Broken Bones Reviews
Broken Bones Reviews
Metal Forces Magazine December 1989
Written By Mike Exley
“Finally, Broken Bones have matured, but unlike bands before them (Discharge, English Dogs) I think that people will be able to accept this new Bones. The strength of this album though is not only in the good production of the musicianship, evident straight away, but also in it’s consistency. A powerful rhythm, some excellent drumming and guitar, and a powerful vocalist make the chemistry of the album both mature and varied. There’s the power and the rhythm of the Circle Jerks on some tracks, but then the band cloud the definition by throwing in a thrash track like “Maniac,” or “Mercy,” which shows the guitar style of Bones in a totally different league from the, rocky vaguely crossover, feel of “Jump.”
The guy has come on in leaps and bounds from the days of “Never Say Die” in my opinion and although a wah-wah peddle is a vital part of the album, his guitar work always maintains some stunning vitality. A gritty production makes even the lighter songs stand out.
Blasting off with “Killing Fields,” and the manic drum track, “Nowhere To Run,” Broken Bones may be accused of becoming a thrash band in their old age, but to me they seem to be standing astride all of the divisions, sampling a little from each style and blending their H/C and metal influences with their own definitive 70’s punk ethos of the metal alternative. Not quite a hardcore band, the Bones still manage to convey the ideas and lyrics but they’re not just simply putting their spikey tops into hardcore, they’ve genuinely lifted ideas out and used it in their own style. Closer to a Circle Jerks or a Gang Green than rivals GBH, they could well be putting out this album at the right time because the UK needs bands prepared to have a go. If this is a come back then it proves one thing- punk may be dead but it’s musicians can and have progressed. No bias must go against them.”
Metal Hammer Magazine October 30-November 11 1989
Written By James Sherry
“It’s been quite a while since Bones and his chums got funky in the studio together, and this, the result of their latest visit to the studio has a fair amount of surprises etched in it’s grooves.
Not quite the phlegm spitting, smash-the-state stuff I expecting. More a Metal-Punk crossover, crammed full with some pretty juicy Metal riffs.
Yes, Broken Bones have successfully crossed the rocky Punk bridge and arrived safely at the other end, entering the world of Metal.
Although their basic sound has changed, they’ve still managed to keep all the important ingredients that made their debut Dem Bones, a bit of a ground breaker. Having mastered their instruments a little more, they’ve been able to create a much more full sound, almost 100 per cent progression here!
In their absence from the music world, they’ve found their direction and are now heading towards it, drums and guitars going like the clappers, but never sounding too fast or messy or just resorting to a blur.
Being one of the first Punk bands to use Metal riffs, Broken Bones prove to be a great influence upon such mega bands as VoiVod, Anthrax, Metallica ect. But while Broken Bones were away on holiday, The Punk-Hardcore-Metal scene has taken many changes and the Bones boys may come across as being a bit dated to the kids of today, but then again this might by the LP that puts them back on the map, just have to wait and see.”
Kerrang! Magazine October 21 1989
Written By Paul Miller
“Heavy Metal Records is an apt label for Broken Bones in 1989. For a band flushed from the decaying corpse of Discharge- perhaps the most influential of the post-Pistols Punk boom- “Losing Control” is a Heavy Metal record through to it’s studded wristband and chromium plated bullet belt.
Indeed, Broken Bones ’89 bear little resemblance to any Broken Bones I know. Only guitarist Bones himself remains from the band that recorded the “Trader In Death” EP two years ago, the broom that swept Bones into the new record deal as well as sweeping the old hands out the door.
But “Losing Control,” their third full album, is actually a strong release. More consistent than “Trader…” (although there’s nowt to match the fire of “Stabbed In The Back,” or the ferociousness of “Money,” “Pleasure & Pain”), it’s dozen tracks repeatedly run the gauntlet from Thrash to more standard Metal. And on “Jump,” Broken Bones’ Metal-morphosis from snotty-nosed Punks to banana-crotched Metal Men is complete.
Some cuts- “Mercy” or “Losing Control” itself- sound more traditional but, the short, sharp Punk phrasing of new vocalist Quiv and the relative brevity of the actual songs aside, there’s little else to connect this Broken Bones with the death-rant of yore. And with Bones’ increasing emphasis on guitar in general and solos in particular, that’s not about to change a whole bunch.
Broken Bones’ days of influencing are obviously over and, to be honest, if they folded tomorrow few would notice. But “Losing Control”, whilst never being a record that burns too furiously, certainly does the “legend” of Bones little harm.”
