Sp was really excited about Rhapsody of Fire:
“Ere Evans, honestly mate, this is the first time they’ve played England in about ten years. I can’t fuckin’ wait”
And I was really excited about Angel Witch:
“I’ll probably be able to watch the first two song mates, but there is no way I’m missing any of Angel Witch. In fact, I might even get there ten minutes before just incase they’re a bit early.”
Nothing more than two hysterical children ready to unwrap their long awaited presents, we prepared ourselves for the highlights of Bloodstock.
I’ve been collecting records since I was 15 years old; I have a full room dedicated to those things and still want more. At the time when I first started acquiring those out of date pieces of plastic, there were Aurora Snow sized gaping holes in my collection. Not knowing these gaps needed to be filled, I’d go to record shops and stock up on bands I was already familiar with, but the real bargains, the rarities, the weird and wonderful, came from car boot sales.
The prices of records on car boot sales are always much more sympathetic towards the depressing contents of my wallet. 50p a record mate, or three for a quid. At those prices you can afford to take chances. If you like the look of a sleeve for instance, but haven’t heard of the band, give the guy 50p. What’s the worst that could happen?
That’s how I found out about Angel Witch. I loved the cover, the red ambiguity of it all, and the gothic logo spelling out a name I found hilarious. That album was on repeat for the next month; I couldn’t get enough of it.
Angel Witch were one of the bands who stood out on the bill for me, mostly because I didn’t think I’d ever get a chance to see them, it felt like an opportunity that needed to be pounced on.
I secured a good spot beneath the centre of the stage to take pictures of front man Kevin Heybourne, the one remaining original member of the current line up. I got the same feeling you get when you’re relatively new to the gigging experience, stomach jumping around, anxious excitement and all that.
Angel Witch nonchalantly walked on stage looking cool as fuck, and ripped into a furious rendition of the classic “Gorgon” from their masterpiece of a debut album. Before they came on I was a little apprehensive, as many old school bands that get back together, do so in an attempt to relive their past. But Angel Witch proved otherwise, as after the first four bars of “Gorgan” were played, the crowd traveled back in time to 1980, knowing they were in for a good time.
Accurate to the nearest semi-hemi-demi-semi-quaver (128th note), sounding like they had never stopped, Angel Witch proved that the NWOBHM was still alive. Most of my favourite tracks from the album I found on that fateful car boot day, were blasted at me louder than I’d ever heard them played before. Dr. Phibes from the 1981 single Loser took me by surprise, I’ve always loved that instrumental and so its inclusion was an added bonus. The Night is Calling, an early track never officially released, was another nice surprise – the live version of this track appears on a compilation containing both live and studio tracks called Sinister History. Baphomet, the song that captured the attention of EMI (before Bronze snapped em up), appearing on the 1980 Metal for Muthas compilation, was a great penultimate track to prepare the audience for their signature sing along anthem, Angel Witch.
What made the gig even more special was the promise of progression.
“We’re recording a new album believe it or not” declared front man Kevin Heybourne. Then blasted into a brand new, unheard of track that sounded heavy as fuck.
It was a great gig with a very diverse set, and one of my festival highlights. My only criticism, is that they didn’t play Sweet Danger, but you can’t always get what you want ha-ha.
8.5/10
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