01.]
"Call to Arms"
A dramatic, medieval symphonic opening is split by an eardrum shattering scream
compliments of Eric Adams, right before he starts whipping out verses in a darker,
ominious voice as the metal heroes are called to arms! Gather metal warriors! Fight for
the kingdom! Bound for glory! Ahem... its difficult to resist getting caught up in the ...
blood is on my steel!!!!... fight! Yes my metal friends, it truly seems like 1987 again,
Manowar still inspiring one to march into the light of glory and feverishly fight against
all those that stand in the way, with their infectious ripping guitar melodies and Adams
voice that should be one of the wonders of the world. Think of all the me-too power metal
bands that have desperately tried to achieve this level of influence yet none of them
comprehend (or atleast manage to get across) the same kind of feel and atmosphere that
Manowar achieve so effortlessly.
02.] "Fight For Freedom"
The uplifting chorus accompanied by the halting timekeeper pace drumming is enough to
warrant many returns for just another go round and its addictive sing-along 'fist in the
air' qualities, but what gives it longevity is the sincere spirit caught within and the
guitar solos that slip into the soul. Setting this one apart from other anthems on the
disc is its heavy melodic bent, making it easier on the palete without some of the jarring
spice injected into the other battle worn tracks. .A bit on the repetitive side, but the
orchestral dramatics and unexpected breaks into sweeping metallicness more than make up
for any drawbacks.
03.] "Nessun Dorma"
Beauty in its simplest, purist form, wrapped in the gauzy wonder of an awe-inspiring
cocoon of magnified emotion. This is a faithful, moving rendition of a classic opera song,
the famous tenor aria from Puccini's "Turandot" is brought to life with sheer
magnificence by the powerhouse voice of Eric Adams. Never have I heard this opera staple
performed with this level of majesty. Dainty sections filled with the classical touch of
strings sees Adams' vocals carressingly gentle, laid down with flighty care, like a leaf
afloat in air, guided by the currents of the wind, letting the song take it where it will.
Pointed attention to control is shown and delicate nuance in sound. Then the intensity
builds, Italian words rolling off the tongue, alight with style and fluidity, following
the progression and rising even higher than the stars and worlds beyond. Then like a solar
eclipse, the darkness passes over the sun for a lull then reaches to the other side and
the voice shines bright with power anew, bold and fresh in full brilliant force, not a
sour scratch or spot to be found. It is like a soul stripped and bare, the vocals naked,
bourne alone and stranded without band backing, on the pedestal in their raw natural state
awaiting scrutiny. No false word shall be spoken, not a verbal lash to be delivered, for
the performance is flawless and pure, rivaling those of the masters. Upon first listening,
tears rained down, and a hundred listens later, the breath still catches at the throat,
and a pound excites the heart, overcome with the fluttering of passion in this moment of
manipulative emotional power. This lovely ballad has been done more than 'just justice',
but has been taken to another level entirely. Its not metal... but more of this we
definitely crave. "Watch the stars that tremble with love and with hope.
But my secrent is hidden within me; my name no one shall know, no no." A little
backstory is perhaps in order as well, for this is no typical star crossed lover
tale. The plot goes something like this in brief: Turandot is the cold-hearted femme
fatal princess who lures love-struck princes to their death. Anyone who asks to
marry her is asked three riddles, if answered correctly he gets to marry her, if a false
answer is given, the prince is beheaded, as is the 'law' which is more of a magic spell
that no one can go against, not even the emperor himself. In the first act, Calaf
the "Unknown Prince" rings the gong signifying his declaration as a suitor to
Turandot. In the second act he correctly answers the three riddles, and lo and
behold Turadot now has to marry him, despite the fact she does not want to. But
instead of going ahead with the marriage, the prince Calaf poses a riddle of his own
saying to her: Tell me my name before morning, and at dawn I shall die. As the opera
piece is not to be taken literally, being it a rather poetic opera, die means more that he
doesn't want the princess to marry him 'just because' but to fall in love with him
instead. This aria, "Nessun Dorma" is near the beginning of the Third Act
where the princess is still trying to find someone to reveal the Prince's name so his head
can be chopped off in true medieval fashion. "Tonight no one in Peking
sleeps."
04.] "Valhalla"
Whew, after the senses assault of "Nessun Dorma", this is a much needed relief
before being thrown back to the power hungry wolves and warring fests which comprises the
majority of the remainder of the disc. Thirty seconds of choral ''aaahhh'' with
string and organ backing... a swift and succulent instrumental that's nothing but an
opener for...
05.] "Swords in the Wind"
An Ode to Odin, reserving a place in the Viking warrior's afterlife, a honor earned
version of heaven, amongst the glory soaked halls of Valhalla. Pointedly slow with the
suffering crawl of death's brink, the song smoothly creeps along, only a heart's blink
away, observing mystically spiritual silences with softly textures vocals that carress
like fingers of darkness stretching into the outer realms of the night. The acoustic lies
quietly beneath, with an unsettling rolling sound, as if the end was right within Odin's
grasp. After the lull in vocal illustration, the electric eases in, wispy and ethereal,
like a ghost from a soldier's past, a warrior caught between worlds. It seems unearthly,
unnatural, a glimpse of something beyond the grave. You can feel the fires being stoked
from here, a blazing funeral pyre, rising higher with crackling flames awaiting to reach
the flaming climax. Then it hits, coming down like an axe on the neck of the enemy. Riffs
splatter, bones shatter and drums pound with a casually burning fury.
