Home  |  News  |  Artists  |  Store  |  Music  |  Live  |  Press  |  Photos  |  Distributors  |  Links  |  Contact » BREAKER Biography BREAKING NEWS... THE STORY THUS FAR The complete, unedited Breaker history by Heavy Metal journalist Mark Gromen. In the Fall of '82, upon arrival to Cleveland, I had no idea that a chance meeting which occurred at a backyard party earlier that Summer would lead to the formation of a band who would capture mine and the city's attention for the remainder of the decade, and beyond. Regularly drawing hundreds to their headlining shows and outshining the numerous international acts for whom they opened, the Breaker phenomenon wasn't limited to Northeast Ohio. In the tradition of Schenker-era UFO, Iron Maiden, Scorpions and their namesake, Accept, magazines around the globe praised the smooth throated, twin guitar Euro-metal sound. Metal Hammer, Kerrang!, Metal Forces and Hit Parader were early supporters. Don Depew (guitar) and the two Klein brothers, Mark (drums) and Michael (guitar) were the nucleus of a cover band that, paradoxically, never played live. Mark & Don having played together since high school. Jim Hamar (vocals) and Ian Shipley (bass) had formed a band of their own. It was an inauspicious occasion that set the ball in motion. "The clambake story," comes the understated wisecrack from the drummer. "We were in two separate bands and we played together once." Ironically, it was the only time the two Kleins and Depew had performed live! "Shok Paris played that one too, adds Michael. Hamar picks up the thread. "There was a summer party. Ian and I were in my band, Hellion and our drummer was Matt Flammable, (later) of Destructor. I'd seen Imposter practice before. I'd been invited through someone who'd met Michael at a party. I remember walking through the door, watching them play and was just blown away. Their singer would come and go whenever he wanted. The first two times I saw you, it was just three of you and the first tape I got had just drums and guitars. Ian was the first one recruited to do the demo. Don met Ian first, but I knew him from the record business, in '79 or '80." Depew picks up the story. "I worked downtown, at a one stop, a wholesaler that sells to stores. One of my accounts was a store on the Westside, near where Jim lived. I took orders over the phone and this guy said he had a friend who played in a band that did songs I might like. At the time, Jim wasn't a singer, he played guitar. I went to see him and that's how we met. After that, we talked occasionally and he told me he'd gotten offered a chance to sing. It was the band Ian was playing with. I'd never heard him sing, but those guys must know something I didn't. One day he brought a tape to work, he worked second shift and we'd go to lunch together some days, and it was like, 'Wow, he can sing!'" In order to record a demo, Hellion struck a deal, whereby they could borrow the Imposter recording equipment, in exchange for Shipley & Hamar lending their services to the Imposter demo., which included later Breaker standouts like '10 Seconds In,' 'Caught In Love,' 'Walking The Wire' and 'No More Cries.' Hamar and Shipley enjoyed working with Depew and the Kleins so much, they disbanded Hellion and joined Imposter. "We initially asked Jim to sit in on vocals, because our singer wasn't working out," remembers Michael. "It came together so quickly after that," interjects Hamar, "because those three had so many quality songs or instrumental pieces that would become songs, that when Ian and I came in, it was just a matter of finishing a few things." Mark adds, "Ian came up with the name. We were into that record at the time." Jim continues. "I don't want to say it was a desperate choice, because it wasn't, be we needed a name. That record was something we listened to constantly. When it came time for a choice, it was a short, simple name that we thought we could do a lot with for a logo." "We joined somewhere in the Summer of '82 and made our live debut in October at the (local zine) A Rag, A Bone (A Hank Of Hair) benefit at the Pop Shop." Mark corrects him, "Actually the first ever show was the Battle Of The Bands at Parma High School." "I remember being really scared," confesses the singer. "It was my first time in anything with 100% original music, so the thought of not being accepted crosses your mind. It was loose, an underground affair more than a night at a club. It was a low-key way to get the name out there." Don adds "It was totally different then, there was nothing around here. The mentality of being in a band was too farfetched, that someone could do their own (original) stuff and be accepted. Everyone would just look at you like you were the guy from next door." The actual event is almost completely obscured from the guitarist's memory. "I remember I had to go to work that day, so I took a guitar. I was the only one there that day, so I practiced all day. I have more recollection of that than the gig." Mark offers, " As I remember, I had (pictures) of tanks on my kick drums...and lots of bad clothes," finishes Hamar. Sharing the stage with Black Death & Suspect Device, a few