siLLy puPPy While the New Wave of British Heavy Metal (NWOBHM) was gaining steam in jolly ole England in the 70s with bands like Judas Priest and Saxon gestating the stylistic approach into the behemoth musical style that would overtake the metal saturated 80s, similar bands existed elsewhere whether it be Germany’s Scorpions cranking out similarly minded heavy rock tunes or even Argentina’s Pappo’s Blues however there was a huge scene in the USA as well with bands like Riot, Alkana and Bang in the forefront of more metal infused hard rock. Add to that list another legendary act, namely CIRITH UNGOL which formed in 1971 in Ventura, CA and was well known for its fantasy based lyrics and power metal leanings long before its 1981 debut FROST AND FIRE.

While this band was in the same league as the early pioneers of the NWOBHM such as Iron Maiden, Angel Witch and Def Leppard, given the exclusionary premises of the ill-fated descriptor, such American based bands have been since been fitted with the tag of early US power metal which isn’t without its merits but hardly adequate. The decade of music that spanned from the band’s formation in 1971 and its debut a decade later is perhaps one of the most dynamic ten years in all of music history. The band started with the lineup of Greg Lindstrom (guitars, synthesizers), Robert Garven (drums), Jerry Fogle (guitars) and Pat Galligan (bass) as Titanic with an interest in playing hard rock that was similar to Mountain and Grand Funk Railroad and after changing their name to CIRITH UNGOL which refers to the mythical tower in the Tolkien universe. For this debut the lineup was Greg Lindstrom (guitars, synthesizers), Robert Garven (drums), Jerry Fogle (guitars) and Michael Vujea (bass) and Tim Baker on vocals.

FROST AND FIRE was hardly regarded as a classic at the time of release and although the album cover art by Michael Whelan suggests a connection to the rather mediocre animated flick “Heavy Metal” which came out the very same year of 1981, CIRITH UNGOL’s album is much more interesting than the lame soundtrack that supported that rather ho hum film. This debut album is sort of an anomaly in the CIRITH UNGOL canon as it’s more rooted in traditional heavy metal than the following albums that are slower that adopt many characteristics of doom metal. This one is much more diverse but generally speaking employs faster tempos and is much easier to latch onto upon a single listen. The opening title track is the perfect example as it implements a catchy rhythmic groove, guitar riff and captures the spirit of the early NWOBHM scene perfectly. Augmented by the rather idiosyncratic vocal style of Tim Baker, CIRITH UNGOL immediately stands out as an act that is utterly existing in its own paradigm and yet it was not only influenced by the past but provided a lot of inspiration for the bands to come.

While based in the as expected sword and sorcery fantasy world of early metal that was the norm, FROST AND FIRE exceeds in its ability to take heavy metal into unexpected terrain. Added to Baker’s idiosyncratic stylistic approach as vox box in chief, the album just plain rocks with seven disparate tracks that all partake in implanting a different approach. While the title tracks bursts onto the scene with a brash bravado, “I’m Alive” is a bit reserved but a careful analysis will reveal a close connection musically speaking to Iron Maiden’s “Revelations” on the “Piece Of Mind” album revealing how the mighty Maiden had its ears pricked far and wide to capture the sonic displays from afar. “A Little Fire” on the other hand finds CIRITH UNGOL as the borrowers of past ideas as it really does evoke a bit of Jimi Hendrix’s classic “Fire” albeit teased out into contemporary sonic regalia. “What Does It Take” may catch some flack for the cheesy synth sounds and slap bass effects that makes it sound like a new wave hit on MTV but personally i love this track as it adds a bit of contrast to the business as usual. Despite sounding as if it could’ve emerged as a harder edged song by The Cure, despite the synth-laced atmospheres delivers all the metal creds in abundance.

“Edge Of A Knife” displays a rather proto-metal sound that seems like it emerged from the band’s earliest days but offers a chorus that sounds an awful lot like Judas Priest’s “Breaking The Law” so it goes without saying that CIRITH UNGOL was a fan of the NWOBHM even if they as a band emerged before its official inauguration into the world of heavy metal. “Better Off Dead” starts off with a drumbeat that ushers in a funky bass groove way before funk metal was a “thing” but also seems to add a few parts that Cinderella took liberties in borrowing on their single “Somebody Save Me.” Just check out the “Shot o’ gasoline” part of Cinderella’s single. The album ends with the very unique sounding instrumental “Maybe That’s Why” which sounds somewhat like as Lynyrd Skynyrd song progression at first but then engages in a unique guitar stum-athon with bluesy licks and despite sounding out of sync with the rest of the album displays the band’s interest in varying styles of musical format. Pretty cool if you ask me.

For some reason, CIRITH UNGOL’s debut album FROST AND FIRE gets panned a lot for not being on the same league of the more focused “King Of The Dead” and “One Foot In Hell” but i guess i’m in the minority in actually liking the different styles on display on FROST AND FIRE which display a band in a free-for-all modus operandi of just doing whatever the fuck these band members want to! Granted a lack of focus can diminish from an experience but nothing on FROST IN FIRE does just that. Everything on this debut is kept within a certain parameter of focus but yet allows a bit of creative mojo to ooze out from the big bang of creative explosive music magic. For that i love this debut by CIRITH UNGOL and all i can say is that the naysayers probably have never heard this album (in remastered form of course) on a ridiculously expensive stereo system on a road trip. OMG! After experiencing this album in a much more intimate setting, i TOTALLY upped my appreciation. Just sayin! Classic classic classic!!!! BTW the eighth track “Cirith Ungol” on many releases is a BONUS track on reissues. Nice but from the doomier side of the band’s sound beginning with the next album.

Warthur The band themselves have often explained why this album sounds so different from the doomier and more complex material on their subsequent discs; hoping to attain some level of commercial success and widespread popularity, they deliberately picked out the songs from their repertoire that they believed had the most commercial appeal for this first release. When it didn't get any radio airplay, they swore off this approach for the subsequent albums, and the rest is history.

As a result, this release is rather compromised from the beginning, and certainly doesn't give a sense of the classic Cirith Ungol sound, though the closing track Maybe That's Why does hint at it. What we get this time around is a brief slice of doomy hard rock, with garage rock production values, sludgy bass from Greg Lindstrom, classic rock-styled soloing from lead guitarist Jerry Fogle, and songs mainly focusing on the time-honoured subjects of making love and rocking out.

What makes the record distinctive - and the closest link to the more characteristic sound of the subsequent discs - is lead singer Tim Baker's firey performance. His tortured wails, reminiscent of Geddy Lee with his hand in a vice or Rob Halford after a sharp kick in the nuts, add a wild-eyed and manic edge to the material which a more sober and serious delivery wouldn't have, catchy tracks such as Edge of a Knife proving to be a particularly good showcase for his vocal gymnastics.

On balance, I'd say this is one for hardened Cirith Ungol fans only - it's hard to see the crucial role they'd play in the evolution of doom metal on this album which is so compromised by their mercenary approach to choosing songs. Still, as hard rock-influenced metal showing the influence of Judas Priest and early Sabbath goes, it's not that bad at all.