Black Sabbath - Vol 4 (1972)

I'm feeling a little nostalgic now, so it is time to listen through some old favourites, some classic rock, some classic metal, and a few albums that will take me back to my teenage years.

And what better than Black Sabbath? Okay, so this album was released before I was born, remastered and re-released in 1996. You cannot really get any more classic than the Sabbath. One of the most influencial bands of all time, their tuned down guitars, heavy bass-lines, slow and ponderous rhythms, Ozzy's nasal high-sometimes-whine-something-wail of a voice... They inspired so many, and still tour to this day. Formed in 1968, with various line-up changes and several different vocalists, the iconic Black Sabbath is that of Ozzy Osbourne, Geezer Butler and Tony Iommi. They have sold over 70 million albums, worldwide.

And this is one of them. I am sorry I have not contributed more to their sales pool.

The cover is fairly stylistic of the era - black with white writing, Ozzy in golden-yellow silhouette, arms raised so that his fringed sleeves hang down. Not sure of his fashion sense, but who cares? He's Ozzy, he can wear what the f**k he likes! And it was the 70s, after all.

For some "fun" information about this album, there's lots of info on wikipedia:
http://en.wikipedia.org/wiki/Black_Sabbath,_Vol_4

The blues-fueled "Wheels of Confusion/The Straightener" opens the album, guitars churning into the distinctive steady and heavy Sabbath beating. Ozzy's melodious rasp is fresh and young.  The tempo is catchy, down-tuned, earthy in nature and there's something very primeaval and visceral about it.

"Long ago I wandered through my mind
In the land of fairy tales and stories
Lost in happiness I had no fears
Innocence and love was all I knew
Was it illusion? "

More sludge-laden, but suprisingly well produced (this being the re-release) opening chords of "Tomorrow's Dream". A song I've heard on the radio many times, but never really knew the name of. The slow, heavy rifts, the wailing vocals... Very Sabbath.

Now this is the track for which I bought this album. It begins with piano and Ozzy's voice plaintive, mourning the loss of not only his love - but the best friend that he ever had. "Changes" - one of the most sublime and beautiful, haunting pieces that I ever have heard. Strings complement the vocals and add an extra level of sorrow and loss. The lyrics are romantic and bittersweet:

"...but soon the world had its evil way, My heart was blinded, love went astray..."

This track makes use of the mellotron - the 70s equivalent of a synthesizer.

Eerie, echoey "FX" is instrumentation lost in a void, jumping from speaker to speaker, forlorn and abandoned. According to wikipedia (see link above), this track is essentially a joke.

Then we chug on in to "Supernaut". Heavy on the instrumentation, and the drummer (Bill Ward) gets full reign, switching out with the guitarists.

Now, the song "Snowblind" says a lot about what the band were going through at this time: rather large amounts of cocaine. This possibly explains why the album, whilst heavy, doesn't have any really complex and complicated guitars and is, for the most part, moderately straightforward. This song has some nice slower vocals crooning through the chorus.

"Cornucopia" sludges on through, with faster pacing to the verses and a smooth chorus. Competent instrumentation.

Bringing in a slower, golden-tinted edge reminiscent of the rise of the sun over still, calm oceanic water; "Laguna Sunrise" is a most pleasing instrumental, strings intersecting with the mix of lead and bass guitar. An orchestra was actually involved in the making of this piece.

"St Vitus Dance" has slow, jerky rhythms, bringing to mind a puppet tugged about on a string (or yes, the disorder). Ozzy's voice rises high and slightly echooey.

And here we witness the birth of doom metal, in "Under the Sun/Every Day Comes and Goes" with the slow, blues-heavy, almost dirge like, low and deep opening rhythms, which pick up the pace as the vocals jump in.

I've found it quite difficult to do a track-by-track dissection on this album, probably because the Sabbath sound is so instrinsically a core element of metal: the sludgy down-tuning; the high, slightly raw edged vocals; the slow, almost dirge-like drumming. If you're reading this blog, you've probably heard every track of this album.

It's worth a good, solid 7/10

Iron Maiden - Somewhere in Time (1986)

Now it is time for some classic Heavy Metal. Iron Maiden are one of the most important, definitive metal bands on the market - having the solid, melodic stylings and intricate guitar work. They were one of the most important bands to rise from the NWOBHM movement. This is one of their classic albums, being the sixth they released and one of the only ones I own on CD, not cassette. Mine is the 1998 digitally remastered version, which includes full length videos, band biographies and a photo gallery, plus "much more" alledgedly. We'll check that out after we listen to it!

 The packaging has an 80s sci-fi feel to it - with Eddie as a cyborg, roaming a city, gun in hand. He's all sinew and metal. The font is that classic digital one that mimics an LCD screen. On the back of the booklet, the band parade across and you can see that the city seems changed from what it once was and something floats in the air - a satellite, perhaps? Whilst behind a pyramid crackles with lightning. The wee cartoon band are very cute. And the names of the places pertain to tracks on the album and other Iron Maiden songs/influences - including "Bradbury Towers", "Aces High Bar", "Herbert Ails", "Ancient Mariner Seafood Restaurant" (and the TARDIS!). Inside the booklet there are loads of pictures - of the band, of Eddie and the lyrics, each on a star spangled background with a band member posing beside them. They look so young!

Iron Maiden are awesome and immortal. Let our aural dissection begin!

The immense, slow chords open "Somewhere in Time" galloping into the traditional Maiden rhythms - catchy, solid.

The awesome strumming and early rifts of "Wasted Year" are unmistakable. A good, solid metal piece, with a soaring chorus and inspirational edge to the rhythms. This is despite the negative connotations to the lyrics - which are about the exhaustion of touring, homesickness and alienation. The anthemic chorus suggests that you should move on, see a way further to a brighter future.

The next track, "Sea of Madness" is a surging maelstrom of drama. The guitars chug along like the relentless waves, pounding the shores. The vocals are like an albatross riding the waves.

"... like the eagle and the dove, fly so high on wings above..."

