LEGEND: Death In The Nursery LP. Extremely RARE, one of the best of N.W.O.B.H.M. This one here is just incredible. Check audio + VIDEO review

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near MINT CONDITION vinyl, with lyric sheet. Comes with 12″ by 12″ insert with lyrics on one side and acknowledgements & a drawing.


VIDEO review:

 

LEGEND: Death In The Nursery [Extremely RARE L.P, one of the best of N.W.O.B.H.M. This one here is just incredible. While youll still hear the 70s here and there, this album has developed a totally unique sound, combining various stylistic peculiarities to a highly original brand of what sounds almost painfully close to what I think of as the perfect NWOBHM record (and dont forget to check out the totally under-represented SLEDGEHAMMER LP too!).
The first song, Choices, has it all: A funky intro starts off and then you are immediately drawn into a one of a kind atmosphere. Dramatic, earnest, gloomy, heavy and just very, very passionate. These guys mean business! Warrior starts of pretty Iron Maiden-like (yes, were in the 80s now!) and takes the paranoid visions one step further, Apartment Blocks of Fear, Mike Lezala sings, blot out the evening, as if to hide to tear. Awesome! Time Bomb and Lazy Woman manage to keep up the quality level at ease and Why don’t you kill me lifts the bar even higher. I mean how can this be?! What a song! Then I flip the record over and, my gawd, Anthrax Attack with its incredible vocals lines nails me down every time I hear it. Same with The Prisoner, a rather balladesque but equally beautiful and strong number. The title track starts off really fast, but as soon as the bridge and chorus comes in, you know that this song is of the same epic proportions, with a larger than life chorus and a very nice twist in the middle. The ending Prologue opens with one hell of an acoustic bit, before closing the album in utmost grace.
If the NWOBHM had a company secret, this is it. Heavy but fragile, aggressive yet sensible. Music for outsiders.

Full-length, Workshop
1982

Mike Lezala – vocals
Peter Haworth – guitars
Eggy Aubert – bass
David Whitley – drums

1. Choices 04:22
2. Warrior 04:09
3. Time Bomb 02:36
4. Lazy Woman 03:19
5. Why Don’t You Kill Me? 04:21
6. Anthrax Attack 03:38
7. Prisoner 05:48
8. Death in the Nursery 04:42
9. Prologue 06:33
Total playing time 39:28

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but when you die its over, at last you will be free

With heads held higher, Legend ratchet and oil many of the unstable joints that squeaked a year ago as Death in the Nursery (great title) moseys out of the debuts not-so-clandestine shadow of gloom with daybreak on its shoulders and heroics on its mind.

With a more forgiving mood and front running bang, this nine-tracker flies past its predecessor in a lane all its own, wind in its hair and looking cool while the debut busily searches for roadkill on the shoulder. Alas, Legend has left much of its original bleakness behind, opting to sink its teeth into more true-blue new metal wave flavor that makes Saxons year old and esteemed Denim and Leather seem far away and small in the rearview mirror. In my book, a few good grim-sounding spookers would usually win out over trappings of grandeur, but in this case the opposing dignity is smooth and self-actualized enough for a kicked-back, if not electrified ride. Clear is the banishment of bewilderment that frustrated the debut as rhythms swoop in convincingly to support structures that once may have teetered in the breeze and now stand erect and dominant, yet the warring forces of heavy and sublime stand nose to nose to trade punches here more than ever. Excellent opener Choices is one of those tracks dodging between Mike Lezalas lonely lyrical passages and a nail-tough rhythm that couldve easily eaten at Number of the Beasts table. With all its fretboard-dragged fierceness (gotta hear it to understand what I mean), Why Dont You Kill Me? probably wouldnt seem as spirited without its windblown, vocally sensitive entrance. Still, the quick chorus-blasted title cut, traditionally kempt Time Bomb, and Lazy Woman with its predating Oz/Megalomaniac guitar eruption at the start are burners that need no cottony softness.

As well as the musics early uncertainty, lost is the prismatic vocal effect that harked songs like Negligence and Hiroshima to life, but in their stead we gain a strange collusion of the two; a curious and almost arcane critter that mopes along in muddy electric blues and acoustic psychedelia, a throwback to the debut to continue the struggle between dark and light thats found in parts of Anthrax Attack and especially the start and interludes of Prisoner, sounding kinda like Pat Benatars Precious Time hastily stranded on AC/DCs Powerage album. Dont worry, Mike Lezalas vox is still cucumber clean and now avoids the scarier realm, though this time round they gleam with the bravado of a singer needless of a knob-twiddlers enchantment.

Despite whittling down to a four-piece with the leaving of guitarist Marco Morosino, the albums verve is even more richly propellant, and most of the time the production toughens its hide to fill out the ordeal, lacking in detail only when shredder on the rise Peter Haworth rips out solos that are backed only by a bubbling bassy spine (see Choices). Hey, cant have everything.

Still spiraling into a self-financed hole, Death in the Nursery is a success only at base level. Up until recently its been as sonically untraveled as the bands Channel Islands headquarters, the album making its rounds to relatives, nowhere near enough show-goers, and over-the-years collectors who may or may not even listen to the thing. I wince at what Legend couldve been as well at what they havent been, and as much as I enjoy this little buried treasure, its still somehow not A-grade to me. Its close, though.

we count on God immortal, yet we eat the devils meat

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This is one of my top 5, maybe even top 2 favorite NWOBHM records ever. Legend hailed from a tiny island from the UK which they rarely left, and self pressed only 2,000 copies of this record which have all sold out, so needless to say its a very rare piece of music, and like Detentes debut it often goes for prices reaching $150 or more. Their biggest break was an opening slot for Thin Lizzy in 1984, and was also one of their last shows until they reunited in 2002. But enough small history…

To the music… the production (self produced, of course) is a warm almost AM radio sounding affair, albeit clear and concise, and really sets it apart from the other metal of the time which had that big heavy bombastic sound. The vocals are almost folky and sweet with a great deal of conviction, and the guitars are remniscient of early Iron Maiden and Cirith Ungol with possibly King Crimson and other 70s prog & rock. Every member was talented and the lyrics show the intelligence of the band with diatribes of politics, religion, morality and psychological struggles. The songwriting is reserved enough that you’re not overloaded with riffs and solos. Overall its like “Sad Wings Of Destiny” meets Maidens s/t, meets King Crimson and Budgie, all recorded with lo-fi production and tastefully low on the flashyness… you may know what I mean when you hear it.


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Weight 0.25 kg

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