They were branded the “new Led Zeppelin”, worshipped by Metallica, and have since gone on to become cult metal legends. They are Diamond Head, and while they certainly weren’t the biggest band of the NWOBHM scene (having been outsold by the likes of Iron Maiden, Def Leppard, and Saxon), they arguably embody the spirit of the era better than no other. What do you think of when you think NWOBHM? Meat and potato guitar riffs turned to 11? Young faces curtained by long messy hair? Shining leather and ripped denim? In the case of Diamond Head, it’s check, check, and check. If this preamble doesn’t persuade you, these 10 songs most certainly will. Without further ado, here are our Top 10 Diamond Head Songs.
10. “It’s Electric” (Lightning to the Nations, 1980)
Kicking off our list at #10, a song that’s as rough and ready as NWOBHM ragers get, “It’s Electric”. Both musically and lyrically, this classic embodies the boisterous, youthful spirit of the NWOBHM scene, almost coming off in delivery as the bastard spawn of Deep Purple’s “Speed King”. Whether you’re tearing up the highway or pregaming for a wild night on the town, “It’s Electric” is a perfect metal song to get your blood pumping and head banging. As the title explicitly proclaims, “It’s Electric” is indeed electric, from its air guitar-friendly riffs and face-melting solo to its thumping rhythm section and “Paul Rodgers on speed” vocals of Sean Harris. No unplugged tomfoolery here!
9. “Borrowed Time” (Borrowed Time, 1982)
While many point fingers at Def Leppard for betraying the “true” spirit of the NWOBHM with Pyromania, the fact of the matter is the changing of the guard began in ’82. Tygers of Pan Tang’s infamous The Cage was a blatant departure from their heavy metal roots, opting for a commercialized AOR sound. While Borrowed Time, Diamond Head’s much-anticipated follow up to Lightning to the Nations isn’t as blatantly streamlined, it certainly is a step in that direction. The title cut is melodic, progressive, and atmospheric in the vein of similarly natured acts of the era like Demon and Magnum, showcasing a dramatically different side of Diamond Head. Different, yes, but equally as great as the DH we all know and love.
8. “Sweet and Innocent” (Lightning to the Nations, 1980)
If you needed a reminder that Diamond Head were a band with roots in the ’70s, both musically speaking and in terms of proper formation (1976, to be exact), look no further than “Sweet and Innocent”. The boogie metal riffs, swinging rhythms, and harmonious chorus are closer to Harder…Faster era April Wine than Metallica and Slayer in their infancy, but what this song lacks in extremity, it makes up for in catchiness. Founding guitarist Brian Tatler harmonizes with himself in Thin Lizzy fashion for the solo, while the rest of the band maintains a smooth and steady swagger throughout. One could only imagine what this song was capable of if marketed properly to the American market.
7. “Sucking My Love” (Lightning to the Nations, 1980)
The progressive ambitions of “Borrowed Time” shouldn’t be too surprising when looking back upon “Sucking My Love” off Lightning. Sure, it isn’t a sprawling suite in the vein of Yes or Genesis, but any song that goes on for 9 and a half minutes has to boast some sort of prog credibility, right? The closest comparison one can make with this banger is mid ’70s Judas Priest in terms of attack and delivery. The song is carried by those aforementioned signature “meat and potato” riffs and hard-nosed driving beats, when all of a sudden, roughly halfway through, the “trip” kicks in. A spacey, atmospheric mid section gives us a palette cleanse, showcasing Tatler’s fancy leads, before the chaos builds up again and we’re taken back to where we started. Can you say, “Looovveee!”?
6. “Lightning to the Nations” (Lightning to the Nations, 1980)
As much as I love “It’s Electric”, “Lightning to the Nations” executes the no-frills NWOBHM attack even stronger, making for the perfect title track of this 1980 masterpiece. This song has it all: Eerie Angel Witch-isms, proto-thrash aggression, and a bouncing, sing-along chorus to bring it all together. Again, Tatler harmonizes with himself, as if to show off to the listener that unlike Maiden, Leppard, Saxon, and virtually every other NWOBHM act, he can pull off the Thin Lizzy-isms just fine on his own. The rest of the band fires on all cylinders as well, their youthful energy ripping through our speakers nearly 50 years after the fact.