Breaker standards were already a part of the live set, 'Entering Twilight,' 'Walking The Wire' and '10 Seconds In.' On-stage and off, the chemistry was electric, a fact not lost on the individual members, who quickly fused into a single, like-minded unit. "I've been in and out of bands since," recollects Hamar, "where one or two guys feel differently from the rest. Ian and myself, coming in as outsiders, we heard exactly what we wanted and thought, 'Don't change a thing.' We all thought the same way, which is probably why it came together so fast." A mutual admiration for European metal bands fueled their interest, but it went deeper than. "Scorpions, UFO, heavy, but not really heavy, distinct guitar lines, good songs... It was at a time when it was hard to find people who even knew the stuff," contends Michael, "let alone, could do it. It just clicked. It won't ever happen again. It sounds stupid, but it was magic." The singer agrees. "We all wanted to write that way, but when we got away from writing, we found a lot of the things we were listening to, that couldn't be filed with the (metallic) interests, were also the same, like City Boy and obscure 70s bands. It was strange! It's one thing to have five guys with the same vision, but when we'd stop writing or rehearsing and just listen to something, somebody'd pull out a Mott The Hoople record and we'd all be like, 'I love that album!' It was almost scary, almost like Stephen King." Turning philosophical, Depew chips in. "It wasn't just guys you played in a band with. I'd known Mark & Michael for a long time. Relationships change as you go along, some you get along with better than others. It was a lot more personal, everyone knew what everyone else was doing in their personal lives. It wasn't the kind of thing like you were just punching a timeclock." Early on, Breaker caught the attention of local metal impresario, Bill Peters, a Warner Bros. employee & WUJC college DJ. Peters recalls, "My first encounter with the band was early in '83, a chance meeting with Jim Hamar at an independent record store. After talking music for what seemed like hours, Jim mentioned he was in a band and if I had a chance, to come see them live. I had briefly gone to school with Jim and always known him to be on the shy, quiet side. It was hard for me to believe when he told me he was the lead singer! I went to see the band at the Cleveland Connection, opening for Snake Rock, a local band Breaker played a lot of shows with early in their career. Breaker had only played a handful of gigs at that point. When the first notes to 'From The Heart' started, I stood there in complete amazement. I just could not get over how good this band was. It was like watching a seasoned national act. I literally was left speechless during the entire 45 minute, all original performance. I invited the band to stop down on my WUJC Friday night radio program for an on-air interview. They brought a four song, self-produced demo that they had just recorded. It included 'Blood Money,' 'From The Heart' 'Afraid Of The Dark' and 'Entering Twilight,' which was the first Breaker song to ever be played on the radio. Listener response was overwhelmingly positive. The rest is history." Given the opportunity to witness this world class talent firsthand, local metalheads regularly began flocking to energetic shows at the Pop Shop, a dingy little hangout under the famous Agora, which catered exclusively to the loud music, and was operated by record store entrepeneaur Chris Andrews. "To me," begins Don, "and it's still true, I'd rather play smaller than bigger places." The band has fond memories of the place. "Having been in England at the time when the original Marquee was still there," begins Jim, "it was a lot like that, small & sweaty. All the walls were painted black and it had a Kiss pinball machine." Mark concurs. "People would go there to check out local bands. We played about once a month, maybe 15 times, between there and the Agora." "That was what it was all about," contends Michael, his reserved manner sparked to hyperbole. "When the Pop Shop/Agora burnt down, that was the end of the era. All of Cleveland never recovered. It was just a hole, but so cool. That was the place." In the Spring of '83, Breaker took a page from what was going on in England and recorded a single, 'Blood Money,' backed with 'Afraid Of The Dark,' at Suma Recording Studios. "From the beginning, states the drummer, "we wanted to get some songs together to record. We didn't care that no one else was doing it." His brother agrees. "Once we were all together as a band, it was, 'OK, now we need to get a single out." The decision on what to record was fairly easy, according to Jim. "It was fresh, a newer one. It came together quick. Sometimes that's the best way, rather than agonizing over a part again and again." Don interjects, "Ian and I came up for the music on that one." The singer finishes his original thought. "We all worked together on it. There was a riff there, jotted some lyrics down, BOOM, there was a song." In addition to increasing awareness, it gave college radio something to air, as Breaker were requested