06.] "An American Trilogy"
The Kings of Metal cover the King of Rock N Roll and what a wonderous creation it is!
Criticized by many but adored by even more, including moi, this recieves nothing but
praise for this inspiring little number that is a spot-on reproduction of Elvis Presley's
spiritual uplifter, performed in the same manner with all the cozy little nuances and
honest sentiments, just as Elvis did a handful of decades before. It holds up with a proud
magnificence, instilling a sense of patriotism in anyone who's heart is striped in those
colours of the red, white and the blue. A touching, dare I say... well yes I do... that
its a *PERFECT* tribute to all victims and families of those fallen in the 9/11 tragedy.
An American classic ressurrected with patriotic spirit and the ever-so-slight touch of
heavy metal boosting the triumphant final moments before the curtain falling.
07.] "The March"
A moving symphonic instrumental track, proving that "Valhalla" was just a teaser
of what was to really come... and acts as another transition piece, allowing one to get
prepared for the final four. Strings build tension and twist emotions into knots as
the music pours out like a gentle lullaby or ballad to those fallen in war. Then the ante
is upped into full blown warrior mode with sweeping violin and blazing horns, swept away
into a battle march.
08.] "Warriors of the World United"
Unsurprisingly the first single off the bat, nothing daring or unique here, just straight
up solid metal done in the way only Manowar can. Thumping bass, rollicking drums and steel
hardened guitar infused with that raw sizzling fuzz assault the listener at a marching
pace, making it easy to sing-along to and keep track with, all while retaining that inner
heart of heaviness. Big, bold rough metal with a boomy chorus that inspires even the
weakest to take up arms and join the siege. At this point its not at all certain whether
they are sketching out nightmare sequences of real attacks set in medieval times or a
blood letting assault on the 'real' enemies of the band and their fans: US mainstream
music, aka Satan (if I hear Britny Spears referred to as a 'pop tart' one more time, I am
going to throw up!). The dreamy interlude in the middle is the eye of the storm, the will
and wishes of a warrior spoken and set to the sweetness of music.
09.] "Hand of Doom"
Thick, rich metal forboding and starting off without a cinch, all guns (and guitars)
blazing at full frontal force. Adams growls with animosity and roars with rage as the
electric chugs on and death is promised to many. It recalls many a song done before by the
band: such as the double bass drumming classic, "Black, Wind, Fire and Steel"
with the essence of ferocity that that particular track laid out loud and proudly.
Although the distorted vocal bit featuring such pleasant lyrics as: "Nothing shall
remain, not your memory or name, it will be as if you never, ever lived!", the
ferocious vile emphasis laid on the bitter and quite final, 'never, ever'... gives the
track a much needed break from the seemingly never ending musical gallop of warhorses
kicking up bits of gut seasoned flesh on the battlefield. Is it just me or have they
become even more vicious than ever before? Not for the faint of heart, but a crushing
piece of metal that is sharp on all edges, just begging to be invited to the slaughter, to
slice and blood let.
10.] "House of Death"
Another cheery title, another promise of death. "Lightning flash my body in
flames..." The gleeful love of killing is marched on this time with a not-of-this
world theme, into the heart of darkness and past the seven circles, we find ourselves
smack in the midst of hell's flames. The simmered down middle is demonic indeed, with what
sounds like Eric doing a duet with the devil himself, or a slightly lesser demon. Those
that are weak and find offense to mass violence or occultish themes should have already
abandoned ship by now, for it only gets bloodier as the riffs ring on, flashing with eye
catching swiftness like a skilled swordsman wielding the life draining blade of steel to
killing success, over and over again. Not quite as good as one of my personal favorites
"Demon's Whip" but still a solid slice of weaponry. But does the killing ever
end? Only when the album does, and there's still a song left to go... hold onto your
weapons, we're riding into the final phase. A shriek is caught like a captured tortured
soul and echoes until fade, eerily haunting...
11.] "Fight Until We Die"
Saving the heaviest aural assault for last, Adams cuts to the heavens with piercing
shrieks and sweeping commands as the drums pound on furiously, the guitar stringing along
behind with striking confidence and terribly gigantic chops. The chorus is fury loaded,
staggeringly powerful and blood dipped. It drips everywhere, oozing from every corner and
crack as the instruments seem like individual weapons scoring frequent hits upon the
flesh, so imaginative it could be reality: hell's armies uniting and blood flying in
graceful crimson arcs then beaten down into the landscaping turf of the battlefield. What
vivid atmospheres they paint with only words and sounds! You can almost see the gatherings
of the legions, enemies falling like leaves in the midst of battle, crushed underfoot of
your steed like mere insects. Take in the smell of the freshly dead, of the blood, the
sweat and the tears. Experience the glorious sensation of claiming your reserved place in
the bigger picture in the fight for honor, justice, truth and pride. Its all in there, the
fight until death for what you believe in and urging the listener to become a part of it,
the theme of most every song created by Manowar. |
Showcase Album for June
2002