Apple Crumble Fanzine #2 Date Unknown
Written By Russell Foulger
“This is Broken Bones’ third vinyl release and is quite an achievement for any band. Broken Bones is formed of ex-Discharge member Bones (lead guitar), Quir (vocals), DL Harris (bass) and Cliff (drums. As this is a hardcore/crossover band you’re maybe thinking- O.K. Where’s the rhythm guitarist, to which there is no need, can be my only answer. Bones’ brilliant guitar work would rather not help a rhythm guitarist’s cause (that’s pissed on your firework, oh doubters among you.)
The album is a classic and worth the six years of work since the band was formed. May I offer my humble congratulations to Bones and the band.”
Polygon Magazine November 1989
Written By Sarah Trim
“The band that inspired all the U.S. thrash bands of today. Don’t be put off by the name, most punk/thrash bands are extremely right on.
To all those people who are familiar with the old Broken Bones, forget it, this is a new band, still as good but completely different!
The music is straight forward, hard and brutal just like it’s subject matter. If you want to be closeted from life and it’s harsh realities then don’t go out and get this album.
However, all in all it’s damn good with some really good packaging which should make it stand out in record shops. If you like U.S. thrash then check out the U.K. originals and buy this album.”
RELIGION IS RESPONSIBLE
Metal Forces Magazine Date Unknown
Written By Mike Exley
“There was quite a lot promised for this EP, and I must say I’m a little disappointed with the result, not because it’s poor because it certainly isn’t, but because it only has two new tracks. The two tracks are really good, showing the way forward that Broken Bones are persuing, but it’s too short and doesn’t have an enlightening B-Side, “Brain Dead” and “Last Breath” making up the numbers.
Let’s look at side one though because that’s clearly the most important. Opening track and title has a superb solo to start but then the combined power of Bones line-up takes over and it’s a winning formula of good vocals, powerful bass and excellent guitar all the way in a strong rock vein that will please many punters looking for continued to development in the Bones camp.
Track two, “The Madness,” then comes across as a good balance with a punk feel to it on the drum track and another superb guitar break from Bones and it certainly leaves a good taste in the throat. Not a fantastic release and definitely more of a stop gap, but still a nice touch.”
RELIGION IS RESPONSIBLE
Brum Beat Magazine August 1990
Written By Mr.D
“Refreshing new product from the re-vamped version of an established hardcore act. Distinctive, clean production allows the boys to shine. This music sounds modern by virtue of it’s roots rather than plagiarism. There’s a video shot at the Marquee for “Brain Dead,” so obviously the record company is giving them necessary support.
Outstanding guitar work, particularly on the title track, plus unfashionable bass and drum sounds, sets this apart from mainstream metal. Could this be the old story of success in the U.S.A. and/or Europe and not at home? I sincerely hope not.”
RELIGION IS RESPONSIBLE
RAW Magazine August 8-August 22 1990
Written By Dave Ling
“In which the Brits slow down their usual Hardcore hyperactivity to a bass-dominated Metallica-style dawdle. Astonishingly, the change of pace suits the quartet, though “The Madness,” sees them gradually accelerate more into familiar territory, and the live version of “Last Breath” is fast and heavy enough to repudiate any accusations of wimpdom.”
TRADER IN DEATH
Metal Hammer Magazine July 2-July 15 1990
Written By Drunk ‘N’ Disorderly
“This is described on the biog as the band’s “classic first mini LP,” but we were under the impression that nothing the Bones had recorded was classic and they were at best an average band. Surprisingly, the band kicks off with an acoustic intro, soon put to a stop by a broad Scottish voice denouncing the use of such wimpy instruments. So from then on it’s punky, spunky hard-core from opener “Money, Pleasure And Pain,” til the closing “Blue Life.” They fuse punk protest lyrics with crossover riffs making all the songs very head-bang-able! Nor are they short of a catchy chorus or two, as on “Stabbed In The Back,” and “Crack Attack.” As for it’s worth today, we’re unsure, with metal and hard-core having progressed in pogos and bounds, utilizing a wider variety of styles and reaching new plateaus of sound. This seems dated, but is a worthy reminder of how it all started.”
TRADER IN DEATH
Kerrang! Magazine July 14 1990
“Trader In Death” is a re-released mini-album, but it was apparently only briefly available in it’s original form and is now on a different label, so worth a mention.
Opening with some plinky-plinky guitar, they nearly had me fooled for a moment until someone in the studio grabs the offending instrument shouting, “Gimme that” I’ve told you before we don’t want none of that acoustic crap on the album!” And not before time too, some might say.
From there on this 1987 recording gives you exactly what you’d expect from the original line-up of an immense Hardcore band. Ex-Discharge axeman Bones provides the manic string bashing, while much missed frontman/thing Nobby hollers and bawls. Sources suggest they are finally getting close to this brilliance with the new line-up. I suppose anything’s possible.”