As so many teenagers in the early 1980s, a group of old pals Chuck Stohl and Fritz Adamshick- came together in Toledo, Ohio and – they started a rock band. It was actually a covering of Judas Priest, Iron Maiden, UFO, Black Sabbath and the Scorpions. They were paying tribute to all of their heroes but as time wore on, Damien gained a small fanbase. Soon enough, Stohl and Adamshick realized they might have something, especially when concert-goers started asking for original songs. Within a few weeks they had recruited vocalist Randy Mikelson, bassist Kevin Kekes and drummer Johnny Cappelletty. The duet, Stohl and Adamshick weren’t in hurry and trying to win some time for their new band’s lineup. The band began rehearsing in a practice space on St. Clair Street five nights a week, learning covers and writing new material. After 18 months of practicing still the band hadn’t played not even one live performance. Stohl and Adamshick then decided to record a studio album and do it the old school way, all DIY so in order to do that they rented a mixing board and microphones, played their originals and covers, and started recording eventually mixing everything down to a cassette deck. Pleased with the results, the band played a few select warehouse shows or better saying parties and waited for a proper future date to play live. At the same time no label seemed to be attracted from their recordings that some of them (the labels) weren’t even considered them as demos. It was no later than 1984, that Damien was finally given a headlining slot at Kip’s South, where in a Monday evening of one of the worst blizzard in years December the small club found itself over capacity as 800+ people crowded in to hear the New kids in town. At this particular show one of the attendances was Freddie Salem, that got so much Impressed with Damien’s sound, performance and audience’s energy and passion. Salem got them in touch with legendary manager Charlie Bruso (with some added help from Black Oak Arkansas singer Ruby Starr). The band soon found itself inking a deal with High Tride Management, and then eventually joining Dave Preschel at Modern Management. Damien suddenly had a record deal. In the meantime, their practice- recordings were forgotten relegated to the back of someone’s closet. Without a pause, the band flew to New York and began laying tracks for “Every Dog Has Its Day” at D&D Recording, working with engineer Sam Ginzberg( Aerosmith, Blue Oyster Cult, Starz) and Mike Rogers (Hunters & Collectors, Die Warzau). Unfortunately, as their record label was a big label in dance records but totally newbies to metal, the album took nine months to get into stores, as Select Records had no contacts or marketing experience in the metal scenes. The band started their journey into music business with many dreams and many hopes. I personally speaking find these lost tapes as probably their best work. And I really mean it. Due to the raw energy and their thirst for metal and success that is so obvious and charming to my ears. I know that I’m not the only one that claims it as many other journalist and critics -and fans also-consider the “ St. Clair Tapes” to be slightly superior to Select’s 24- track recordings, possibly due to the raw energy I’ve mention before and the hungry vivacity Damien thrived on prior to achieving prominence. Truth be told, the band itself was surprised the recordings still existed, let alone sounded so good! Now it’s your time to judge it!!! It is availbale via Lost Realm Records. 15 songs with alternative versions from both ‘Every Dog Has Its Day’ and ‘Stop This War’ full-length albums, flawlessly remastered by Bart Gabriel, plus rare live footage from Damien’s early years. It includes 16 page booklet with official band biography, full lyrics and rare photos!