Satan - Court in the Act
Neat Records
NWOBHM/Speed Metal
10 songs (41'01")
Release year: 1983
Neat Records
Reviewed by Adam
It amazes me how many amazingly talented bands from metal’s somewhat humble beginnings have long since been largely forgotten by the metal community. You could literally spend days on exploring bands that, although instrumental in the formation of metal as it is now, aren’t given nearly enough credit for their contributions. This is particularly true of the massive influx of British bands arriving throughout the 80’s. While some of them have gone on to capture widespread acclaim, such as Iron Maiden or Judas Priest, others such as Satan have fallen into relative obscurity. Well, in Satan’s case, this travesty ends today as far as metalreviews.com is concerned, with a look at their outstanding 1983 offering Court in the Act.

Worthy of note is that, prior to the recording of Court in the Act, Satan and fellow countrymen Avenger exchanged vocalists, Ian Swift for Brian Ross, respectively. I would say Satan made out well in this exchange, as Ross’ standout performance on Court in the Act is far ahead of its time. The album starts off with an eerie organ intro leading to the speed metal foray that is Trial By Fire. Blind Guardian fans may recall this song, as it was covered on Somewhere Far Beyond. Simply put, this track is nothing short of amazing, and pulls you in about as well as any song on Court in the Act. The intertwining of guitarists Russ Tippins and Steve Ramsey is the standout, with the breakneck-paced main riff and harmonized guitar solo being the highlights. Above all this are the steady vocals of Brian Ross, though he occasionally lets loose with a high-pitched wail.

The production on this album is curiously charming. Though it won’t win any awards for technical mastery with its overpowering feedback soaked guitars and reverberating vocals and drums, it somehow sounds perfect for this album, giving it a raw, garage band appeal, which could have been the intention for all I know. Whatever the case, Court in the Act sounds about as energetic as it possibly could.

The following two tracks, Blades of Steel and No Turning Back, are chocked full of thrash riffing and searing guitar leads. Both also feature the well-placed vocal harmonies that Ross uses frequently throughout the album. Broken Treaties utilizes much of the same style while lyrically delving into the bloodshed between Indians and early American settlers. Once again, outstanding soloing and leads energize the fast pace. The following track, Break Free, is the finest track on the album in my opinion. It starts off sounding more like the frantic conclusion of a song than anything else, before galloping forth with the head-nodding riffing that Satan has such an uncanny penchant for. The vocal harmonies are also top notch, perhaps aided by guest vocalist Alan Hunter of Tyson Dog. Not surprisingly, the gem on Break Free is the face melting solo around the 3 minute mark. Tippins’ and Ramsey’s guitars compliment each other perfectly for a harmonized piece which is among the finest I have ever heard. Ross gives the guitars a short break with a sustained wail, after which Tippins and Ramsey continue their furious attack. All in all, a truly memorable track which ranks alongside the best that the NWOBHM has to offer. Hunt You Down slows things down considerably, almost to the point where the track takes on more of a hard rock feel. Nonetheless, it still sounds great, and the style change ensures that repetition will not be an issue on Court in the Act. Continuing this thought, the ensuing instrumental, The Ritual, is a showcase for the technical prowess of Tippins and Ramsey, with its numerous changes of pace. These two feed off each other so well, their two guitars almost sound like one instrument at times. This song is also a chance for a fair look at the drums of Sean Taylor, which are much easier to discern. His drums are surprisingly loud for the time period they were recorded in, and he keeps each pace admirably. Another short instrumental, The Dark Side of Innocence, follows, though this time the feel is more sorrowful due to the use of acoustic guitar. The closer, Alone in the Dark, sees yet another stylistic change, as the guitars are much more subdued for most of the song. Of course, Tippins and Ramsey can’t resist letting loose a few times, but their use of a muted sound during the verse adds another dimension to their inspired attack.

The reissued version of Court in the Act also contains three bonus tracks, Dynamo, Pull the Trigger, and the single version of Break Free. The two new tracks could have easily been included in the original version, as the sound is very similar, though I would say that Pull the Trigger is the better of the two, with its stripped-down rock approach.

Unfortunately, the band never received the acclaim they desired and deserved, in my opinion. Apparently, they believed their moniker was in part to blame, as seen by their numerous name changes after Court in the Act, which saw them go from Satan to Blind Fury back to Satan and then to The Kindred and Pariah, all in less than 10 years (Whew!). Whatever the real reason, this album has become a rarity to say the least, which is a shame as it is easily one of the best NWOBHM albums I have ever heard and a precursor to the thrash movement in the mid to late 80's. If you are lucky enough to find it at a decent price, you would be wise to pick it up.
Killing Songs :
Trial By Fire, Break Free, The Ritual
Adam quoted CLASSIC
Other albums by Satan that we have reviewed:
Satan - Atom by Atom reviewed by Andy and quoted 90 / 100
Satan - Life Sentence reviewed by Andy and quoted 90 / 100
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