The little-known heavy metal outfit White Boy and the Average Rat Band hailed from a coal mining town in southwest Virginia. Though the guys were outsiders, residing in the heart of the Bible Belt, they managed to put out one thrilling album in the early 1980s. After decades, they’re back—and so is their coveted LP. 

Led by Mike Matney (a/k/a “White Boy”), the unit recorded what would become their self-titled album in 1980. The LP was released by way of their own label, Tradewind Records. Just 300 copies were pressed, though 50 of them were misplaced at a bus station and were never recovered.
 

 
Like the best private press records of the ‘70s and ‘80s, the album is a stunning one-of-a-kind. My favorite track is “Neon Warriors,” an explosive number that blends the meta hard rock of Blue Öyster Cult with Judas Priest-like heavy metal.
 

 
The group’s closest contemporaries were part of the then burgeoning scene known as the New Wave of British Heavy Metal, but that was a world away.
 

 
White Boy and the Average Rat Band Played a handful of live shows in the early ‘80s, before calling it quits. In the ‘90s, Mike was shocked to discover that not only was there interest in the White Boy album, but it was selling for three figures. Eventually, bootleg copies began appearing. Recently, the Heaven and Hell label put out the first authorized reissue of the record on CD, with bonus tracks. A vinyl edition is imminent.

I asked Mike Matney a few questions via email.

How did you get the nickname “White Boy”?

Mike Matney: I grew up playing music, and by the time I got to high school in the late ‘70s, I had it bad. I begged my parents to help me get to Nashville after high school. They did. I was eighteen years old and working in a music store in Nashville, when I met Kriss Famous. Kriss invited me to try out for his band, Taboo. He had just lost his guitar player, Ron Keel. Ron was in the process of leaving Nashville and heading off to L.A., where he would find successes with the band Steeler. Kriss’s band was mostly black. He started calling me “White Boy.” It just stuck. After I had moved back home and started working on the album, I put my own band together. So, one day we’re observing our pre-practice ritual on the back porch, with a particularly fine crop, it [the name] just came out.

What sorts of things/events/people inspired the songs on the album?

Mike Matney: I think the inspiration for the album came more as an artistic endeavor. I had just come back from Nashville, where I had spent my time playing in someone else’s band and playing someone else’s music. I always enjoyed writing my own material, so when the opportunity arose for me to record my own songs, I jumped at the chance. I was always pretty eclectic in my taste, as far as what I listened to. I grew up in the ‘60s listening to my mom’s old 45s and the ‘Something New LP from the Beatles. By the time I was in the fifth grade, I had the Black Sabbath album and Alice Cooper’s School’s Out. I was a metal head, I guess.

But it seemed stuff went in one way and always came out a little different on the other side. But the album represents total artistic freedom for me. At the time, people were supportive, and I took advantage of my opportunity. “The Prophet Song” and “Maybe I’m A Fool” are a direct reflection of my struggle to reconcile this secular world with the spiritual one.
 
Much more after the jump…