"Heaven Can Wait" is another catchy piece with plentiful synthesizers and great melodies. Repetitive chorus, but decent message. It falls into a galloping, sing-a-long rhythm where you can just image Bruce strutting across the stage, coaxing the audience to join him in the chanting. Then another musical shift into a faster, slightly desperate pace before we fall back into the anthemic chorus.
This song is completely different from Gamma Ray's track with the same name, apart from the line:

"... Heaven can wait til another day..."

A solid, racing song "The Loneliness of a Long distance Runner" has the sort of beat that you could use to pace yourself - if you wanted to run both fast and long too. Pounding drums, galloping guitars. Soaring solos. This is a song of energy and endurance, with a touch of solitude.

"Stranger in a Strange Land" has a heavier, more ominous sound. It seems to be about a young man, alone and lost, who died in the snow and had his body preserved for the future to find. The guitar solo is melancholic, moody, evoking vistas of endless skies and glaciers - a land unrelenting in its isolation and inhospitably.

Achingly slow chords open the next track, haunting, before we are bowled down by a charge of drums and guitars. Have we been here before? Not quite, but this is still "De Ja Vu". Dickinson's voice has dropped to a snarl before rising into his more typical not-quite-screams. Short, fast.

Slower, building into an epic we have the saga of "Alexander the Great". With typical slow baseline, the echoing intro rhythms and the light strumming of guitars as they build and build in complexity. Surging in comes the heavier guitar, an increase in pace and bass.

Iron Maiden are one of the most accessible metal bands I've found, with their catchy, repetitive choruses and solid rhythms, they are destined for stadium immortality and noone who has seen them live can resist their charms. They are professionals, polished and have a sound that is distinctly their own. For this album I shall give a rating of 8/10.

Gamma Ray - Land of the Free (1995)

After their previous album, Gamma Ray lost vocalist Ralf Scheepers to Primal Fear, a decent band on all accounts, and Kai Hansen took over vocalising duties. This album is very much like a follow-up to his last Helloween album (Keeper part two) with a strong fantasy flavour. It also marks the return of "Fangface", the deformed pumpkin-like creature from the Walls of Jericho album. From here on, Fangface become unofficial mascot to Gamma Ray and featured on many of their albums. Musically it is a lot more metal than the previous GR stuff, with the lyrics being somewhat more imaginative and fantastical. It is their first genuine Power Metal album.

This is one album that I was extremely excited by when it was released. Helloween had just dumped Kiske and Ingo; releasing the pretty good "Master of the Rings" album, but I was mourning the departure of my favourite vocalist. Not to mention that their previous album ("Chameleon", see next review) marked a dramatic musical shift for Helloween. I ordered it and eagerly awaited its arrival, opening the package with trembling fingers and stroking my fingers over the plastic box. You might say music was my life, when I was a teenager. I did not have too many friends and books and music were my escape from the trials and tribulations of a teenage reality.

The cover depicts Fangface like a cloaked comet, rising from a dreary, moonlit desert (looks a bit like the US SW) and encircling a more scenic, majestic land through which a river cuts. Two hands hold a crackling yingyang and an eagle soars beneath them. The cover unfolds with lyrics on one side and photographs on the other, including snapshots of all of the band members.

There is a Very Special Guest star on this album too, but we'll get to that when we get to his song. Actually, there's two, because Hansi Kusch of Blind Guardian is here too, singing the choirs.

The album starts with a gentle guitar and haunting vocals:

"Voices are calling from somewhere below..."

As we surge into the dramatic "Rebellion in Dreamland". This is epic power metal at its least pretentious - the lyrics are pretty cheesy (of course) but the music is complex whilst still feeling fresh and thrilling. Hansen switches from screaming to snarling and concludes with chanting.

"Have no fear.... rebellion is here!"

"Man on a Mission" rips right on in, energy and passion and pounding drums and raging guitars. Towards the end we fall into a nifty little sing-a-long bit, before roaring into the guitar duels of the pretty epic solo. Hansen is a good vocalist, but he's also an awesome guitarist. This song combines the quirk and fun of GR with the majesty and power of Helloween*. It merges seemlessly with the short and swift "Fairytale" before fading out.

The lower, epic rhythms bring on "All of the Damned" before we rampage into the guitar and Hansen's voices rasp out. The chorus is proud and loud. There are nicely changeable melodies and rhythms to keep it interesting, and a suitably rip-roaring guitar solo.

"I never thought I'd catch the rainbow, but in the end I had a dream..."

 This is followed by the stirring instrumental, "Rising of the Damned".

"Gods of Deliverance" is another epic power metal piece with suitably rousing spirit and jolly good rifts.

"Farewell" provides us with a slower moment. Kai's voice is a little raw and raspy for the ballads, but it does add an emotional edge of loss and longing. As the warrior sets off on his quest, it is with a certain amount of hope but also trepidation:

"Don't you try to stop me, all I know is I have to try. They'd be no sense in my life at all, if I stay."

Returning to the roots of speed metal, "Salvation's Calling" is like a blast from the past. Fast verses, catchy, sing-a-long bridges, a chorus that just makes you want to mosh.

Dramatic, racing; we gallop into "Land of the Free", before settling into a slower, haunting, spectral feel and rising in pace and spirit. The changeable nature of this song transports you to another time and place. The chorus is pure anthemic power, stirring and triumphant.

Light, haunting guitar turns to hymnal rifts as "The Saviour" makes his triumphant return. This blends into "Abyss of the Void". Hansen's voice does well in the slow bits now, as it drops an octave and loses the rasping edge.  It rises again for the chorus, celebrating the Saviour's victory:

"We fall to the ground and pray, cos he's the One. No demons left in this world, since he has won."

Now for the song that excited me most as a teenager, "Time to Break Free". Whilst Hansen's voice suits the music well - the savage, slightly snarling edge; this features the beautiful, clear voice of... you guessed it, Michael Kiske. Okay, so I was a little obsessed with him at the time. As pure and powerful as ever, I must have listened to this track a LOT. I can still remember all the words. The lyrics are great too - inspirational, making the spirit rise and soar - a great remedy for Teen Angst.

