There are few albums in metal history as iconic as Diamond Head’s Lightning to the Nations. What started as a humble DIY effort, limited to only 1,000 copies among the band member’s closest friends and family members, soon became a cultural phenomenon. Today, it is widely regarded as one of the greatest and most important albums of the NWOBHM era, as well as a key influence on the American thrash metal scene, specifically Metallica. A week shy of a massive reissue and remaster of the album, featuring original mixes that were believed to be lost, we sat down with founding Diamond Head guitarist Brian Tatler to discuss all things Lightning to the Nations.
Greetings Brian and welcome to Defenders of the Faith! How are you doing today?
Brian Tatler: I’m well Joe! Thanks for having me.
Thank you for taking the time! Funny enough, this is not the first time we’ve met.
BT: Oh?
It was quite a while back, about 5 and a half years ago. I was a high schooler and Diamond Head was playing alongside Armored Saint at Reggies in Chicago for the inaugural Legions of Metal Festival.
BT: Yeah, I remember that! It was great!
It sure was, and it was at that festival that you played most of, if not all of, the album we’re going to be discussing today, Lightning to the Nations. For the first time ever, this legendary release is being reissued with a handful of lost mixes from 1980. What led to the rediscovery of these tapes?
BT: That came about because there’s a studio in Milton Keynes where we recorded a couple of the albums at. The guy, who’s always been a big supporter of Diamond Head, phoned me and said, “There’s been a flood in the cellar. Your tapes are alright, but come and get them because this might happen again and I don’t want them damaged.” So that’s what I did. I drove down about 8 years ago and got lots of these two inch tapes with all the master tapes and Death and Progress (1993) and Evil Live (1994). I put them all in my car. I brought them all here and I got them safe.
Amongst these tapes were some quarter inch tapes with “Diamond Head” written on them. I didn’t know what they were, so I kept them. Over lockdown, I dug them out and thought, “I wonder what’s on these tapes? I should probably try and find out because there might be something really good.” I got them transferred to digital and it turned out that they were tapes that were probably run off at the time, when we were making the record. They’re mono, but there’s slightly different things on them. There’s a couple of things here and there with mixing, or there’s different vocals, or there’s a different bit of lead guitar.
When the opportunity came up to do this version of the album, the remastered version…with Lightning to the Nations, the contract ran out in 2021. You have to do a 10 year licensing deal. When it ran out, Silver Lining said, “We’d like to do the album.” and I had this bonus material under my sleeve, ready to go. That’s how that came about *laughs*.
While the remaster sounds tremendous, the bonus material introduces a whole new side of these classic songs. I’d almost say they have a more raw or primal feel to them.
BT: Yeah, they are pretty raw. I have no memory of making these tapes. I don’t know who did them or why they were done. They were possibly done for the manager. They were possibly done for this guy Pete Winkelman who was involved with the band in the 80s, but I’ve ended up with them. It’s great to be able to let the fans hear these tapes now after all this time. It’s a miracle they’ve survived all these years. I didn’t even know they existed. I have no memory of them at all *laughs*.
I read through various interviews that the band faced some managerial and recording roadblocks leading up to the release of Lightning. Do you think that had things gone differently, the album would’ve been released even earlier than 1980?
BT: No, because we recorded it in March of 1980. I think it came out in May of 1980. We did our first single in December, 1979. That was the first time we ever went into a proper 24 track studio to make a record. We did that in one day, “Shoot Out the Lights” and a short version of “Helpless” on the B side. Then it was proposed we make a whole album in the same studio. We had a week to do that, so this was recorded and mixed in a week. We were really young, like 19, 20 years old. We couldn’t have done it any sooner. We only got it together in time for then really.
All of the songs on Lightning were written by yourself and singer Sean Harris. What was your songwriting process like? Would you come up with a riff or he a lyric? How did that work?
BT: It was sort of like that except when Sean first came onboard, he couldn’t really play the guitar. We were 16 when we started, so it was myself and the drummer, Duncan (Scott). Then Sean joined the band and I remember showing him some chords on the guitar, but he picked it up quite quickly. Then he got a guitar. After a while, he started coming up with guitar riffs as well. Between us, we had a really good work pattern where very often I’d come up with a riff and he’d come up with a lyric, but he was very quick coming up with ideas. I’d very often play something and within a minute, he’d start jamming over the top of it. He’d start throwing out lyrics and ideas and tunes.
I thought that was out it worked, but years later when I’d work with other singers, I realized that Sean was just really quick at it, really talented. A lot of singers need time to think about the track and come up with the lyric and make changes. You may not even hear the finished vocal until you go into the studio to make the record, whereas Sean would come up with ideas on the spot so we could record them on cassette quickly. Then we could either think, “Yeah, that’s great!” or we’d move on. So we wrote a lot of songs. From between ’76 to when we made this album, I’ve often said that I think we wrote about 100 songs. The 7 songs on Lightning to the Nations were the best we had and the ones that we thought were right to go on the album.