regularly. On July 27, 1983 Breaker performed live on the legendary WMMS-FM, for the prestigious Coffeebreak Concert series. Every Wednesday, from noon to 1 PM, the Cleveland Agora Ballroom, was reserved for touring national acts. Those who couldn't attend the lunchtime festivities in person usually sat glued to the radio, in order to discover a newly emerging talent. That show demonstrates how recognizable the name Breaker had become, gaining richly deserved respect, even from outside the tight knit metal community. In his spare time, Peters was working on a compilation of the burgeoning scene's best bands with partner and fellow collegiate disk jockey, Tim Stewart, of WCSB. Breaker was one of only two bands afforded a pair of contributions to the CLEVELAND METAL album; 'Walking The Wire' and '10 Seconds In.' Peters remembers, "Instead of 'Walking The Wire,' the band wanted to use a song they'd just written, called 'Silent Obsession,' later renamed 'Obsession.' We stuck to our guns and insisted on keeping 'Walking The Wire' because, aside from both loving the song, we wanted at least one powerful ballad on the compilation." Released in October of 1983, CLEVELAND METAL was reviewed in the pages of the major metal publications, with Kerrang, then the world's foremost authority on heavy metal, proclaiming the Breaker material first rate. Hamar vividly recounts the article. "It was the first time we had a review of anything we'd done from outside the area. Howard Johnson gave us an amazing review. Although I had to go buy a dictionary to look up 'penuche." On the strength of the review and Breaker in particular, the album entered the magazine's import chart at #10. Already a huge crowd favorite, '10 Seconds In' made its way into rotation on the city's top rated FM rock station, a virtually unheard of feat for any unsigned act, let alone a metal band! Mark accurately states, "It's probably our most remembered song." Don wrote the song. "I carried around a notebook and when I heard or saw something, I'd write it down. I didn't always play with Mark & Michael and that's one I had the music and the basic idea (of the lyrics) for a while. (Originally), I worked on it with Matt Flammable and another guy we were playing with. I got the idea for the title from listening to a Vapors record." In a lighthearted manner, he deadpans, "If I can still listen to it, it can't be that bad." Never content to rest on their laurels, Breaker meticulously fine tuned their performances and constantly recorded new ideas at the four track studio in their practice space (some of which have been resurrected for this project). They were rewarded by larger crowds each time out, as word spread of a truly professional group, right there in Cleveland. "Sometimes we rehearsed five days a week, says Hamar. "Our crew was involved at rehearsals, learning more. It was an amazing...Such an amazing bunch of people with no lives," interjects the drummer. "Outside our day jobs," continues Hamar, unfettered, "that's all we thought about. That's why we came across so professionally. If someone called with an idea for a new song, I couldn't wait to get down there, to see what would happen." Bolstered by the live, radio spotlight, repeated airplay and the city's ravenous metallic appetite, Breaker found themselves perpetually in demand, initially by promoters who needed a guaranteed draw to pump up the flagging sales of club shows. These led to better headlining gigs and playing alongside hot international properties like Girlschool, Nazareth, Marillion, Frank Marino, Warlock (with Doro Pesch) and a fledgling band from San Francisco, called Metallica. Hamar recalls the night of December 18, 1983. "Nobody really knew who they were. They were promoting their first album and it was a near blizzard outside. There were only 350 people paid, in the club, but the energy level was high. Not only was it fun, but everything was just right. We played our butts off. I think about that show all the time." When not gracing the same stages as touring bands, Breaker ventured out of town, first to get acquainted with new territories, as with a series of trips to Buffalo, opening for Talas, then as the headliner themselves, which usually proved successful. Breaker's crowning achievement on the local scene was March 30, 1984, when they headlined the Variety. A turn of the century, neighborhood theater, long abandoned to live entertainment, a crowd of more than 700 turned out. Shok Paris opened the show. For an all original, local band to draw so many people remains an unprecedented event in Cleveland music history, made even more so by the fact the band had yet to release a full-length album! Dissatisfied and frustrated with a management deal the band had entered into, Breaker continued playing and recording demos, waiting for a major label deal to materialize. A three song demo, recorded at After Dark Studios, containing 'Cold Air,' 'Dead In Your Tracks' and 'The Hurt,' was done expressly for shopping to the majors. When the promised deal failed to materialize, Breaker demanded to be allowed to record with Peters, who had subsequently started Auburn Records and released