We conclude with the absolutely beautiful "Afterlife" a tribute to Ingo Schwinchtenberg. Here Hansen proves that he can do ballads. His voice, so raw and emotional, sends a shiver down the spine, complemented by the instrumentation structures. Haunting. A fitting finale to a damned fine album.

"Life's a dream that you will forget in the endless space. And the scars you got on planet Earth will be erased."

This is probably Gamma Ray's finest album, and one of the best true Power Metal albums. Forget about layers of complex symphonics, overbloated keyboards and the overly complicated structures that this genre is now famed for - this is pure, enthusiastic energy; raw and powerful and with some damned fast, fine guitars. True to the Heavy Metal sound, but with the passion and the intricities of Power Metal. It should be in every Power Metal fan's collection.

A highly deserved 10/10.

* Who, tbh, also had the "quirk"

Edguy - Vain Glory Opera (1999)

So, it's probably time I took the opportunity to spin some Edguy. They were a fresh, young German metal band that formed in 1992, as what would probably be called the NWOEPM (New Wave of European Power Metal). Tobias Sammet, the vocalist, is one of the most admirable people in music - for not only does he have a damned fine voice but he also has a good, solid entrepreneurial sense. This is their second album, and it is something of a metal masterpiece.

In 1992, Tobias Sammet (who was born the same year as me) was merely 14 years old, and the fact that the entire band have endured, with only one member leaving them, is admirable. The band are, amusingly, named after their Maths teacher (according to wikipedia, knower of all things). They recorded demo tapes, sent them to record labels, and received many rejections saying that they were not going to endure in the long run.

Well, WIN to Edguy!

It is probably hard to be taken seriously when you are only 16 and trying to establish yourself in the music industry. Undetered by this, they self produced their first album - Savage Poetry, which was later re-mastered and released in 2000.

In 1998 (or 99 according to my cd pressing) they released this album, which brought them much wider acclaim and support from fellow power metallers. At this point, Tobias and his friends would have been over 20, and thus more likely to be taken seriously.

I already admired Tobias, but now that has just doubled. To find your dream at 14, and follow through with it - how many metalheads can claim that? He is also the primary song writer. Indeed, I think if there was one metal musician I could meet, it would be him.

The cover features an vaguely medieval looking seal - depicting two gryphons above a fleur de lies. Oh, and they're so young and fresh faced inside, clad in their medieval attire. Imagine if they'd been at our local Rockquest - I would have nearly died of glee! There's also the lyrics, of course, in a nice booklet.

In the style of old school power metal albums, this one opens with a classical instrumental, "Overture", but we also have Sammet "welcoming" us. His voice is powerful, both melodic and with a slight twisted snarl to it that he can put on when he wants to.

It them pounds in to "Until We Rise Again" with soaring, passionate vocals and inspiring, invigorating rhythms. Anthemic choruses. It is easy to see the Helloween ("Keeper") influence here, but Edguy are not mere imitators, they are a force to be reckoned with.  Pounding drums, complicated guitar structures.

More inspiring guitar, huge chords with intricate fingering entwining with them, ushers us in to "How Many Miles", where the keyboards now take flight. Another piece of soaring melodies, complex harmonies, diverse vocal styles and anthemic choruses.

"Scarlet Rose" is the first ballad, in which Sammet reveals his softer side. Delicate, romantic and beautiful, rising in power and passion. Evocative, stirring. Beautiful.

Stirring symphonies lead into the dramatic "Out of Control".

"Vain Glory Opera" is filled with power and light. Complete with triumphant keyboards and more intricate guitaring.

"We live to fight the hand of doom,we got the pride to strike the fool.
Vain glory be my wicked guide"

"Fairytale" charges in a fast pace with pounding drums and raging guitars. The chorus is splendid and anthemic, however.

"Walking on Fighting" begins with strumming guitar. Building, building, before the wall of of sound moves in. The vocals are lower, rising. I love the way Sammet sometimes rolls his Rrrs.

Another stirring ballad piece, "Tomorrow" starts with haunting keyboards and Sammet's "sweet" voice. Melodic, haunting and almost hymnal - by which I mean battle hymns, not the church kind!

This is followed by the rather more aggressive "No More Foolin'" proving that Sammet can switch from heart-breakingly longing to somewhat angry and taunting. Nice chorus though. Reminds me a bit of Judas Priest, actually.

Ad what better way to end then with a "Hymn"; anthemic, inspirational, powerful. It stirs the senses and awakens the warrior within. The keyboards help with their pompous bellows and Sammet's soaring vocals. This is a cover song, originally by Ultravox. Despite them being an electronic pop band, Edguy are not the only metal band to cover this song. Lunatica, who are symphonic with a female vocalist, do it as well.
Here's the original band (Remastered) singing "Hymn".
Here's Lunatica.
And Edguy.
I think we shall all agree that this works better as a Power Metal Song than 80s electronic pop. It is magnificant.

So, how to rate Edguy - a mix of creative genius and undeniable skill levels, passion and dedication. For an early album this is a polished and impressive album and clearly shows that Edguy DO have what it takes to endure and suceed. Tobias Sammet, I take my hat off* to you and your friends.

10/10.

* Well, I would if I were wearing one.

Candlemass - Ancient Dreams (1988)

Candlemass are a magnificant band, and this is the second in their Trinity of Divine albums. No, they're not called that because of their religious overtues, I'M calling them that because they are so epic, so beautiful, so haunting that nothing else I have even compares to the majesty and emotion of the sound and the power of Messiah Marcolin's voice.

Like "Nightfall", the cover is taken from a classical painting by Thomas Cole. There are four in the set, and two of them feature on Candlemass albums. This one is Youth. You can view them all here.
It shows a rich and fertile landscape, onto which the youth sails in his golden craft, hand raised as though hailing someone. The river weaves its way off into the distance, towards a ghostly castle or cathedral. In the full image, the angel is standing on the bank and waving, but it is not visible on the CD cover. It is an image to evoke a journey into the fantastical, the mysterious and the potentially dangerous.