They sure were right because there’s not a dull moment on Lightning. I know you’ll appreciate this next story. Back when I was in 7th grade, our English teacher assigned a project where we had to do a lyrical analysis of a song. I remember all the kids picking songs from Katy Perry and Justin Bieber and so on. The rule was the song couldn’t be more than 7 minutes, so I chose my all time favorite Diamond Head song, “Helpless”, because it was 6 minutes and 53 seconds.
BT: *laughs* That’s great!
As a listener, this song so perfectly captures the energy of the New Wave of British Heavy Metal and its accompanying live show. Do you remember the first time the band ran through this one live?
BT: No, I can’t. It was so long ago. I have no idea. We would’ve written that song in 1979 and I do remember it was two parts. We had the first part, the F# riff, and then we had that middle section which was another song altogether called “Come Again”. At some point, one of us, Sean or myself, suggested we put them together and make it into one long song. So rather than it being two 3 minute songs, it became one 6 minute song. They just fit perfectly. I invented that little bit that moves up the fretboard. That became our link between the first section and the second section.
They were definitely two songs stuck together, but I cannot remember playing it live for the first time. I don’t really remember playing any of them live for the first time. You just try it out and hope it works. Some songs would get thrown by the wayside. We’d realize it didn’t work or maybe the crowd didn’t like it. Then that’d be gone, but others you’d think, “Yeah, that’d be great! That works really well.” And they’d stay in the set.
Of course, we can’t talk about Lightning without talking about the iconic “Am I Evil?”. What came first with this song, the riff or the lyrics?
BT: It’s always the riff. Sean would put lyrics to the riff. I came up with the main riff. That was the first thing. I recorded it onto a cassette player. I remember Sean and Colin (Kimberly) coming around. Say I’d come up with half a dozen riffs that day. I’d play them the riffs and they’d go, “That’s the one! That’s good. Let’s do that.” So we’d have that first bit. At some point, we added on the fast section, the intro, the outro, the guitar solo. It built and built over a period of about 12 months, so it wasn’t actually finished until we made the record.
During the tapping bit of the solo, we figured out the keys underneath where it goes F, A#, F#, B. We did that in the studio, so it felt like it evolved about 12 months until it was spot on. Sean would forever change his lyrics. He was constantly making up new lyrics and adjusting, taking a word out here and adding a different verse there. Sometimes you’d have a different lyric. You’d do a gig and the lyric would be different, but it was just him experimenting, trying to perfect it I suppose.
It also occurred to me that back in those days, the big thing in metal was the twin guitars: Maiden, Saxon, and so on. You guys stood out with just you on guitar, which I almost feel was a throwback to Zeppelin and Purple and the other early 70s metal bands. Do you think that gave the band an extra edge?
BT: It wasn’t intentional to give the band an extra edge. We were probably following certain bands that only had one guitar like Black Sabbath, Led Zeppelin, Deep Purple. The idea of two guitars never really appealed to any of us. Sean could play guitar a little bit, so he used to play the intro to “Am I Evil?” and then he’d put the guitar down. He’d also play “Play It Loud” and “In the Heat of the Night”, but normally it was just me. Of course Van Halen was just one guitar, so I probably arrogantly thought, “I’ll be alright. I can manage.” If Van Halen could manage with one guitar, I could as well *laughs*! We ended up with two guitars, and I think a lot of bands so better for it, but I think we just liked the raw drums, bass, guitar, vocal live.
It wasn’t until last year when I spoke to Rick Allen of Def Leppard that it sunk into me just how pivotal Van Halen was to the New Wave of British Heavy Metal. Did you ever see them live or cross paths back then?
BT: Yes. I got the first album when it came out in ’78. Gamechanger, incredible. Then I saw them opening for Black Sabbath in 1978 on that tour. I was just a fan from then onwards. Eddie was an amazing lead player, but his rhythm playing…it always shocked me that he was able to play such incredible rhythm parts and throw licks in and make it sound like it was fun! I couldn’t do that. I’d have to carefully record a rhythm track, then do a solo. The way Van Halen did it, it just felt like so much fun. I just couldn’t believe the technique of some of those riffs. They’re so difficult to play, but I love Eddie’s style.
Same here. Those classic albums are absolutely killer.
BT: Just incredible.
Not only does this reissue feature Lightning to the Nations and its accompanying lost mixes, but the Diamond Lights EP as well. How soon after Lightning did the band get to work on these songs. Were there any intended for Lightning that were held for this release?
BT: No, we would’ve written the songs for Diamond Lights afterwards. We already had extra songs. As I said, we had about 100 songs. We definitely had “Dead Reckoning”, “To Heaven from Hell”, “Wild on the Streets”, and a few others. Those came out on later albums, but we went straight back to writing and we wrote “Diamond Lights”, “We Won’t Be Back”, and “I Don’t Got” in 1981. Somebody, possibly the manager, suggested, “Why don’t we do an EP? Do 1,000 copies, sell it on tour, and it’ll help pay for the lighting and all that.” We quickly recorded that EP in about 3 days I think and got it pressed up for the tour.
