The mid-1980s were a turbulent time for traditional British heavy metal, as the raw energy of the original New Wave of British Heavy Metal (NWOBHM) movement began to collide with the pop sensibilities that were all the rage in these parts. Few bands exemplify this cultural shift better than Raven, the Newcastle trio whose journey from underground speed-metal pioneers to major-label hopefuls is now thoroughly documented in a new four-CD box set, Screamin’ Down The House (1985-1988), from Cherry Red Records.
This collection captures an interesting period of reinvention for the power trio (featuring brothers John (vocals/bass) and Mark Gallagher (guitar) and drummer Rob “Wacko” Hunter), who had already established themselves as speed-metal trailblazers through their highly influential work on Neat Records. Influencing the likes of Metallica, Anthrax, and countless other early thrash practitioners with their breakneck speed, technical acrobatics, and dark, sardonic lyrical content, Raven’s sound was like no other. By the release of the band’s double live album Live at the Inferno, the band was literally on fire, headlining clubs and theaters across the US and beyond. By 1984, Raven had made the bold decision to relocate from Newcastle to New York, signing with major label Atlantic Records and embarking on an American adventure that would see them chase commercial success while struggling to maintain their metallic core.
The transformation is immediately apparent on 1985’s Stay Hard, the band’s Atlantic debut that opens this collection. Where earlier Raven albums crackled with the unbridled fury of tracks like “Lambs to the Slaughter” and “Crash Bang Wallop,” Stay Hard showcased a more polished approach, designed for American radio and the burgeoning MTV market. The single “On And On” received a few spins on MTV, its slick production and more accessible structure representing a calculated shift toward the mainstream rock sound that dominated the mid-80s landscape.
This new direction wasn’t limited to sound. Raven also reimagined their visual identity, adopting stage costumes that fused sports gear with post-apocalyptic flair—think shoulder pads, face paint, and a kind of “road warrior meets NFL linebacker” aesthetic. The look was as over-the-top as the era demanded, signaling a band trying to keep pace with the larger-than-life personas dominating MTV, such as Mötley Crüe, Ratt, and W.A.S.P. It was a far cry from the teenage street-urchin stoner look the band had previously been known for, and while some longtime fans bristled at the theatrics, the image aligned with the mid-’80s emphasis on spectacle, helping Raven stand out in an increasingly crowded field.
This commercial pivot wasn’t accidental, as it reflected the broader industry pressures facing metal bands in an era when hair metal was on the rise and traditional heavy metal needed to adapt or risk obsolescence. Raven’s willingness to experiment with their sound on tracks like the swaggering “Restless Child” and “Pray For The Sun” showcased the band’s desire to adapt to current trends.
The evolution continued with 1986’s The Pack Is Back, recorded at the legendary Bearsville Studios with renowned producer Eddie Kramer (Led Zeppelin, KISS, Jimi Hendrix). Here, Raven pushed even further into radio-friendly territory with a bizarre cover of the Spencer Davis standard “Gimme Some Lovin.” Oddly, it kind of works, with John Gallagher’s falsetto adding an eerie ambiance to the classic. “Screaming Down the House” is also strangely addictive, with a polished pop refrain that sounds more idiosyncratic than commercially viable. In spite of the slick production and the label’s commercial aspirations, this was Raven after all, not Def Leppard or Bon Jovi, and thus, the overall sound is that of a highly uneven square peg being jammed uncomfortably into the heart of a scene that didn’t understand it. The album’s title track retained some of the band’s original punch, but the overall sound was undeniably far more commercial than their output on Neat Records.
Then, there was the album’s cover. The artwork displays the band in full-on sports regalia, complete with makeup and teased hair, bursting out of a set of lockers. One of the campier covers of the era, it was miles away from the band’s lo-fi street looks and basic what-you-see-is-what-you-get approach to the music. But, in spite of all the detractors and surface issues, there are plenty of heavy riffs, memorable hooks, and as per usual, clever wordplay to be had.
The box set also includes the self-produced Mad EP from 1986, which marked a shift away from the band’s commercial direction. This five-track release suggests that Raven may have already been questioning the wisdom of their stylistic pivot, returning to a more aggressive approach that better reflected their metallicized DNA.
By 1987’s Life’s A Bitch, creative tensions were mounting. This would be drummer Rob “Wacko” Hunter’s final album with the band, and while still released under Atlantic Records, the album saw Raven steering back toward a heavier, more aggressive sound. Although it retained some commercial elements, it was a noticeable pivot away from the polished sheen of The Pack Is Back and a reassertion of their NWOBHM roots. The album’s title seemed to reflect the band’s growing frustration with the challenges of balancing artistic integrity with the expectations of a major label.
The set concludes with 1988’s Nothing Exceeds Like Excess, released on Combat Records with new drummer Joe Hasselvander from Pentagram. This album represented something of a creative rebirth, with the band once again self-producing and returning to a heavier sound that better suited their natural strengths. The Combat Records deal allowed them to reconnect with their metal roots while still incorporating lessons learned from their major label experience.
What makes this box set particularly valuable is how it documents a crucial period in metal history when British bands were navigating the changing American landscape. Raven’s Atlantic years weren’t entirely successful commercially, but they represent an important chapter in the ongoing dialogue between underground authenticity and mainstream accessibility that continues to define heavy music today.
The comprehensive nature of this collection, which comes complete with extensive liner notes from NWOBHM expert John Tucker, makes it essential for understanding not just Raven’s evolution but the broader challenges facing metal bands during this key era. While some fans might prefer the raw pummeling of early Raven, this box set reveals a band willing to take risks and experiment, even when the results didn’t always yield success.
For metal completists and Raven devotees alike, Screamin’ Down The House offers a fascinating glimpse into a band caught between two worlds, adapting their sound while fighting to maintain their identity in an increasingly commercial landscape.
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