Introduction

The Rocky Mountain State of Colorado is home to Jag Panzer, one of the best bands on the North American power/progressive metal scene. You may also note they are among the best metal outfits to be found anywhere. Formed in the early 1980's, they are legendary in some circles due to their impressive 1984 "Ample Destruction," LP. Success eluding them, the band experienced personnel changes, and hard times. Then in 1996 they reformed with their classic lineup, and the last few years have seen two impressive releases from the band, "The Fourth Judgement" (1997) and "The Age Of Mastery" (1998). Their live performances have garnered praise, and they have toured with Iced Earth, Gamma Ray, and Hammerfall.

North American power metal has a distinct signature. Some call it the Iced Earth sound. The sound is deeper and heavier than most European bands, and is sometimes criticized as not melodic or progressive enough. Jag Panzer combines the best elements of American power/progressive metal, European power/neo-classical metal, classic British metal, and create their own signature sound. The result is a music soundscape that pleases fans of multiple genres. In short, you will love Jag Panzer if you like Blind Guardian, Demons and Wizards, Gamma Ray, Helloween, Iced Earth, Iron Maiden, Nevermore, and other great metal bands characterized by excellent composition, playing, and sound.

Jag Panzer's fifth, and newest album, "Thane to the Throne" is one of the best for the year 2000, and among the most exciting releases of recent years. It has everything you want in a great power/progressive metal album. This includes a wonderful concept story, awesome vocals, superb musicianship, great songs/lyrics, first-class production, nice continuity and pacing, all-out rockers, seven-string heaviness, tasty keyboards, strings, choirs, and medieval sounds. A lot of hard work went into this release, and it shows throughout. Reportedly, the band worked meticulously on this recording for over a year. The album is produced and engineered by the legendary Jim Morris of Morrisound Recording Studios, well known for his work with Iced Earth, Demons and Wizards, and others.

The singer, Harry Conklin possesses a distinct voice with tremendous range, and will be ranked among the greats like Matthew Barlow, Bruce Dickinson, Warrel Dane, Ronnie James Dio, and Hansi Kursch. Guitarists, Mark Briody and Chris Broderick, create an outstanding rhythm and lead wall-of-sound. Devoid of showy grandstanding, their guitars serve to drive the music, and these gifted gentlemen can crunch and riff with the best of them. Briody and Broderick also add keyboard flourishes in appropriate places, never detracting from the awesome power of the dual guitar interplay. Bass player John Tetley is nicely heard in the mix, and provides backing vocals for Conklin. The drums of Rikard Stjernquist are crisp, clear and admirable. The foundation provided by Tetley and Stjernquist is fantastic and first rate. The team of Conklin and Briody writes most of the outstanding music.

I have listened to this CD about 30 times, in many different sound systems (home, car, truck, computers, Walkman, etc.) and it always sounds great, testifying to the superlative production that went into the making of this disc. The cover artwork and booklet is quite good, and something you expect from a band of this caliber. The back features a convincing image of the evil lady featured in the main story.

Next, we'll examine the 17 tracks that comprise "Thane to the Throne," a concept album based on William Shakespeare's sordid play, "Macbeth." We might call this version a Shakespearian rock opera.

All hail Macbeth! Hail to thee thane of Glamis!
All hail Macbeth! Hail to thee thane of Cawdor!
All hail Macbeth! That shalt be king thereafter!

01.  Thane of Cawdor (4:50)  Here we begin the tale of greed, deceit, treachery, guilt, and death. The mood is brilliantly set with choir, synths and marching snares before Conklin and band kick in with ferocity. Becoming Macbeth, Harry persuasively sings, "I am mighty. Death follows in my wake. None will stand against my sword. I thank thee Duncan thou art of kingly blood. Proudly I do accept this ward." A great start with some nice lead guitar by Broderick. Macbeth indeed!

02.  King At A Price (3:49)  This is a standout track on the CD. Conklin is in fine form as the ruthless Macbeth, "A bloody blade brings change tonight. I am innocent in my plight. Regal in stature I take what's mine. I will be king at any price." Broderick smokes the guitar keeping up with the rest of the band. Intense drumming, thundering bass, clear vocals, and classic metal riffage make this an instant classic.

03.  Bloody Crime (5:34)  Another great track. I admire Harry's contrasting vocals on it as he sings the scheming parts of both Macbeth and Lady Macbeth, "You must strike. The time is thine. They'll crown Mac Beth as next in line. This kingdom ours, now is the time. We commit this bloody crime." Heavy metal crunch from Briody secures the bottom of this tune. A nice neo-classical lead by Broderick adds a fine touch. The only negative is an abrupt end to the track! (I'll likely get used to it.)

04.  The Premonitions (0:27)  Pleasant, mediaeval-flavored acoustic guitar picking serves as a bridge between tracks four and five. This is a nice contrast to the three blazing tracks that open this fine album.