Leading up to Lightning’s release, Diamond Head landed a high profile support slot for AC/DC. What was that experience like? Was Bon Scott still fronting the band?
BT: Yes, they were the last 2 gigs Bon Scott ever did with AC/DC, January of 1980. Apparently after that, they did a video in France. Then he died February 19. We got to meet Bon and the rest of them which was incredible because we were all huge fans. We absolutely loved AC/DC. I went to see them on the Let There Be Rock Tour with Duncan. Then we went to see them on Powerage, and then Highway to Hell when Def Leppard were opening. We were offered these 2 extra gigs that Def Leppard couldn’t do at the Mayfair in Newcastle and the Gaumont in Southampton.
It was incredible for us because they were both sold out. No one was there to see Diamond Head, but we went down really, really well. That gave us such confidence to think, “Wow, if we can go down well in front of an audience who don’t know any of our material, we must have something.” That gave us a real kick in the ass. I think we only got those gigs because their management was checking us out. It was Leber and Krebs. Peter Mensch came into the dressing room and we had about an hour long chat. As it turned out, he didn’t manage Diamond Head, but I think he’d come to check us out. I think certain people in the music press had said Diamond Head are “good” or “one to watch”. So he put us on those 2 dates to have a look at us.
Wasn’t it Sounds who billed Diamond Head as “the next Led Zeppelin”?
BT: Yes *laughs*. Ouch! How do you live up that? The greatest band of all time? Give us a break! I’m only 19 *laughs*!
That must’ve been a wakeup call!
BT: It’s tough to live up to that tag *laughs*!
This year also happens to mark the 40th anniversary of Diamond Head’s second album, Borrowed Time. What are your thoughts on that album in comparison to Lightning? Would the band ever consider doing an expanded reissue of it too?
BT: We don’t own Borrowed Time. It’s still owned by the label, MCA. We signed to MCA and we released Borrowed Time and Canterbury. If MCA wanted to do something with it, then they can, but I’ve heard nothing through the grapevine, so I don’t know if they will. Of course with Lightning to the Nations, we own that album. The management did this deal where we had a week’s studio time in payment for some publishing. So we’re able to release this ourselves, do what we like with it.
Borrowed Time is a completely different kettle of fish. We signed in January of 1982 and it came out in September of ’82. By that time, we were on the label. We had more time in the studio. We had 3 weeks to record that album. We had a producer in Mike Hedges, whereas Lightning we just got in with an engineer, the in-house engineer who did all the bands. A lot more money and time went into Borrowed Time and we had some new songs. We had written “Borrowed Time”, “In the Heat of the Night”, “Don’t You Ever Leave Me”, “Call Me”, and things like that. They were only 2 years apart, but quite different I think.
Yes, two different albums, but two that stand out on their own. If anything, Borrowed Time, and specifically my favorite song on there, “In the Heat of the Night”, is a testament to the band’s creative evolution.
BT: It’s one of my all time favorite Diamond Head songs. We still play it now and it always goes down really well. Even though it’s a slower pace, it’s a winner. It’s a great song. I gotta admit, it’s just got something about it.
I wanted to ask you a bit more broadly on Diamond Head’s role in bridging the gap between 70s and 80s metal. Are you amazed in hindsight that not only is Diamond’s music as vital today as ever, but that you guys were a key influence on so many bands to follow?
BT: Yes, in a word *laughs*. I am amazed. First of all, I was amazed that Metallica covered us. It was very flattering. of course, we knew Lars (Ulrich) as a friend, so to us, it was “Lars’s band” covering “Am I Evil?” as the B-side to an EP on Music for Nations. It didn’t seem that big a deal. It was flattering because they were the first band to cover a Diamond Head song. But when they took off and got bigger and bigger with Master of Puppets, …And Justice for All, Metallica, I followed their career with astonishment at how big they became, the biggest metal band of all time. That was incredible. The legacy that we left grew and grew. It’s very nice to be an influential band, to feel like you’ve left your mark and helped the genre move forward because I’m a huge music fan. I love rock and metal. To be a big part of that movement and to be considered influential is very satisfying to me.
Despite your undeniable legacy, Diamond Head continues to remain a prolific recording and touring act today. Can we expect any new music or tour dates from the band in the near future?
BT: Yeah, we’re touring the UK and Europe with Saxon in October and November. That’s about 33 dates, so we’re looking forward to that. That starts in a couple of weeks time. Then next year, we hope to have a new album out. We’ve already got most of the material. We’ve rehearsed it. We’ve demoed it. We just haven’t got in and done the drums and the rest of it from there. Maybe January would be a good time to do that and hopefully get it out. I think it’ll be great because I’ve had a lot of time to work on the material since the last record (2019’s The Coffin Train). It’ll be really strong.
The remastered and expanded Lightning to the Nations comes out Friday, September 30 on Silver Lining Music. For more information on Diamond Head, visit www.diamondheadofficial.com.