Demon -

Demon was an English hard-rock/metal band that released the 1981 Carrere album Night of the Demon and charted with their 1982 second, The Unexpected Guest. They followed with the epic 1983 release The Plague, their first of four Clay Records albums, followed by the 1989 Sonic title Taking the World by Storm.

Members: Dave Hill (vocals), John Wright (drums, 1979-87), Mal Spooner (guitar, 1979-84), Paul Riley (bass, 1979-81), Clive Cook (guitar, 1979-81), Chris Ellis (bass, 1981-83), Les Hunt (lead guitar, bass, 1981-83), Andy Richards (keyboards, 1982-83), Steve Watts (keyboards, 1984-97), John Waterhouse (guitar, 1984-93), Gavin Sutherland (bass, 1984-86), Andy Dale (bass, 1986-89, 2000-11), Scott Crawford (drums, 1987-91), Steve Brookes (guitar, 1987-2003)

Background

Demon formed in 1979 in Leek, Staffordshire, when singer Dave Hill and guitarist Mal Spooner started a hard-rock/metal band after earlier work together in Iron Cross. Hill had sung in Stoke-on-Trent groups during the late sixties, including the Inner Circle and the Pigeon Flyers.

The Pigeon Flyers cut the 1968 Columbia single “The Heaven We Shared Together” backed with “Keep On Sayen’,” both credited to Hill. Spooner played guitar in Iron Cross, a glam-rock group that also featured Hill on vocals. The first Demon lineup added drummer John Wright, bassist Paul Riley, and guitarist Clive Cook.

Clay Records issued the 1980 single “Liar” backed with “Wild Woman.” Demon then moved from the Riley–Cook lineup to an album lineup with singer Hill, drummer Wright, bassist Chris Ellis, guitarist Spooner, and guitarist/bassist Les Hunt. Mike Stone signed Demon to Clay Records and licensed the band to Carrere Records for the first album. Demon recorded Night of the Demon at Clay Studios and completed engineering and mixing work at Cargo Studios in Rochdale and Rampart Studio in London.

Night of the Demon

Demon released their debut album, Night of the Demon, in June 1981 on Carrere.

Night of the Demon contains ten Hill–Spooner originals and establishes their authorship run across the first four Demon albums. The debut follows the 1980 Clay single “Liar” with Ellis and Hunt in the album lineup; Cook returns only for effects voice on “Full Moon.”

“Full Moon” chants a slow occult mantra through voices and tomb-side effects. “Night of the Demon” breaks from the prelude into a four-chord riff, with Hill’s title line set against a plain rhythm bed. “Into the Nightmare” pushes a faster cut around repeated chorus turns. “Father of Time” eases the pace with a mellow main figure and a stronger title landing. “Decisions” jolts the tempo upward with direct motion and compact riff work.

“Liar” settles into the moderate side-two pace and leaves open space around Hill’s voice. “Big Love” leans on a direct riff line and the same uncluttered barroom feel. “Ride the Wind” bounds through a faster cut with one of the noted solos. “Fool to Play the Hard Way” softens into a mellow love-song setting. “One Helluva Night” drives the faster side-two material with a louder party chant and another noted solo.

A1. “Full Moon” (1:33)
A2. “Night of the Demon” (3:16)
A3. “Into the Nightmare” (3:58)
A4. “Father of Time” (4:09)
A5. “Decisions” (3:40)

B1. “Liar” (3:13)
B2. “Big Love” (4:14)
B3. “Ride the Wind” (2:48)
B4. “Fool to Play the Hard Way” (4:01)
B5. “One Helluva Night” (3:55)

Demon credited production to the band and listed Mike Stone as executive producer. John Brierley and Will Reid Dick engineered the album, and Pete Hinton mixed the material. The credits place recording at Clay Studios and engineering/mixing work at Cargo Studios in Rochdale and Ramport Studio in London.

