As a seemingly desperate attempt at getting rid of all the connections with the black metal scene, Satan members decided to change their name to Blind Fury (the name of the band in which Sean Taylor used to play). They also parted ways with Brian Ross (who would come back home some years later) and brought Lou Taylor to the roster. All these changes resulted in a new concept that was somewhat conflicted, given the different goals band members pretended to reach. Nevertheless, such ideas were adequately combined in a single release, offering what would be one of the best albums in the NWOBHM. Perhaps, not better than the debut album released under the other moniker, but it is still as effective as the latter.
Two different approaches could be spotted out from the tracklist. On the one hand, a band that remained loyal to the rock and rolling attitude which was often worshipped in other albums from the aforementioned British movement. Much of this, is reflected through the lyrics of songs like “Dynamo” and the silly but interesting “Contact Rock and Roll”, undoubtedly, two of the best numbers featured herein. The hard rock base of such numbers is enhanced by the strong riff base provided by the talented guitarists Steve Ramsey and Russ Tippins, as well as, injected with the dark atmosphere that characterizes the album’s sound.
On the other hand, other numbers like the title and the closing tracks are focused on a progressive architecture, which is still loyal to the musical formula used herein. The closing number was made in the Queensrÿche‘s mold (rhythmically speaking) and features different tempos throughout its almost seven and a half minutes. Unlikely, the title-track sounds more similar to Judas Priest‘s famous number “Let Us Prey/Call for the Priest”, mainly in the drums section. Other songs like the speedish “Living on the Edge” and the mid-paced “Back Inside” show up the real talent from the guitarists who play astonishing solos, including some neoclassical sections. Further, other influences from Iron Maiden can be found, as is the case of the galloping riffs featured somewhere in the album.
Differently to Satan‘s release, Blind Fury’s only work is less aggressive and moves towards a more reflexive/spiritual background, whereas the former is stronger, vicious, furious, and even thrashy at some points. Unfortunately, neither of the two had the diffusion and merits they deserved, so there are no much versions available. In the particular case of Out of Reach, the most recommendable format is vinyl, given the troublesome production work provided to remastering. If your tastes are mostly oriented towards traditional stuff, this is an excellent choice, that nevertheless, is too rare to be considered as a must-have. [Among the different re-releases, the most common version is that released in 2006 under the Majestic Records label featuring three bonus tracks taken from a BBC Show. On account of its crappy production work, it should be avoided.]
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