'Chained & Desperate' marks the debut for short lived NWOBHM outfit 'Chateaux', a band highly typical of the genre, purveying a rough and ready early British Metal sound, although this album probably illustrates the most diversity of their three releases. 'Chateaux' are perhaps best known for hiring 'Grim Reaper's' 'Steve Grimmett' to lend his vocals to this album, replacing bass player 'Alec Houston' who previously fronted the band, but that said 'Grimmett's' actual contribution is widely open to interpretation. Sadly this is another one of those NWOBHM albums that is undermined by a weak production, as there is a notable lack of definition and clarity throughout, which takes the edge off a potentially good album.

The title track opens proceedings in solid fashion, a typical NWOBHM rocker, which highlights a strong catchy chorus and some clever 'Tim Broughton' guitar licks and solos, which somehow manage to come across strongly, despite the production doing it's best to stifle both. 'Spirit of the Chateaux' ensues with a mid-tempo riff driven approach, that while musically fairly impressive, the vocals on the chorus don't come off particularly cleanly and ultimately borders on the rowdy. The pace is picked up for 'Burn Out at Dawn' which is slightly reminiscent of 'Raven' with it's uncompromising gallop, but with 'Steve Grimmett' at the helm also has a certain 'Grim Reaper' vibe- short and snappy but effective. The semi epic 'The Dawn Surrendered' follows and is a tad reminiscent of 'Grim Reaper's' 'The Show Must Go On' and credit due is a pretty brave attempt for a NWOBHM debut, but sadly despite some promise ends up repetitive and longwinded. It's back into more familiar territory with the punchy rocker 'Straight to the Heart', that whilst being a little rough around the edges is a good dose of Metal which again has that certain 'Grim Reaper' feel. Next up is the energetic 'Baton Rouge' which opens courtesy of some fine 'Tim Broughton' guitaring and ensues as a solid rocker, while 'Son of Seattle' isn't too dissimilar but perhaps lacks the edge of the former. The album closes with the more thoughtfully crafted 'Shine on Forever' a maturer offering with slightly Bluesy undertones, the production doesn't do this cut any favours but there is quality exhibited.

There's some strong tracks here that many fans of NWOBHM will be interested in hearing, but ultimately this is another potentially good album of the genre spoilt by a shoddy production.