albums by virtually every quality band in the area, including Shok Paris, Destructor and Black Death. .Many of those same bands were spawned by the success of Breaker, who remained conspicuously absent from record store shelves. "They didn't want us to do the record," remembers Mark, "they said they were shopping for a major." Unfulfilled promises began to wear on the band, as the stress took its toll on morale and the once rock solid chemistry and confidence within the band. No one could believe Breaker was still without a release. As the management contract expired, the focus switched to recording the debut for Auburn. Breaker began to record GET TOUGH in the Summer of 1984, returning to Suma Recording Studios and engineer Paul Hamann. Thanks to Breaker, Peters had taken all his subsequent projects to Suma and as a result, the studio quickly garnered a reputation for producing high quality heavy metal recordings. Hamann's outstanding engineering played a large role in that success. The unique, physical surroundings helped, in part, shape the album. Don divulged the secret, after all these years. "The studio's out in the middle of nowhere, on the edge of the Grand River Valley. It's on a large chunk of land, used to be a country club or something. It's away from the road. To get some large, reverberating sounds, we stuck some Marshalls out in the grass, aimed out into the valley and set up mikes to capture the sound. It's not like we set up as a band in the woods. You could hear it bouncing around out there. We did that until the neighbors a couple of miles away started complaining. The solo on 'Razor's Edge' is like that. We had Mark outside in the yard, with a mike, but it was raining. If you slow the tune up, you can hear someone standing with an umbrella over the mike! The thunder that's on there was recorded in the backyard too." Ever the perfectionist, the already arduous task of recording became even greater, when Hamar was asked to leave the band, in the Summer of '85! Thrown for a tailspin, Breaker spent the better part of two years searching for a replacement, contacting and/or auditioning such notable singers as Jesse Cox (Tygers Of Pan Tang), Phil Naro, of Talas, even a local youngster named Tim Owens, who landed a job with Judas Priest a decade later. Depew recalls, "Replacing a drummer is one thing, a bass player, guitarist, whatever, people will accept any of that more readily than a singer. There's something so personal about someone's voice. I'm not giving Jim too much credit, but he has an individual sound. You can pick him out. Leaving everything the same and just trying to plug in another singer wasn't going to work and it didn't. Today, it seems like there are a lot more people who can actually sing, but at that time, there were very few people who had the ability." Hamar started his own band, Rotterdam, while Breaker fiddled around in the studio, with non-vocal parts and eventually picked the best of the available lot, although never truly content, as the drummer made painfully obvious. "It was never right, like it was with Jim. It was a bitch to find someone who could even approach Jim's ability and trying to find someone who fit in so naturally was impossible." His brother agrees. "Nobody ever walked in and it was, 'Yeah, this guy can do it." So why did the Breaker break-up occur in the first place? Jim steps up to take the lionshare of the blame. "I'm pretty loose about stuff but, there was so much pressure to get things done. I knew what I wanted and what to do to accomplish it, but didn't know if I was ready. If someone would have called at 2 AM about having to be re-recorded, I would have whined more than been enthused. On a maturity level, I don't think I was ready to dedicate myself to the next level. They saw it, I didn't." The guitarist spoke for the remainder of the band. "Jim says maturity, and we were all at fault. There wasn't really any reason we couldn't have worked it out." The singer continues, "The best thing to come out of it was that after a few years, all it took was one phone call to get together and see if we could work it out. Playing in my own band was fun, but seeing Breaker play with someone else singing what was ours, it's kind of like seeing someone in the house you grew up in. It got to the point where I couldn't take it anymore, so I got on the phone. It was probably one of the smartest things I ever did." Breaker continued to play live, minus Hamar, but the chemistry and sound were just not the same. Without Hamar, the band was in a bit of a quandary; who should sing on the still unfinished album, especially since none of the new vocalists were up to their exacting standards, yet they definitely wanted, no, needed, to get the record released. Knee deep in loan payments and without a means of extricating himself from the financial boondoggle, out of desperation Bill Peters called Jim see if he'd help finish the album,. Although still fronting Rotterdam, Hamar was willing to aid his school buddy, even though the animosity towards his ex-bandmates was still there. Needless to say, his return was welcomed. With only Peters by his side, Hamar