5. “Streets of Gold” (“Sweet and Innocent”, 1980)
When you hear metal historians talk about Diamond Head being a band who were ahead of their time, this is one song that encapsulates why. While the particular version of “Streets of Gold” on this here list was released in 1980 as the B-side of the “Sweet & Innocent” single, the song itself was first released in 1977 on the band’s debut demo. Think about that for a second. You’ve got a song that’s, essentially, a full blown early ’80s speedster, with roots going back to the days when English metal was looking rather bleak. One forgets what dark days it was in between that initial explosion of Sabbath, Zeppelin, Purple, Heep, Budgie, etc. and the NWOBHM, but we’ll save that for another editorial. For any other band, “Streets of Gold” would be #1 with a bullet, but this is the mighty Diamond Head we’re talking about.
4. “In the Heat of the Night” (Borrowed Time, 1982)
Much like “Sweet and Innocent”, “In the Heat of the Night” is another coulda, woulda, shoulda been hit. Though not nearly as prim and polished as the American AOR sound that was simultaneously reinventing itself for the new decade, one could easily mistake the leadoff to DH’s major label debut for one of the heavier moments in the Journey or Foreigner canon, especially with its lush atmosphere and hypnotic melodies. Is it a sellout record? Maybe so, but you’d have to be deaf, stupid, in denial, or a combination of the three to deny the brilliance of this track. It’s the one song in the DH catalog that everyone, from headbangers to pop music NPCs, can universally agree on, and for good reason.
3. “The Prince” (Lightning to the Nations, 1980)
Although Diamond Head weren’t as explicitly speedy as Raven, Tank, Venom, and other velocity-crazed maniacs of their era, when they did tap that vein, they sure could hang with the best of the bunch. Exhibit A: “The Prince”. One listen to this neck-snapper and it’s no wonder every pimple-faced, bullet-belted delinquent in the Bay Area took note, namely ones with surnames such as Mustaine, Hetfield, and so forth. For 1980, “The Prince” veers pretty damn close to early thrash territory with its rapid fire riffing and smashing drums, and although there isn’t a proper breakdown, that little boogie segue certainly acts as such for NWOBHM standards. Crank it up and rage!
2. “Helpless” (Lightning to the Nations, 1980)
I’m sure I’ve told this story before, but I’m gonna tell it again anyways. Back when I was in 7th grade, our English teacher assigned us to do a grammatical analysis of a song of our choice. Considering this would’ve been 2012, most of my classmates went for the usual fare of Katy Perry, Justin Bieber, and so forth. Of course, I had to be the edgy kid who went with Diamond Head’s “Helpless”. Not only was I absolutely obsessed with this song, but I wanted to wallop my class with 7 minutes of nonstop, high speed, premium English metal mania. It paid off, because I got an A. If I can ever unearth that Prezi (Any fellow elder gen Z-ers remember that?), I’ll post it here. Until then, we present to you our #1…
- “Am I Evil?” (Lightning to the Nations, 1980)
Yes, you’ve heard it a million times. Yes, at this point, it’s as standard as “Paranoid”, “Run to the Hills”, or “Breaking the Law”, but for good reason. “Am I Evil?” is not only the strongest moment in Diamond Head’s catalog, but one of the most perfectly constructed metal songs ever. The bombastic intro, a nod to Holst’s “Mars, the Bringer of War”, serves as an epic buildup before Tatler hits us over the noggin with that iconic riff. You can hear it already. Couple that with Harris’ signature vocals, an absolutely wicked lyric, and an English spin on an Eddie Van Halen lead, and you’ve got a masterpiece and a half. Metallica agreed, covering the song for their 1984 “Creeping Death” single, and subsequently paying DH’s bills ever since. Talk about the ultimate homage! Are they evil? Yes they are! Hail Diamond Head!
Leave a Reply