An interesting little package.

Young Blood arrived late at the NWOBHM beach party, and released just one single, the 12" 'First Blood' EP, before the musical tide changed and the band were washed away. In their brief lifespan they had some notable successes, including touring with Phil Lynott's Grand Slam and opening for Motörhead at Hammersmith Odeon in May 1984 – a bit of a mismatch given Young Blood's more melodic take on things – but they did have interest from the media and the industry at large, and for a while it looked like they would be a band to break through.

However, if you're expecting 'Transfusion' to be a long-lost NWOBHM nugget, think again. The actual thread that runs through this album is guitarist/vocalist/songwriter Stewart Goodchild, who formed the Darlington three-piece from the ashes of his previous pop band Civilian; and what's actually on offer here are two early Young Blood demo cuts, the four tracks of the 'First Blood' EP and a nine-song demo album 'Panorama' Goodchild recorded with an entirely different band (Saviour) in 1989.

The demo tracks are pretty much pop metal, but if you ignore the fact that they are just demos 'Ray Gun (Shoot Me Like A)' and 'Shoulda Known Better' both have the makings of good ideas that a producer (and a bit more studio time) could have whipped into shape. By contrast, the four songs of 'First Blood' were recorded in January 1984 (with Fred 'Tygers Of Pan Tang' Purser in the producer's chair) and sound as strong today as they did back when the EP was released. Melodic and catchy, the material's not that far removed from what the likes of Bon Jovi were starting to export from America, and although 'Hold On To Love' is the more commercial opener 'Your Money Or Your Life', 'Good Time Tonight' and 'Dangerous Games' are storming little blighters, not a hundred miles from, say, Black Rose. 

Fast forward to 1989, and 'Panorama' was recorded to be shopped around the labels. With Purser again producing, and ex-Pauline Gillan Band bassist/keyboard player Chris Wing and one-time Tygers Of Pan Tang drummer Geoff Armstrong lining up alongside Goodchild Saviour's material is overtly commercial with some glorious vocal harmonies. The production really pegs the songs to the late Eighties though, which means they do sound quite dated at times, and, unfortunately, by the time Saviour were trying to tout these songs to the majors this particular boat had well and truly sailed.

It would be remiss to not to mention the fact that the booklet features some horrendous typos (in particular spelling Phil Lynott's name incorrectly and mistitling one of the EP's songs) but that's not to put you off what is an interesting little package featuring the work of a sincere and evidently talented young British musician.

John Tucker