returned to the studio and finished the vocal parts, sounding even better than before. GET TOUGH, the album which comprises the first disc of this collection, remains as viable in the metal market of 1999 as it did when released back in '87. Mark agrees, "I'm surprised how well it holds up. I feel fortunate that some of our music seems timeless. It doesn't sound totally dated. The production is all right. It's not some cheeseball local thing. I don't cringe when I hear it. We are grateful to Paul Hamann, for all the extra time and hard work he put into making the project sound so good. I wouldn't change anything." But Breaker has been afforded the opportunity to go back in time and 'fix' whatever tidbit has made the skin crawl all these years, but true to their artistic vision, the album remains intact, augmented by a selection of unissued rarities from the same era. His brother adds, "You could always look back at certain songs or performances and say, 'I wish I would have done that differently,' but that's part of creating anything artistic, learning how to grow. If there's one thing I'd change about the entire process, it would be the cover. I think there's a general agreement that it wasn't everything that we wanted." Hamar has long harbored a reservation about the final running sequence, one dictated by the limitations of vinyl. "If I could have changed one thing, I would have 'Touch Like Thunder' on the album itself, not just as a bonus on the cassette." All minor quibbles that this latest CD has alleviated, as well as including 'Every Secret Thing,' Michael's instrumental originally recorded for the album, but also left off due to time restrictions. The other guitarist has similar misgivings about missing material. "The biggest thing that bugs me is that's all people know about us. OK, that one came out, but it took so long. By the time it came out, we'd been doing those songs for a while, and were doing a lot of other stuff by that point. For all the time we spent doing (Breaker), that's all they know, that and maybe 'Still Life,' but there was some stuff that was really good that we worked on. That (album) was not the end of the road. It did progress. We went beyond that, but nobody knows that." Until now, Don. In a roundtable conversation on GET TOUGH, certain songs strike a chord with each individual, for various reasons. "Honestly," begins Michael, "I don't know if I have an absolute favorite. There are several that stand out; '10 Seconds In' is a great song, 'Black & White' and 'Lie To Me,' considering how it came together, is one of the better songs on the album. 'Get Tough,' the song, I never liked how I played it. It never felt natural, whereas the two part beginning to 'From The Heart,' a simple melody leading into Don's solo, I was really happy with that." His mention of 'Lie To Me' is interesting as the song was written during the period Jim was out of the band. It's still a Depew favorite. "It doesn't sound dated. It's more rock, than metal." Hamar also has memories of that tune. "When Bill came to see me with the idea of finishing the record, he said there was a new track. I've always admired Glenn Hughes and I thought, 'I'll show these guys. I'm going to push this thing and do it my way.' What started out as an act of revenge, turned into these guys loving it!" The drummer finished, "I like how 'Lie To Me' slides into '10 Seconds In,' the fade out and backwards tape...production things." He changes the focus to 'From The Heart,' "That's one about our fans. When things started happening, we couldn't believe people liked us. It was overwhelming. It sounds kind of dumb, but we were treated differently when we attended clubs we'd played. People looked at us differently. We hadn't done anything to warrant it. We were just regular guys who played music. People appreciated us and that song was done for them. It usually closed the set and there was a huge noisy ending." Perhaps his brother overlooked one aspect, so Michael offers, "It was written early on, with Roger Markus, a guitarist that Mark and Don knew before Breaker happened. There were never lyrics for it though. That, 'Sleepless Nights and 'Caught In Love, which I wrote the music to several years before Breaker. We didn't have a singer at the time, so it never developed beyond just music." Warming to the task, the singer begins to reminisce, "I really struggled with 'Black & White.' There are so many notes that had to be held out, in key. Personal favorites, 'Touch Like Thunder,' 'Behind Enemy Lines' and Michael's solo on 'Obsessions.' It recalls things I like by other players I listen to. I still get goose flesh when I hear it." The impetus behind the title track, according to Hamar, was as follows; "When we started, we were the first to have our own crew, our own truck and as the scene got larger, there were more bands. We were still doing well, but there was always that extra yard we had to go. You're there until someone takes your place. If we didn't keep up, there would be someone better. It wasn't a time to get lazy or rest on our laurels." 