A simple two-fold cover, the lyrics are printed in an itty-bitty teeny tiny font that you need glasses to read. On the back are tiny thumbnails of the band. They look very 80s, rather lacking in the majesty and power that their music evokes, although Messiah still looks like a wild-haired monk. I always found the skull on a cross logo to be a bit tacky, given the sheer intensity and beauty of the music. Then again, Candlemass are not the most serious of bands.

The album opens wiht the epic "Mirror Mirror"*. Charging harmonies, chugging guitars, twiddly melodies and then the Voice. Heavy, intense.

Similarly intense, "A Cry from the Crypt" has the characteristic galloping bassline and chugging guitars.

Great and looming, "Darkness in Paradise" descends. The lyrics are filled with bittersweet pain, the vocals a force of nature. Lyrics remind me of "Solitude":

"I'm standing here in silence, disgraceful place of peace, watching the shadows come closer. The birds they sing no longer, the winds they blow no more..."

Ominous dark rhythms.

"Incarnation of Evil" is brooding and immense, looming and ominous.

Starting a wee bit faster, "Bearer of Pain" before falling into similar patterns. Whilst Messiah's voice is indeed very fine, he attains the same pitch and structure for the first five tracks of the album. Individually they are epic, but together they do blur somewhat into one another.

Which makes the next one, "Ancient Dreams" a welcome change. It starts with guitar (bass?); an echoing, sitrring rhythm that reaches deep down into the soul, before the other instruments join in.  Messiah's voice is like a crystaline shard, carrying you to a mystical, magical world where dreams become reality. This was one of the very first Candlemass songs I ever heard, and it still stirs my soul to this day:

"There's no tomorrow, just sadness and sorrow, hold on to thee ancient dreams..."

The higher pitch of the guitars and the lilting nature of the vocals make this one stand out as something quite remarkable and inspirational.

Immense and powerful, "The Bells of Acheron" ring out. Some nicely demented piano in here.

The vocals on "Epistle no 18" have an intense radiance to them, seeming to come deep from the heart and soul, soaring to the skies. The music is a heavy, brooding and dark counterpoint.

Finally we conclude with the "Black Sabbath Medley". Sabbath were induitably the inventors of the doom sound, and this is a fine tribute to them. It begins with "Symptoms of the Universe", but instead of Ozzy's nasal whine we have Messiah's mighty lungs pounding forth the words, before switching to "Sweet Leaf". I can imagine Messiah, the crazy monk himself, stalking back and forth across the stage, howling into the microphone as he gestures at the crowd, then bringing his hands together and turning to face them as he switches into "Sabbath Bloody Sabbath". Then a bit of headbanging as the guitar solo comes in, fading into the lower throbbing tempo. Indeed, the mental image is so clear I cannot help but wonder if I have watched live footage**. After a brief solo, "Electric Funeral" takes over, then a bit more stomping and head-banging. A final flurry of instruments and it's over. Pretty epic tribute though!


This is a mixed bag for me - it contains two of the most awesome Candlemass songs ever - "Ancient Dreams" and "Epistle no 81", but the others are kinda same-ish in their epic scale and immensity. Messiah has a magnificant voice, but it does get a wee bit repetitive after a time.

So this one will get an 8/10.

* Candlemass's videos show they do not take themselves very seriously. It is quite entertaining, but at odds with the music.

** I do actually have footage of Candlemass live, with Tankard and Kreator I think, but the sound is distorted and messed up so I've never watched it.

Unisonic (2012)

Michael Kiske reunited with Kai Hansen to produce an ENTIRE ROCK CD. How could I resist? How could I refuse? Two of my favourite metal idols back together. Sure, this isn't power metal, this isn't even completely metal, but that doesn't mean it won't be an excellent album, does it just?

First, let's look it over. I purchased the digipak because it had a bonus cd (containing a whole 3 tracks, but never mind). I don't know why, but I like digipaks. Sure, they're a bitch to store (since they won't fit in CD racks) and they collect dust (ok, so all my cds collect dust, cos I rip 'em and shelf 'em). It is attractively coloured in shades of blue, with a distinctly futuristic look, rather than the fantasy-esque of old. In the band photo, they all look very serious, except for goateed Kai Hansen, who is giving a little smirk.

"Unisonic" opens with a dramatic flourish, vocals racing up into a smooth and soaring chorus. Slammin' rockin' guitars and lots of energy. The lyrics are simple and repetitive - a great opening piece for both album and live performances with a rather complex and fast paced gutiar solo. Cleaner, polished and more mature than Helloween. Kiske's voice is clea, sweet and powerful.

A slower, but still dramatic opening to "Souls Alive" with twiddly guitar bits. Vocals are also slower, and rick with a good blend of guitars and vocals. This is pure rock with a touch of metal. It drops to a slower pace where Kiske's voice drops into his rich, lower notes, ending with a scream that proves he can still hold those notes!

"Never Too Late" starts with a bit of a quirk to it and good rock rhythms. Soaring into a great chorus. There is something so splendid about Kiske's voice, it fills me with joy and positivity, thrilling me to the core even to this day!


A modern, mainstream rock sound characterises "I've Tried".  The vocals are on a slightly lower register, rising up into a catchy chorus:

"I've never said I'm sorry, but god only knows I've tried..."

Ominous beats bring us into "Star Rider" with the litling vocals soaring up and down the octaves. Kiske still does a fine falsetto!

"Never Change Me" gives us a bouncy rock n roll rhythm with catchy beats.

There's a hint of glam in "Renegade" With its rich, thick vocals and higher pitched chorus. Nice flourishes of the guitars and a good solid guitar solo.

Another solid rock number, "My Sanctuary" has fast-paced vocals with sturdy guitar accompaniment. Soaring chorus and a nicely chanted conclusion.

