Venom's 'Doomed to Hell' bootleg LP is a raw, unpolished testament to the band's early power. Though shrouded in mystery, its ferocious energy and iconic tracks make it essential for any metal fan. #vinylrecords

Venom: "Doomed to Hell" - The Bootleg Inferno

Album Description:

In the smoldering ruins of the early 1980s, amidst the molten lava of heavy metal's nascent evolution, Venom emerged as a band both revered and reviled. Their raw energy, blasphemous lyrics, and sonic assault ignited a firestorm of controversy, paving the way for a new genre: black metal. While Venom's official discography is littered with classic albums, there exists a shadowy, enigmatic recording that continues to tantalize and torment fans and collectors alike: "Doomed to Hell."

Misinformation and Mystery

For years, "Doomed to Hell" has been shrouded in a veil of misinformation and half-truths. Bootleggers and unscrupulous record labels have perpetuated the myth that this live album was recorded during Venom's legendary "American Assault" tour in 1984, or perhaps at a clandestine show in the Netherlands. However, the truth is far more elusive.

"Doomed to Hell" is, in fact, a bootleg recording of unknown origin. The exact location and date of the performance remain shrouded in mystery, adding to the album's mystique and allure. While the band's official stance on the bootleg is unclear, the fact that it continues to circulate and garner attention speaks volumes about Venom's enduring legacy and the insatiable hunger of their fans.

Sonic Chaos and Unbridled Energy

Despite its murky origins, "Doomed to Hell" captures the raw, unadulterated essence of Venom in their prime. The recording is rough around the edges, with an almost primitive sound quality that adds to its visceral impact. The band's performance is nothing short of explosive, with Cronos' guttural vocals, Mantas' blistering guitar riffs, and Abaddon's thunderous drumming coalescing into a maelstrom of sonic chaos.

The album's setlist is a testament to Venom's early classics, showcasing their pioneering blend of heavy metal, punk, and proto-black metal influences. From the opening chords to the final feedback-drenched crescendo, "Doomed to Hell" is a relentless assault on the senses, a testament to the band's unbridled energy and their unwavering commitment to pushing the boundaries of extreme music.

Legacy of the Bootleg Inferno

While "Doomed to Hell" may not be an official Venom release, it holds a unique place in the band's history. It serves as a reminder of their early days, when they were a force of nature, a band that defied convention and challenged the status quo. The bootleg's enduring popularity is a testament to Venom's enduring legacy and their profound influence on generations of musicians.

"Doomed to Hell" is a raw, untamed document of a band at the peak of their powers. It is a bootleg inferno that continues to burn brightly, fueled by the passion and devotion of Venom's legions of fans. Whether you're a seasoned metalhead or a newcomer to the genre, "Doomed to Hell" is an essential listening experience, a glimpse into the fiery heart of one of heavy metal's most iconic and controversial bands.

Music Genre:

Punk Crossover Black Death Metal

Album Production Information:

This album was recorded 11 Feb 1984 at: Ijsselhal, Zwolle, Holland, 11 February 1984

Record Label & Catalognr:

Big Thumb Records WEN 1102

Media Format:

12" Vinyl Stereo Gramophone Record
Total Album (Cover+Record) weight: 230 gram

Year & Country:

1984 Made in USA

Band Members and Musicians on: VENOM Doomed to Hell One Hour Black Heavy Metal

Mantas - Chain Saw Guitar
Mantas (real name Jeffrey Dunn) is a British guitarist best known as a founding member of Venom, a pioneering band in black metal. He played on classic albums like Welcome to Hell and Black Metal. Beyond Venom, he formed the band Mantas, played in Venom Inc., and contributed guest guitar to Warfare’s A Conflict of Hatred in 1992.
Cronos - Bulldozer Bass
Conrad "Cronos" Lant, born on 15 January 1963, is the bassist and vocalist most people picture when Venom comes crashing into the room. Not polished. Not polite. Not one of those tidy heavy metal frontmen who sounded as if they had read the manual first. Cronos came out of the Newcastle metal racket with bass, voice, leather, distortion and enough bad attitude to make the NWOBHM scene feel less like a movement and more like a pub fight behind a rehearsal room.

more...
Venom formed in Newcastle upon Tyne in 1978, but the version that really burned itself into metal memory was the classic three-piece: Cronos on bass and vocals, Mantas on guitar, and Abaddon on drums. By the time "Welcome to Hell" arrived in 1981, they were already rougher, faster and nastier than most of the neat little NWOBHM hopefuls trying to look dangerous under decent stage lights. Venom sounded like the lights had blown out altogether.

Then came "Black Metal" in 1982, and there it was: a title that stopped being just an album name and started crawling across the underground as a whole ugly idea. Cronos did not sing so much as bark, spit and drag the words across broken glass. His bass was not there for tasteful support either. It shoved. It snarled. It made the records feel overloaded, as if the speakers were being asked to do something frankly unreasonable.

That is why the old Venom records still matter to collectors. Not because they are perfect. Good grief, no. The charm is partly that they are not perfect. They have the smell of cheap rehearsal rooms, Neat Records vinyl, imported sleeves, tape hiss, bad decisions and teenage volume. In the early eighties, while plenty of bands were polishing their boots for the next Kerrang! photo, Venom seemed busy kicking the door off its hinges.

Cronos left Venom in late 1986 and took Mike Hickey and Jim Clare with him to form his own Cronos project. His solo debut, "Dancing in the Fire", appeared in 1990, not 1986 as lazy copy sometimes claims. Useful correction, that. Metal history is already noisy enough without adding bad dates to the amplifier hum.

The original Venom trio returned in the mid-1990s, which gave collectors another reason to pull the early LPs from the shelf and argue over which period really mattered. For me, the essential Cronos is still the one trapped in those early records: "Welcome to Hell", "Black Metal", "At War With Satan", "Possessed". That run has the grubby magic. The sound of British metal losing its manners.

On "At War With Satan", especially, Cronos is less a traditional frontman and more a warning label with boots. The long title track, the gatefold theatre, the whole exaggerated satanic pantomime: it should have collapsed under its own nonsense. Somehow it does not. It lumbers forward, ridiculous and magnificent, and that is very Venom. Half menace, half cartoon thunderstorm, fully collectible.

References and Further Reading
Abaddon - Nuclear Warheads