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The album kicks off with the title track taking the bull by the horn and proclaiming its
caliber right away. The distinct NWOBHM vibe of the song, inclusive of the deranged vocalizing,
discharged guitars, electrified bass and the pounding and a rolling drums, establishes the
track as one of NWOBHM's best - and that is saying a lot. The song best exemplifies Weapon's
brash naivete that was and remains part of the band's appeal. Set The Stage Alight will
make one "run like Satan in a rage." Just ask the band! Liar is next up and, say what you want
about the trait, is a barnstormer with great backing vocals and an outstanding break halfway
through the song. Take That Bottle Away is next and is more commercial in intent.
The harmonies and the sheer abandon of the song make for lighter fare. Is that David Lee Roth at
the song's end? One Night Stand establishes the band's love affair with Deep Purple.
The guitar racket of Jeff Summers is like the clamour of Ritchie Blackmore's younger brother
for attention. Then again, this song would not only proudly stand its ground on any Purple album,
but is also elevated by Hynes' distinctive larynx. One comparison that absolutely has to be made
is the main rhythm of Mad Mad World which is identical to Anvil's Metal On Metal! One
would love to know if these bands ever crossed paths. Either way, imagine Weapon's wasted
qualities by recalling how Metal On Metal is considered a metal classic and regarded as Anvil's
defining moment. Lest the punters are reading into the comment, this song overpowers anything
Anvil has ever done and was recorded two years before Metal On Metal. The riffs are identical
though. Another thing that needs a mention is the song's odd and uncomfortable vocal phrasing.
Midnight Satisfaction is poppy and is part of the band's expressed desire to remain diverse
and avoid being classified. The song has some great bass work all over it and despite the
commercialism ends in a triumphant manner. Bad Love is up next and is even poppier.
Aside from a soulful guitar work-out this little ditty should and could have been on Top Of The
Pops. Ouch! The album proper ends with Olivia a mushy ballad with a fantasy behind it.
Hint: it's not Newton John. The band has unearthed four demo songs, not originally destined
for the album, and tagged them onto the end of the disc giving the fans a total of twelve
tracks. Good thing too, Remote control is a terrific metal tune with a heartfelt
performance. It is also the only track completely penned by bassist Barry Downes. One has
to suffer the A&R man who heard this and still did not sign the boys. The Iron Lady
must have cut back ear exams at the time. The guitars scream early Iron Maiden, the rhythm
sticks in your mind long after the CD's over and Hynes' pitch sends shockwaves to the brain.
The song does end very much like the title track. Next up is the pounding Light Of The World.
It stands proudly next to anything that came out of Sheffield between 1979 to 1981. This
track is completed by cool backing vocals and skillful guitars. The chorus would have given
the London boys an undeniable commercial edge in 1980 had anyone actually bothered to
listen. Killer Instinct is an AOR tune with shredding guitars and a confident rhythm
section. The CD comes to an end with Things You Do which is another commercial song,
albeit with a bluesy edge. Then it is back to track one and time to play the CD all over again.
Bottom-line: Set The Stage Alight is that rare buried gem, now exhumed for hard rockers, heavy metallers and NWOBHM aficionados to enjoy. The CD proves that a twenty-year old weapon can be as powerful and potent as the day it was forged. - Ali "The Metallian"