There's a bit of an 80's rock vibe to the opening bars of "King for a Day". As powerful as ever, Kiske's voice soars and rises gloriously into an anthemic chorus, in which Hansen's distinctive vocals shadow his.

And for those that love the smooth, anthemic, feel-good pieces, "We Rise" certainly fits the bill. Kiske's voice is like a purr - smooth and sleek and the accompanying guitar rhythms reach deep down into the soul and fill the listener with, well, positivity.

We conclude with a haunting ballad, "No One Ever Sees Me", reminscent of some from Kiske's solo days: the sweet melodies, the bittersweet lyrics, the melancholic vocals. Accompanied by acoustic gutiars and somewhat soul-wrenching. Beautiful.

Now, for the three bonus tracks:

"Over the Rainbow" is another ballad; haunting and melancholic. The guitars a gentle accompaniment to the heart-breaking vocals.

Followed by "Souls Alive". I'm not sure how this differs from the previous version, except that it is two seconds shorter.

"The Morning After" is another haunting piece, the opening somewhat reminding me of Sting's ballads, for some reason. Maybe it's the guitar. It quickly surges into a rather rockier chorus, before slowing down  again.

This is not Helloween, this is not Gamma Ray. It is heavier than Kiske's solo work, although probably closer to that than any of the former. And you know what? If you want to hear Kiske doing power/symphonic metal, you just need to pick up an Avantasia album or any of his other side projects. This is more polished than the 80s stuff, with a clarity of sound and complexity of rhythm that is pure rock (with a touch of metal).

It's good stuff - 9/10.

Avantasia - the Metal Opera pt II (2002)

The story of Gabriel Laymann, the Druid Vandruiy and all the others continues in "part two".
The cast is also much the same, except this one also involves Bob Catley of Magnum as the "voice of the tree".

This one has a much more amusing cover - as it features the cast. Although I do rather wish that they had chosen to base the characters off their vocalists, because seeing Michael Kiske as the bearded, helmetted druid would have been hilarious. Maybe I shall have to do that myself. The figure at the back - Gabriel - could look a little like Tobias - from behind. The dwarf could be Kai I suppose. The others are all pointy-eared and therefore probably not part of the main cast (although I'm guessing the fellow at the front is Elderane).

Here's a picture someone did of Vandroiy.

"Seven Angels" opens with the haunting choirs of the Believers (not the band). The three "bad guys" are disbelieving of their failure, whilst the hero - Gabriel Laymann, is whisked away to the beautiful city of Sesidhbana. This song is epic, as we have come to know and love with Avantasia - some slow and mellow bits, monumental builds, great guitaring and sophisticated drumming.
And very long (fourteen minutes).
But you hardly notice, cos it changes styling and vocalist so many times you start wondering if its changed tracks and you've not noticed.

In "No Return" Vandroiy and Gabriel sing in harmony again, celebrating the beauty of the city in which Gabriel now finds himself. To add to the awesome male vocals, we have Matos adding his touch as well. Three of my favourite vocalists in one song... oooh, it's enough to give me chills! Anyhow, Gabriel decides he wishes to laern more about this spiritual world in which he has found himself.

Elderane is prepared to help and sends Gabriel to find the Tree of Knowledge. So, in "The Looking Glass" Gabriel makes the journey to the tree that speaks with Bob Catley's voice, and gets somewhat more confused, because the tree is rather cryptic... (and has somewhat broken grammar too)

"As long as you long for the whole, you can't get a part of at all
How proud would the buildings of Rome look without all single stones"

This is a faster paced, catchy song - rather reminscent of Edguy, actually.

Piano leads us "In Quest For". Here the Tree of Knowledge sings. He still has broken grammar "you're accused for heresy"? Hehe, you're singing a duet with a tree, Gabriel. Anyhow, he looks into the tumultuous waters of a lake and sees someone that resembles his aged mentor, Jakob. no wait, it is Jakob - but as a young man. It's a nicely mellow piece, and a good bit of a calm before the storm that is "The Final Sacrifice", in which we learn more about Jakob's past.Having heard this song an hour ago on the other album, I don't feel I need to say much mroe about it here.

Meanwhile, a bishop, a monk and a priest are lost in "Neverland".

Contains such awesome lines as:

"I know less than all but more than many who know less..."

It sounds a little like Gabriel is taunting them...

More piano leads us into the gentle "Anywhere" in which Gabriel finds himself thinking about Anna again, and also about how he wishes to free the part of Jakob's soul that was caught in the lake.Sammet is pretty good with the ballads, his voice isn't quite as sweet and pure as Kiske's, but it is definitely powerful and emotive. He doesn't share this song with anyone.

Taking his new goals to Elderane, he learns how to free Jakob's soul from being rtapped under Rome - where it is kept captive in "The Chalice of Agony" and guarded by a fearsome beast. Gabriel and Regrin set about this mission using the seals to open the gate. They release the souls and usher them in to Avantasia. The beast comes awake and ravages at them, Gabriel escapes but Regrin perishes.
(Poor Kai - why is it always the dwarf that is considered less important to the plot?).
As far as songs go, it's pretty catchy - nicely melodic and fast paced.

At this point, Gabriel is sent back to the real world. He's been away a while - I hope Vandroiy has been watching his body well. In "Memory", Vandroiy convinces Gabriel to head to safety, whilst he will rescue Anna. He hires some men and goes there to find that Jakob (soul restored) is waiting there to help him. Together they rescue Anna, but in the process Vandroiy is killed.
(And now Kiske - why are you killing your metal idols? Or their characters, anyway).
It's heavy and fast, and kinda dramatic in parts.

And Anna mourns Vandroiy in the next song - "Into the Unknown". She finally gets to sing again!
Now we get a lovely duet/ballad between Gabriel and Anna and a melodious conclusion to a magnificiant project and an epic album.

Brilliantly conceived and well organised. Sure, the plot is a bit crazy, but it's many steps better than Skylark's confusing concept album, and so masterfully cast that who cares if its a little bit cheesy.

I'm gonna give this 10/10 too, and then maybe listen to the first track again.