Clay issued “Liar” as an August 1980 single (b/w “Wild Woman”). Carrere lifted “Ride the Wind” as a June 1981 single (b/w “On the Road”), followed by “One Helluva Night” as a March 1982 single (b/w “Into the Nightmare”).

The Unexpected Guest

Demon released their second album, The Unexpected Guest, in July 1982 on Carrere.

The Unexpected Guest retains Ellis, Hunt, and Wright from the debut. Andy Richards joins on keyboards, and Hill–Spooner credits cover the eleven-title program from “Intro: An Observation” to “Deliver Us from Evil.”

“Intro: An Observation” creeps through footsteps, distressed voices, and childlike piano figures. “Don’t Break the Circle” grinds from a bluesy riff into faster sections, with Hill’s title call over layered guitar lines. “The Spell” darkens the ritual text with slinky synth figures and bell accents. “Total Possession” hammers through a hard opening, then shifts into a brighter chant without dropping the drive. “Sign of a Madman” presses a crunching riff beneath atmospheric keys and a sharper final stretch around Hill’s repeated lines.

“Victim of Fortune” swells on thick organ and a broad main riff, with Hill’s vocal set against philosophical lyric turns. “Have We Been Here Before?” bounds through crunchy riffs and an upbeat reincarnation text. “Strange Institution” slows into a moody semi-ballad, with a blues-shaded solo behind the machine-life lyric.

“The Grand Illusion” rips through aggressive riffing, cackling laughter, and a middle break that spills into a blazing lead. “Beyond the Gates” stalks from a cranking opening into a medium-paced motif with electronic accents. “Deliver Us from Evil” surges from its opening assault into gang vocals and call-and-response lines.

A1. “Intro: An Observation” (1:24)
A2. “Don’t Break the Circle” (4:45)
A3. “The Spell” (3:42)
A4. “Total Possession” (3:52)
A5. “Sign of a Madman” (4:30)

B1. “Victim of Fortune” (4:42)
B2. “Have We Been Here Before?” (4:42)
B3. “Strange Institution” (4:51)
B4. “The Grand Illusion” (3:43)
B5. “Beyond the Gates” (4:20)
B6. “Deliver Us from Evil” (5:19)

Pete Hinton produced the album at Bray Studios. Stewart Eales and Will Reid Dick engineered the sessions, and the production credits place mixing at Bray Studios and Ramport Studios in London.

Carrere issued “Have We Been Here Before?” as a June 1982 single (b/w “Victim of Fortune”). The Unexpected Guest reached No. 47 on the Official Albums Chart.

The Plague

Demon released their third album, The Plague, in June 1983 on Clay Records.

The Plague is the last Demon album with Ellis, Hunt, and Richards. The eight-title Hill–Spooner program includes Lorne Balfe on child voice for the title track. Plague has its secondary theme, “Blackheath,” split across the side break.

“The Plague” flickers with beeps, buzzes, and static before a simple harmonized title chorus. “Nowhere to Run” loops bright electronic effects around a mid-paced song shape and futuristic chorus figures. “Fever in the City” glides through chilled-out theatrics and a piano-led, sparsely filled setting, then tightens at the climax. “Blackheath” brightens the sequence with an upbeat two-part song shape and grouped title emphasis.

“The Writings on the Wall” rattles through saloon piano, carnival color, a jarring riff effect, and a sectional crescendo. “The Only Sane Man” returns to the piano-led sparseness, with minimal accompaniment and a highlighted climax. “A Step Too Far” claps back into action with hand accents, buzz-saw solos, and Hill’s repeated cry.

A1. “The Plague” (6:17)
A2. “Nowhere to Run” (4:59)
A3. “Fever in the City” (7:27)
A4. “Blackheath” (2:55)

B1. “Blackheath Intro.” (1:50)
B2. “The Writings on the Wall” (5:49)
B3. “The Only Sane Man” (5:34)
B4. “A Step Too Far” (6:25)

Demon produced the album at Highland Studios in Inverness. Stuart Eales engineered the sessions, Mike Stone and Julian Mendelsohn mixed the material at Sarm Studios in London, and Denis Blackham cut the album at Tape One in London.