'Razors Edge' isn't the song it started out to be," contends the drummer. "Don took the melody line and drums, sucked out a good part of the song and threw it up with something else. It's got a fretless bass, which is kind of cool." "The hardest part of writing songs for me," begins Don, "was remembering stuff and putting it together. Once I had access to multi-track tapes and got the time to mess around with it, I could sit there for hours re-writing songs over and over. That's a case in point." Mark also has fond memories of 'Entering Twilight.' "It was the first one Jim & I worked on the lyrics together. Musically, it was a little different than what we did, off time. Lyrically, it wasn't earthshaking; people who live for the night, a theme which crops up in other songs. It's probably due to the Pop Shop experience, which wasn't about who was playing. The night time was our time." In '88, almost a year after GET TOUGH hit the streets, Breaker was officially reunited. Instantly, the magic returned, reinvigorating the spirit and chemistry which had been sorely absent from the past year and a half. Michael says, "Once Jim came back, it was great, like he never left. We were grateful." The return of Hamar was heralded by an explosive reworking of an older song, 'Caught In Love,' which also debut Hodges and a brand new 'Still Life,' recorded with Jim DeMain, at Beachwood Studios. "The only battle there (ever) was," begins the bassist, "was there trying to get me to play with a pick. I'd always been a finger player and they were very insistent that I play with a pick. I adapted and after a while, I got over it. Ironically, I played with my fingers on that cut. It was a Telecaster bass. I don't know whose it was. In the studio, there was the Tele bass, it sounded pretty good, so I stuck with it, over my Precision." 'Still Life,' considered to be one of the band's finest moments, was eventually released on Peters' HEAVY ARTILLERY compilation in 1991. The song gained praise from all corners of the globe, as the compilation became an international success. Breaker was most definitely back, with a renewed on-stage vigor that lasted well beyond the public's changing musical taste. Even as grunge and alternative became the clubowners' lifeblood, a Breaker show was a guaranteed draw. Shortly thereafter, Ian Shipley had left to form his own band, Lovesick. Brook Hodges, a Chicago transplant, originally in Cleveland for a brief stint in Destructor, replaced Shipley on bass. "Back in Chicago), I'd heard 'Blood Money' on Z-Rock, but didn't make the connection. I'd been around Cleveland for about a year and a half before they made the offer. The first time I heard the Breaker record, I thought, 'Wow, that's a fucking band!' I was immediately impressed and shocked they weren't signed. We were all musically in tune with what we liked to listen to, after hours. Don had some musical tastes I liked to check out. It was a great friendship." Any night Breaker took the stage, it was a special event. Hodges doesn't exaggerate when he says, "The crowd was so receptive, we could have played 'Mary Had A Little Lamb,' I think, and the crowd would have gone wild." With Hodges, Breaker spend '89 and 1990 demoing, at Beachwood, in anticipation of an overdue follow-up to GET TOUGH. The album, entitled ENGINES OF DISASTER, was actually begun, at Beat Farm Studio, with Depew engineering and producing. Halfway through the sessions, Hamar had took a leave of absence, to attend an ailing family member. The entire project was put on hold and the band members eventually drifted apart. Until recently! Late in 1998, Breaker entered Depew's 609 Recording Studios to cover Accept's 'Breaker,' the song which started it all, inspiring the band's formation, back in 1982. The song serves as a tribute to the amazing die-hard European fans, who have continued to express strong support and undying devotion and affection over the years. "Breaker's music is timeless. It sounds as fresh and exciting in 1999 as it did in 1983," says Auburn's Bill Peters. "This is truly one of the greatest underground bands of our time." As a pre-release, the ACCEPT EP has garnered fantastic reviews throughout the world. Not bad for their first disc in fifteen years! In addition, many of Europe's finest publications have conducted full-length features on Breaker. Awed by the response, the band isn't sitting idle. They're hard at work, recording 'Pictured Life' for an upcoming Scorpions tribute, through Nuclear Blast and most importantly, readying themselves for the biggest performance of their career. As a result of the rabid response to the EP and the anticipated re-release of GET TOUGH, Breaker have been asked to play the 10th Anniversary of the Wacken Open Air festival, in Germany. In August, more than 20,000 diehard metalheads will finally have the opportunity to witness Breaker live! MARK GROMEN Metal Maniacs / Brave Words & Bloody Knuckles June 2000 mgromen@aol.com ← back DESTRUCTOR FOREVER IN LEATHER New studio album from Cleveland's thrash metal legends! ************************************* BLACK DEATH BLACK DEATH Double CD reissue of the original 1984 Auburn Records album with deluxe booklet and bonus tracks First time officially on CD!