I think I feel some fanart coming on...

Avantasia - The Metal Opera (2001)

Tobias Sammet's Avantasia would have to be one of the most awesome projects this century. His idea - to get together a group of guest musicians - with many superstars of  the European Metal scene and produce an album. And oh, what an album it is!

I remember when I first heard about it. I don't think I have ever ordered a CD so fast, nor been so impatient waiting for it to arrive. Oh, the ripping off of the plastic, the laying it in the cd player (I'm not sure I even had a computer then), hearing it for the first time...

This album is, in one word, EPIC.

Here's the Cast:
Tobias Sammet (from Edguy) as Gabriel Laymann
"Ernie" as druid Lugaid Vandroiy*
Kai Hansen (Gamma Ray) as Regrin the Dwarf (a dwarf! Ha, go Kai!)
David DeFeis (Virgin Steele) as Jakob the Monk
Andre Matos (Angra) as Elderane the Elf (perfect, he does have the voice I would associate with the elven-kind)
Oliver Hartmann (At Vance) as Pop Clemes IIX
Sharon Del Adel (Within Temtpation) as Anna Held
Bob Rock as bishop Johann Adam von Bicken
Ralf Zdiarstek as bailiff Falk von Kronberg
Timo Tolkki (Stratovarius) as the Voice in the Tower
And playing the instruments:
Henjo Richter - rhythm and lead guitars
Markus Grosskopf (Helloween) - bass guitar
Alex Holzworth - drums
Frank Tischer - piano on one track
Norman Meiritz - acoustic guitars on one track
Tobias Sammet - piano, keyboards and orchaestration - because he's THAT awesome
Jens Ludwif - lead guitars on a couple of tracks

Wow, quite a star-studded line-up! From what I understand, Markus and Kiske got on okay, despite Kiske's earlier "divorce" from Helloween. And he and Kai still get on well, and have banded together once more.

The cover is pretty awesome. There's witches and jesters and spooky woods and a very cool emblem in the centre. Very High Fantasy. Inside are the lyrics and a rather lengthy synopsis of the album's plot, which I should really read some day. Like Right Now would be good.

Okay - before the Metal Opera begins, Gabriel is working as an inquisitor with Friar Jakob. He has been commended for getting confessions and so forth, and has been summoned to see the latest suspect - which turns out to be his stepsister, Anna, who was more like a real sister to him.

Could she really be a witch?

He seeks advice from his mentor, Jakob, and finds Jakob in the library. Jakob is acting a bit suspiciously, and has acquired a new book. A sinister book. Troubled by this, Gabriel later sneaks in and sneaks a peek at it. It is Old. And potentially Evil. And has a message at the back from a druid called Lugaid, addressed to the witch, Else, whom has recently been condemed. Also, a cryptic message about Rome that he doesn't understand. However, after reading the book, Gabriel finds his fingers permanently marked - and it turns out that the Friar had booby-trapped the book. Thus has Gabriel broken his trust and thus is to be arrested.

When they come to take him away, the old Friar says nothing just stares at the floor in silence.
And that is where the story begins:

Like all good Euro metal albums, we have an atmopsheric instrumental "Prelude" to welcome us in.

Then it rips into the inspiring "Reach Out for the Light".  Imprisoned in his dreary cell, Gabriel watches as his cell-mate paces, and together they share their stories. It turns out, his companion is one of the last Celt druids, no less than Lugaid Vandroiy. This is a duet between the two, aka Kiske and Sammet. Together their voices combined are a powerful force - especially with a chorus behind them. Noone has a voice like Kiske - it is quite unmistakable.

In the next track, "Serpents in Paradise", Gabriel begs forgiveness - from Else for her death  and worries about Anna. He pleads Vandroiy for help. This intersects with Jakob taking the stage, himself awash with  guilt over his betrayal of the novice, whom he loved like a son. This is a rather more aggressive song, filled with tortured anxieties.

In "Malleus Maleficarium" things take a turn for the sinister as Gabriel remembers Else's trial - of how she was threatened and killed. The music swells ominous and poisonous around the hiss/snarled vocals.

It splinters and unleashes "Breaking Away", which also brings Lugaid back on stage. Another epic and inspiring song. Realising that the only way to help Anna, and themselves, is to escape, Vandroiy and Gabriel stage a daring escape, the old druid knocking out the guard and the two of them fleeing the castle. However, Vandroiy urges him that they cannot rush straight to Anna's aid, and he must, for the time, bid her "Farewell" in a beautiful, and haunting, combining the three finest vocalists on the album -  Sammet's slightly raw edge lends itself well versus Den Adel's sweet tones, and Lugaid provides back-up vocals, softening Sammet's edges. Sadly, Den Adel is under-used and this is her only track on the album.

Meanwhile, in Rome.

Another heavier and nastier sounding number, "The Glory of Rome" brings the bailiff and the bishop together as they welcome the addition of Jakob and his book. Secret documents have been located - secrets revealed. By bringing seven seals together - the seals of Holy books, then ultimate wisdom, illumination and truth shall be revealed. The racing drums and snarled edge to the vocals suggest that it is not a kindly conversation.

The seals are brought together, and a new door opens, into the creepy and haunting little passage of "In Nomine Patris", over before it really begins.

For, Avantasia is, as you may have guessed, a spiritual world - not really Heaven, because it's a bit more fantasy-esque than that (although I suspect itmay be a kind of Heaven for Tobias) and it can be entered in two ways - spiriutally, by having your spirit transcend through a special place (and probably a ritual too) or physically - which is what happens should all seven seals be put together.

Therefore, many miles away from Rome, Gabriel and Vandroiy are in the forest. They have just been attacked by bandits and left for dead. The only way they can help Anna, Vandroiy declares, is if he sends Gabriel's spirit to Avantasia (a dangerous enough endeavour) and he'll stay behind and make sure nothing happens to Gabriel's body, which will be left in the forest glade.

And thus we enter into the most valiant song on the album - "Avantasia". Combining the master vocals of Kiske and Sammet once more. Yeh, I'm biased. I love Kiske. So what.