The Plague features artwork, cover concept, and art direction by Mike Hannan, with additional art direction by Hill and Spooner. The gatefold sleeve includes a four-page booklet bound into the inner gatefold.

Clay lifted “The Plague” as a May 1983 single (b/w “The Only Sane Man”). The Plague reached No. 73 on the Official Albums Chart.

British Standard Approved

Demon released their fourth album, British Standard Approved, in April 1985 on Clay Records.

British Standard Approved brings Gavin Sutherland into the bass role while John Waterhouse adds guitar beside Spooner. Steve Watts replaces Richards on keyboards. Spooner remains for the last Hill–Spooner program, which places the instrumental “Second Stage” before the two-part “The Link” and closes on “Hemispheres (British Standard Approved).”

“First Class” hums through electronic effects, with beeps, buzzes, and clipped voices taking precedence over band motion. “Touching the Ice” softens around mellow bongos and pastoral color. “Second Stage” rattles as an instrumental effects passage with mechanical noise and rising electronic tones. “Proxima” narrows around Hill’s controlled lower line and simple vocal turns.

“The Link” quickens across its second part, with synthetic figures pushing a distant, mechanized feel. “From the Outside” lightens into a soft acoustic vocal setting. “Wonderland” lifts the side with brighter motion. “Hemispheres (British Standard Approved)” glides into the closing stretch with a dreamlike finish.

A1. “First Class” (4:46)
A2. “Cold in the Air” (2:59)
A3. “Touching the Ice” (4:50)
A4. “Second Stage” (3:14)
A5. “Proxima” (3:02)
A6. “The Link (Part 1)” (3:31)

B1. “The Link (Part 2)” (3:08)
B2. “New Ground” (6:22)
B3. “From the Outside” (5:38)
B4. “Wonderland” (4:40)
B5. “Hemispheres (British Standard Approved)” (5:58)

Demon co-produced the album at Strawberry Recording Studios in Stockport/Manchester. Chris Nagle engineered the sessions with assistant engineer Nigel Beverley. Keith Andrews and Mike Stone mixed the album at Amazon Studios in London, and Peter Dahl and Denis Blackham mastered the sides at the Cutting Room in Stockholm and Tape One in London.

British Standard Approved features artwork by David Harris and typography by John Simpson. Clay issued the album with an inner lyric sleeve.

Clay issued “Wonderland” as a November 1984 single (b/w “Blackheath (Remix)”). The 12-inch issue paired “Wonderland” with “Nowhere to Run” and “Blackheath.”

Heart of Our Time

Demon released their fifth album, Heart of Our Time, on December 2, 1985, on Clay Records.

Heart of Our Time replaces the Hill–Spooner writing axis with nine Hill–Watts titles, including the instrumental “Summit.” Sutherland handles most bass parts, with Keith “Archie” Andrews on the title track. Leslie Ankrah and Sylvie Gatrill sing backing vocals.

“Heart of Our Time” lifts on a light, optimistic title line and Hill’s steady voice. “Genius?” carries an earnest lyric through direct delivery. “High Climber” toughens the set with one of the album’s few firmer passages. “Grown Ups” adds another harder section near the close. “Summit” floats as an electronic instrumental with celestial effects. “One Small Step” settles on a reflective lyric and a calm philosophical ending.

A1. “Heart of Our Time” (3:56)
A2. “Walk in Your Own Light” (4:35)
A3. “Genius?” (5:52)
A4. “Expressing the Heart” (6:51)

B1. “High Climber” (4:19)
B2. “Crossfire” (4:35)
B3. “Grown Ups” (3:50)
B4. “Summit” (2:27)
B5. “One Small Step” (4:08)

Demon and Mike Stone produced the album at Amazon Studios in Liverpool. Keith Andrews engineered the sessions with assistant engineer Paul Sinkinson, and Peter Dahl mastered the album at The Cutting Room in Stockholm.