05.  Treachery's Stain (4:11)  Classic metal crunch from the band provides an expert foundation for the growl Conklin invokes as Macbeth threatens a faithful servant of the previous king, "Banquo, how can thee betray me? Banquo, now I must slay thee." Another excellent solo from Broderick fills out this mid-tempo dirge. The poignant chorus of "Reap what you sow, sow what you reap," appropriately ends the song.

06.  Spectres of the Past (3:46)  Macbeth, as played by Harry Conklin, now feels guilt over the killing of Banquo, "I shake with fear, his voice I hear Banquo is dead, now he's in my head." And "He haunts my night. He haunts my day. Leave my mind, my friend; leave my guilt, I pray." Chilling! Here the band shows their neo-classical European influences, all the while maintaining the beautiful power of American metal. Another fine track, albeit with an abrupt end.

07.  Banquo's Final Rest (0:21)  A choir, violin, and piano sing of Banquo's rest in peace. Indeed, this band knows that a great concept album requires counterpoint to the metallic mayhem.

08.  Three Voices of Fate (5:13)  A choir on top of the band's awesome metallic bumblebee buzz warns Macbeth of the avenging MacDuff, "Macbeth, Macbeth, beware MacDuff. Beware the Thane of Fife. Enough!" Conklin confidently sings Macbeth's defiant words, "I am Macbeth, none will defy, even MacDuff. I seal a bond to rid this earth the name MacDuff." Even a violin fits in with the metal din. Jag Panzer truly is progressive.

09.  Hell To Pay (4:31)  Neat, classic dual guitar riffage powers this tune, and synths sprinkle magic on top, while Conklin sings MacDuff's rage "Macbeth will pay for what he has done. Malcolm, I ask your help. Ten thousand troops shall storm Dunsinane. Icy hand of death tight round his neck, the whole world crumbles down. A loser in life this madness will end. Tonight." Watch out Macbeth.

10.  The Prophecies - Fugue in D minor (1:43)  The Moscow String Quartet plays a nice piece of calm that leads into the mayhem of the next track.

11.  Insanity's Mind (5:25)  A great track, with neo-classical influences on top of Sabatthy gloom. Here the insane Lady Macbeth, as superbly sung by Harry Conklin, contemplates suicide, "All I see is red. Staining things once pure. All I see is red. Cannot wash the stains. I welcome death, and the final rest it brings. Peaceful sleep. Peaceful sleep!" The band brilliantly conveys the depths of realization that face this schemer and murderer. The guitar solo is very well done.

12.  Requiem for Lady Macbeth (0:23)  Bells, chimes, and a choir mark the passing of the evil Lady Macbeth.

13.  Face of Fear (3:20)  Another standout tune, backed by a choir, solid drumming, and great headbanging metal riffage. Harry is heartbreaking as Macbeth realizes his wife is dead and his game is up, "Time will tell my end is near, Now the end is here. Can no one know my face of fear? Heed the face of fear." An up/down scale solo by Broderick is pure icing on this pounding track.

14.  Fall of Dunsinane (5:17)  A church bell, marching snares, then pounding drums and 7-string crunch begin this complex dirge. Rikard Stjernquist lays down some tasty drums for the heavy riffage powering the song. Conklin is great as he sings Macbeth's lament over the fall of his castle, "By the gods! The witches prophecy come true, stay hold, I go!" Excellent rythym and lead guitar interplay show more of Jag Panzer's genius. The church bell and snares end yet another super track.

15.  Fate's Triumph (4:37)  Violins in the midst of guitar riffs begin this driving song. The twin guitar attack is very impressive, with the violin appearing again before another superb Broderick solo approaching a Malmsteen style of execution. Another bell and violin appear to add atmosphere to the singing of Conklin alternating as Macbeth and Macduff, as they battle to the death, "(MacDuff)I am the doom you face in your dreams. (MacBeth) Let steel ring out. Damn thee who cries hold. (MacDuff) Your head my prize now. The prophecy foretold." Of course, the very wicked Macbeth loses, and has his head put on a stake. Karma is at work for the dirty deeds wrought by him and his cunning mate!

16.  The Downward Fall (2:49)  This is an entirely acoustic piece with mediaeval and Spanish flavor. Very impressive to know the guitarists are able to pull this off as well.

17.  Tragedy of Macbeth (8:19)  This is an outstanding track to close out the album, and a recap of the tale that has just been told. It is truly a progressive metal composition. It begins acoustic, with a nice guitar and violin, and Harry gently crooning, "The sister's prophecy has won me title of thane. Yet I feel I'm so much more, my lady feels the same. I can be king with just a daggers thrust." This tune shows the range of Harry Conklin, and why he is one of the great metal singers. A choir, building on top of wonderful metal riffs, repeatedly chants, "We can do all things. Hand in hand. We can live as kings. Hand in hand." Another couple of nice guitar solos by Broderick caps the tune that ends this classic album.