A short and haunting passage heralds Gabriel's journey into "A New Dimension".

Now that he's "Inside" we have elves. And dwarves. Regrin the dwarf finds Gabriel and takes him to visit with Elderane, prince of the elves and head of Avantasia. Matos has a beautiful clear voice, that rivals Kiske's for clarity and perfection.

Anyhow, something dark is brewing in the beautiful, once-peaceful kingdom of Aina** Avantasia - Ancient Evil forces have mobilised a large army and they are reaping Terror and Destruction. In "The Sign of the Cross", Gabriel is required to join the humans and take back the seal to prevent all the nice creatures from being forgotten and vanishing***. No word on rescuing Anna. I hope she's just been forgotten and isn't being tortured for witchery as we speak. No, wait, all the bad guys are already in Avantasia, so I guess she's safe for now. This is a song with FIVE vocalists - on one hand we have the three "good guys" - Regrin, Elderane and Gabriel, on the other side we have the bishop and the pope. It's a pretty epic song.

Meanwhile, back in the real world, Vandroiy is pondering the purpose of "The Tower". If all the seals are taken to the tower, then Avantasia will be forever locked. He also has a mental connection with Gabriel and pushes the young man to follow the path as the Avantasians suggest and not run off after Anna. Gabriel is a bit perplexed about how helping Avantasia can help Anna. So, I think the bad guys (the pope and the bishop) are trying to seal Avantasia forever and the others are fighting to keep it "open".

This is another complicated song, where a great deal is made about "the voice" in the Tower. Is it the voice of God? No, it's Timmo Tolkki but as the main guitarist of Stratvarius, maybe Sammet considers him a god. No wait, it appears the voice in the tower is "their father, they had broken with, because he had wanted to bring chaos to earth." So he's a devil?

Multiple vocalists, epic scale song, complicated structures and ever changing rhythms weave a damned fine symphonic power metal song.

Anyhow, it appears that Gabriel steals the seals off the Pope and runs away, dodging and weaving until he gets snatched up in an elven flying machine and thus Avantasia is saved.

Jakob bemoans:

"How could the stranger steal the seal away? Was it my fault? OR was it noone's fault?"****

...but Anna is still captive, so I guess we'll have to buy part two as well...
Actually, sod it, I'm not going to go straight on to B, I'm going to listen and review it now, because I want to know if they rescue Anna and I can't wait another 20 or so cds to do so. Plus I wanna do Aina next time round. Or Ayreon. Why are all the metal operas starting with "A"?

Then we have "Avantasia" again because it's so awesome that you shouldn't even need to flip tracks to hear it again. It's the edit version - so it's one minute shorter, not sure if there are any other differences. They should have got every vocalist to do a verse.

It is followed up by "The Final Sacrifice". This is an angry duet between Gabriel and Jakob. From the lyrics, it sounds like Gabriel has cast Jakob into Hell. I'm not overly fond of it.

Get ready for the Brimstone, getting blisters on the eyes.
The power of the spirit was their final sacrifice.

Anyhow - a damned fine album, very complex and masterfully composed and arranged by young Tobias. It's kind of funny to psycho-analyse this actually - he has portrayed Kiske and Defeis as sort of "father figures" to his young novice, and Kiske in particular is probably one of the most admired voices of metal - even if he wants to break the ties with metal and become a Rock God instead. So, one cannot help but think that perhaps this was why he created the character of Vandroiy. It was a grandiose project, and one that came to valiant fruition - and he has gone on to create further Avantasia metal operas - not just the sequel to this one but many others. They even toured! I would dearly, dearly love to see Avantasia live (with Kiske, please with Kiske).

I couldn't possibly give this epic masterpiece anything less than 10/10.

* For reasons of his own, Michael Kiske did not wish for his name to appear on this album. Possibly because he did not want to be considered to be getting back into metal. Not that his voice isn't instantly recognisable anywhere.

** Whoops, wrong metal opera, we'll do that one next time.

*** Directly quoted from the booklet. I wish someone could have done that on Earth so that we could still have some of our lost "nice creatures".

**** "...Stranger steal the seal..." wonder how many times he tripped over those words. And how come he didn't recognise his own novice?

Ozzy Osbourne - Ozzmosis (1995)

Well, Ozzy Osbourne needs no introduction, but I shall give one anyway.

Born in 1948 as John Michael Osbourne (perhaps his parents were 'Peter Pan' fans?), Ozzy became famous in the 70s as the vocalist of heavy metal forerunners, Black Sabbath - and renowed for living the ideal rock n roll lifestyle of sex, drugs and heavy metal. In more recent years he has become a reality tv star famous for his litany of curse words; shambling, mumbled speech and rebellious teenagers. Of course, the whole family have amtured somewhat now, and probably about half of what we saw on screen was pure Hollywood. I never watched the show - finding it almost an embarrassment, but my brother has read Ozzy's biography and reports him as being an intelligent fellow.

His solo career took a less heavy flavour than Sabbath, more melodic and radio-friendly hard rock. He released a number of solo albums and I own several of them.

In High School (in the early 90s) we had to do a project on a famous person and I chose Ozzy. This was a lot harder in those days - before the tv show, the biography or even the internet, and my research consisted of old fashioned media such as books, my copious collection of metal magazines and a couple of video interviews. At that stage Ozzy was more famous of bring the somewhat creepy guy who bit the head off a  pigeon in a meeting with his recording studio. He also bit the head off a bat in another incident - but he thought it was fake (someone threw it on stage, the sick b**tard). He had to get a rabies jab for that one! It was an effort to find the names of his children, let alone any information abotu them (unlike now, when one only has to pick up the weekly mags).

I saw Ozzy live in Wellington a few years ago. It was pretty exciting, but Ozzy seemed to consider himself a little too "high and mighty" compared to early acts in the evening, like Poison and lacked the stage presence. Also, he kept shouting "I can't hear you" to the crowd - which admittedly was not as big as the promoters would have liked, but possibly it was because he is going deaf - the curse of all musicians that do not take proper precautions when being around very loud music. And the bane of music fans that attend too many live concerts too! (That's why I limit myself to a couple a year).