Heart of Our Time features cover art by Dave Broadhurst, whose image shows a nude figure on the curvature of Earth, holding a moon against a star-field background. Clay issued the album with an inner lyric sheet.

Breakout

Demon released their sixth album, Breakout, on June 7, 1987, on Clay Records.

Breakout contains nine Hill–Watts titles and introduces Andy Dale on bass. Wright makes his last Demon album appearance beside Hill, Waterhouse, and Watts. “England’s Glory” adds the Trent Valley High School Choir under Alan Chapel.

“Life on the Wire” lengthens its opening build before Hill enters with a hoarser edge. “Hurricane” drives a riff-led hard line with Hill in firm voice. “Breakout” charges on a thicker front-line riff and synthetic figures tucked around the harder motion. “England’s Glory” rattles through rapid verse lists and a school-choir lift. “Through These Eyes” roughens Hill’s tone into a groggy, hoarse delivery.

A1. “Life on the Wire” (5:40)
A2. “Hurricane” (4:48)
A3. “Breakout” (4:38)
A4. “Living in the Shadow” (5:09)
A5. “England’s Glory” (3:38)

B1. “Standing in the Shadow” (4:55)
B2. “Hollywood” (4:58)
B3. “The Big Chance” (5:37)
B4. “Through These Eyes” (5:45)

Mike Stone and Demon produced the album at Amazon Studios in Liverpool. Keith Andrews recorded the album, Pete Coleman engineered and mixed the material, and Denis Blackham mastered the album at Atlantis Studios in Stockholm. Andy Harman, Ian McFarlane, and Marc Crellin assisted the sessions.

Breakout appeared in a gatefold sleeve with an inner lyric sheet. Keith Scaife created the original cover artwork, and M.J.A. designed the sleeve.

Clay issued the non-album “Tonight (The Hero Is Back)” as an April 1988 double-pack single (b/w “Hurricane”; second disc: “Don’t Break the Circle (Remix 88)” b/w “Night of the Demon (Remix)”).

Taking the World by Storm

Demon released their seventh album, Taking the World by Storm, on June 2, 1989, on Sonic Records.

Taking the World by Storm introduces Demon’s post-Clay lineup with drummer Scott Crawford, bassist Nick Bushell, and guitarist Steve Brookes. Waterhouse and Watts expand their credits to tin whistle and recorder. The seven Hill–Watts titles place three extended pieces across the second side, which closes with “Time Has Come.”

“Commercial Dynamite” stomps through plodding riffs, Hill’s throaty line, shrieking lead, and a middle instrumental turn. “Taking the World by Storm” barrels through a fast title line and hard-riff bed, then bends the verse into a contrasting earthier turn. “The Life Brigade” opens on slow figures and atmospheric keys, then vaults into a heavier repeated riff, shifting sections, and a sharp solo. “Remembrance Day (A Song for Peace)” swells from flute and piano into slow riffing and dramatic orchestral weight.

“What Do You Think About Hell” darkens the broad arrangement with Hill’s dramatic voice and slower pressure. “Blue Skies in Red Square” starts in a slow atmosphere, then races into full-speed verses, fast soloing, and returns to the opening material. “Time Has Come” reprises the “Remembrance Day” material inside an enveloping close with piano-led weight.

A1. “Commercial Dynamite” (4:43)
A2. “Taking the World by Storm” (4:06)
A3. “The Life Brigade” (6:08)
A4. “Remembrance Day (A Song for Peace)” (9:39)

B1. “What Do You Think About Hell?” (6:59)
B2. “Blue Skies in Red Square” (8:07)
B3. “Time Has Come” (11:35)

Mike Stone produced and mixed the album with Demon co-production at Amazon Studios in Liverpool. Keith Andrews, Mark Phythian, and Pete Coleman recorded the material. Hill, Watts, Stone, and Phythian completed the mixes.

Taking the World by Storm features cover art by Duncan Storr. Sonic issued the LP in a gatefold sleeve with lyrics across the inner panels.

Discography: