Graeme "Crash" Crallan (also a "drummer") and Cliff Evans (also a "guitarist"). The change has thus contributed to strengthening, as well as enriching the sound of Tank, making it even more Heavy Metal than it already was before.

The original tracklist includes seven tracks (the CD reissue also includes the eighth The Man That Never Was). The overall quality level is practically high and seems to exclude those sudden drops characteristic of many albums: the classic situation in which after notable tracks, a series of filler arrives. We are faced, more than anything, with an alternation of very good tracks (the cover Chain Of Fools by Aretha Franklin, When All Hell Freezes Over, Too Tired To
Wait For Love) and truly excellent tracks (the remaining four, which I intend to analyze). It's up to The War Drags Ever On to open the dances: a dark synth intro and then it starts with deadly and "warm" riffs, combined with pounding drums and an Algy Ward in great shape. The war has begun! In the theme, reference is made to Islamic terrorism and the danger of fundamentalist and insurgent groups linked to Jihad, ready to do anything to impose Islam as the foundation of the State, opposing the influence of predominantly liberal and individualistic, as well as corrupt, U.S. governments. Majestic, imposing, aggressive, and dramatic at the same time is the Title Track, the second battle hymn. Here the Tank show off absolutely remarkable compositional and creative maturity and prove how their sound has decidedly evolved and "sharpened". The initial riff (and the Chorus) is ingenious, in its simplicity it's icy and cold as steel. I would see it well inserted in the finale of Dr. Strangelove by Stanley Kubrick, in the famous montage of various consecutive scenes showing the explosion of nuclear bombs and H-bombs. But perhaps the peak of the track is reached with the solo, in my opinion, the best ever composed by Tank, an authentic proof of mastery. Instead, we move to "sentimental" shores with the wonderful W.M.L.A. (acronym for Wasting My Life Away); anything but a romantic ballad, on the contrary, the intro is so rough and "fiery" it might make even the Motorhead shiver. And unlike the rest of the tracks, in which all four musicians unquestionably stand out, here, in my opinion, Algy Ward absolutely gives his best, with his raspy and very warm voice.

And just when it seemed that nothing more was needed to define this record a masterpiece, here comes the concluding track Kill to answer the call. And it's right here, gentlemen, that the absolute peak of the entire work is reached: Eight minutes of pure and "chromed" Heavy Metal as the old school orders and commands, with an apparently violent text in which a sense of denunciation and horror is implicitly hidden. It's absolutely disarming that the main riff, practically elementary, manages to be so impactful and devastating; we're talking about street Power chords of Priest/Saxon lineage, so "sharpened" they take your breath away. The chorus then, absolutely epic and battle-like, manages to send shivers down my spine every time.

"Honour And Blood" is the best album by the band, along with the very important "Filth Hounds Of Hades" (born in the peak era of NWOBHM) and represents, in my opinion, one of the stylistic peaks of classic Heavy Metal in general, so, if you adore the purest and vintage Metal, you would make a mistake in avoiding listening to it.

Regards.