On any given week, I’d be thrilled to revisit and re-examine the lengthy catalog of Nazareth. The Scottish hard rock/heavy metal pioneers have influenced scenes as diverse as the NWOBHM, thrash, and even glam metal. Yet it is with a heavy heart that I dedicate this list to founding Nazareth guitarist/songwriter/producer, Manny Charlton, who passed away unexpectedly last week at the age of 80. Considering the band’s epic output, specifically in the 70s, it’s near impossible to pick 10 songs that best capture the sum of their achievements. However, I believe this list does a respectful job at attempting such, and I’d love to hear your favorite Nazareth songs in the comments below. Without further ado, here are our Top 10 Nazareth Songs. Rest in power Manny.
10. “Silver Dollar Forger (Parts 1 & 2)”
1974 saw Nazareth on the heels of a hot streak. Having released two masterpiece albums a year prior in Razamanaz and Loud ‘n’ Proud, the band kept the ball rolling with their third and final album produced by Deep Purple bassist Roger Glover, Rampant. Despite being an album that seems to have become “lost in time”, Rampant performed as well as its predecessors internationally, even topping the charts in Austria. This was off the strength of cuts like “Shanghai’d in Shanghai”, “Glad When You’re Gone”, and the rollicking opener, “Silver Dollar Forger (Parts 1 & 2)”. The band’s use of chugging riffs and fast tempos would have a massive impact on subsequent metal bands, but I’m sure we’ll be talking about that more in detail as this list goes on.
9. “Expect No Mercy”
By 1977, Nazareth were international superstars. The band exploded onto the American market two years earlier with Hair of the Dog and continued to do what they did best: tour and record relentlessly! While I’ve personally always had a bone to pick with the production on their ninth studio album, Expect No Mercy (I’ve always felt the sound was too subdued), there’s no denying the power of the full metal hymn that is the title track. Charlton dominates with fierce gallop riffs and blistering solos, while Dan McCafferty’s vocals slice like the sword of a bloodthirsty warrior, similar to the one who graces the album’s cover.
8. “No Mean City (Parts 1 & 2)”
Although I can’t find the exact interview stating such, I know for a fact Nazareth (or certain members at least) cringed at the thought of being labelled a “metal band”. That said, there’s no denying this: Nazareth had their fair share of metal moments, and even entire metal records. Take for example 1979’s No Mean City. Everything about this album, from the fantasy artwork of Rodney Matthews to the addition of guitarist Zal Cleminson, which produced a twin axe attack akin to Thin Lizzy and Judas Priest, screamed “metal”. While every song qualifies as a standout, it’s the closing title track, in its unsettling, ominous, streetwise glory that cracks this list.
7. “Sold My Soul”
The hardest part about compiling this list was not making it entirely Hair of the Dog or Razamanaz, my two favorite Nazareth albums. Coming off the latter is “Sold My Soul”. This track balance darkness and light, heaviness and softness with such subtlety and grace. The guitars alternate between pummeling riffage and delicate twin harmonies, while McCafferty cries the chorus with such desperation, we’d actually believe he “sold his soul to the devil”. The way that doomy lead riff carries its way through the outro while bassist Pete Agnew and drummer Darrell Sweet hold down the beat only intensifies this hellish affair.
6. “The Ballad of Hollis Brown”
Nazareth were no strangers to cover songs. Their take on The Everly Brothers’ “Love Hurts” scored them their biggest hit internationally, catapulting them to the Top 10 in the U.S. Meanwhile, their gallop laden spin on Joni Mitchell’s “This Flight Tonight” is credited as inspiring the riffing on Heart’s “Barracuda”. But it’s their nearly 10 minute, monolithic, proto-sludge interpretation of Bob Dylan’s “The Ballad of Hollis Brown” that takes the cake as the be all, end all Nazareth cover. Listen to that trudging tempo and downright demonic guitar tone. Mind you, this was released in 1973, nearly half a century ago. Played on the right stereo, I’m certain this song has the power to level entire cities.
5. “Miss Misery”
While not nearly “slit your wrist” friendly as “The Ballad of Hollis Brown”, the bluesy doom of “Miss Misery” is another excellent example of Nazareth slowing things down for maximum impact. As far as I’m concerned, this skull crusher goes toe to toe with anything Black Sabbath and Budgie had released up until that point. Yet despite its downer atmosphere, “Miss Misery” invites you to bust out your air guitar and scream along to its hooky chorus. Granted, I’m sure most who attempt to sing to this one sound less like McCafferty and more like a dying cat, but you gotta respect the effort!
4. “Telegram”
The mid 70s were a strange time for rock n’ roll. Sandwiched between the arena rock explosion of the early 70s and gaudy disco craze of the late 70s was Queen’s “Bohemian Rhapsody”: An over the top 6 minute artsy hard rock enigma that defied the laws of hitmaking and topped the charts globally. While Nazareth were no strangers to lengthy epics, I can’t help but think “Telegram”, the opening track to Close Enough for Rock ‘n’ Roll (1976) was their answer to “Bohemian Rhapsody”. Everything about this suite is grandiose and bombastic, drawing heavily from the Queen school of “bigger is better”. Nazareth execute the approach with ease on this 8 minute tale of rockstardom. Who knows what they could’ve achieved had they full embraced this pseudo-prog route? That said, the blues and boogie suited them just fine!
3. “Hair of the Dog”
Seldom is a band’s biggest hits among their finest musical offerings. This is one of those rare occasions. Similar to Accept’s “Balls to the Wall” and Blue Öyster Cult’s “Burnin’ for You”, Nazareth’s “Hair of the Dog” is a song that fully deserves its status among classic rock radio’s most overplayed songs. From its bluesy riffing and talkbox solo, to its zealous cowbell and profanity laden chorus (you already know it by heart), “Hair of the Dog” had all the makings of an FM rock anthem. Can we also take a moment to appreciate the double entendre that is “Hair of the Dog”/”Son of a Bitch”? Talk about lyrical brilliance!
2. “Razamanaz”
Behold: The boss battle of boogie rockers. It absolutely blows my mind that “Razamanaz” ISN’T the greatest Nazareth song. It should be! The way it so blatantly metallizes the rawest elements of 50s rock n’ roll, kicking the speed to overload and dirtying up the guitars, would prove groundbreaking in the long run. I’ve also concluded that it is scientifically impossible to not headbang, sing along, and “dance, dance, dance” to. You give it a shot, you “raver who savors the flavor”! I love everything about “Razamanaz”, but not as much as I love…
- “Please Don’t Judas Me”
For those who clicked this article with a knowledge of Nazareth outside their biggest hits, chances are you knew this was gonna be #1. How could it not? “Please Don’t Judas Me” is a sublime masterpiece that showcases a completely different side of these hard rock hellraisers. McCafferty sings his lyrics with unparalleled passion and melancholy. Meanwhile, the acoustic guitars, droning synths, eastern percussion, and choir vocals coalesce in a whirlpool of musical sagacity, evoking emotions seldom experienced since The Beatles’ Abbey Road (1969). Every time I spin Hair of the Dog, after an intense headbanging/drinking session, whenever this one comes on, I’m sure to shut off the lights, close my eyes, and let the music carry me from there. As should you.
Good choice – a good swathe of great Nazareth songs.