Anyhow, on to this album. The cover is a monochromatic affair, featuring the silhouette of a naked man, with teeth and eyes superimposed across his body. Inside the cover folds out, revealing the lyrics on one side, and various moody photos of Ozzy and assorted oddments on the other.

The album begins with a track about detective "Perry Mason". It starts with a melancholic orchaestral arrangement (sounds like strings, but could be a keyboard) before cracking into this well-paced rock song. Ozzy has a very powerful voice - soaring and melodic, but with a razor edge to it.

 Again the melancholic orcheastral arrangements, slower this time, as we move into the moody "I Just Want You". It has a powerful feel, but the lyrics seem a little lacklustre:

"...I'm sick and tired of being sick and tired, I used to go to bed so high and wired..."

Still, it is not like Ozzy is a young man anymore and this album perhaps reflects a more mature, subdued attitude.

Delicate guitar ushers us into the power ballad "Ghost Behind My Eyes". The music is very polished and quite atmopsheric, but it is quite a lightweight song, very radio friendly. One cannot help but feel that Ozzy was going through something of a nostalgic, wistful time when he wrote this one.

The base thrumms us into the industrial sounding* "Thunder Underground", the music as apt as the name, for it almost resembles a great train booming along the tracks.

 Another mellow number, "See You On The Other Side" is another melodic song loaded with melancholy and a little longing.

A slightly eerie opening welcomes us into the echoing first verse of "Tomorrow". A slightly heavier track but still somewhat edged with darkness and longing.

This feeling continues onwards too, in "Denial". There is a slight urgency to the vocals, the music a somewhat uneasy churning rhythm. One cannot help but feel the words they're hearing.

I have always suspected  "My Little Man" is about Ozzy's son Jack - who would have been about ten when this album was released. Somewhat repetitive lyrics, and a little sickeningly sentimental.

"My Jeckyll Doesn't Hide" picks up the pass a little, with the vocals moving more into urgency and getting closer to the Ozzy we know and love.

Another ballad - this time with piano, is "Old LA Tonight". It's a lovely power ballad, but seems decidedly un-Ozzy.

In conclusion, this is quite a gloomy album. Most of the songs are slow, melancholic and steeped in a sort of wistful longing, tinged with nostalgia, as though Ozzy were being brought, rather reluctantly, to face reality and grow up. The song arrangements are nicely done, and quite emotional, but it lacks the energy and passion of earlier albums. All in all, it feels a bit lacklustre. Also, I am in a bit of a gloomy mood at any case, and I think it is feeding that glumness. I should really be listening to something a bit more upbeat.

Even though I really do like the tunes, I'm going to give it 6.5/10.


* No, it's not the genre known as "industrial" - just industrial sounding - like a train. Okay? And not a train tooting, but a train chugging.

Helloween - Keeper of the Seven Keys (part one) (1987)

Helloween are my favourite band. And this is one of their best albums.

Of course, to my one loyal reader, you already know of my love for this German band - or at least the way they were back in the late 80s, when they were at their finest. So, you don't really need me to tell you this twice. But it's worth repeating anyway.

It is not, alas, a long album - having only six entire songs and a couple of short bits. But do not let that deter you - for one of the songs IS 13 minutes long. The cover speaks volumes - it shows a hooded, faceless figure, levitating a ball of glowing keys (seven of course) whilst behind him - through an open window, you can see a serene lake, surrounded by mountains. Evocative - it makes you wonder - who is he? What do the keys open? Unforunately, for the answers about the keys, you have to wait for the next album.

This is the first album with the adorable Michael Kiske on vocals, and with Kai Hansen taking most of the guitaring roles, as Michael Weikath had injured his wrist and was unable to perform.

It is a simple single-fold sleeve, but does manage to fit all the lyrics in - although the font is rather small.

Let us begin with our "Initiation" into the glory that is Helloween. Tolling bells; triumphant, swelling guitars. Ahhh, it makes your heart soar to listen to it.

"I'm Alive" is a joyous celebration of being, well, ALIVE! The lyrics are not earth shattering, but the energy, the sheer intoxication of this song cannot help but fill your soul with hope and joy.

This feeling continues into "A Little Time", although it has its gloomier moments. So much metal is so angry and aggressive - Helloween chose instead to play the sort of music that thrills and excites you, making your spirit soar. Clever interplay, quirky little guitar gimmicks and the playfulness of the vocals and music add to this impression.

The energy and pace of "Twilight of the Gods" makes it a masterpiece. No need for fancy synthesizers or orchaestras (although those would be wicked) - Helloween achieve a climax of sound with just guitars, drums, vocals and choirs. Masterful, beautiful. It brings a tear to my eye and I've pretty much cranked my speaker volume up as high as it can feasibly go.

Hell, my neighbours deserve to learn the power of Helloween. They play their music all the time, anyhow (at least they have reasonable taste and it's rock, not rap or dubstep).

A softer, heart-breaking number - "A Tale that Wasn't Right" allows Kiske to truly shine, the emotion and power in his young voice - he's only 18/19 here. Wow. Damn, those tears are back...

When I was a teenager, most of my peers had crushes on movie stars or boy bands (yup, we had them in my day too) - but me, I was "in love" with Michael Kiske. I'd still love to meet him (although I no longer fantasize about marrying him).

And now "Future World" - the first Helloween song I ever heard. It was on the "Thrash the Wall" compilation cassette*. From its celebratory opening chords, to its highly sing-a-long-able chorus, to its positive, positive message

"... cos we all live in future world, a world that's full of love..."

 Even the band admit that the lyrics are fluffy and over-idealistic (I believe Weikath dissed them in an interview I once read - I read a lot of Helloween interviews - claiming they'd never write that sorta nonsense again) but to a teenage girl, facing (albeit pretty mild) bullying, peer pressure, teen angst and a lack of friends - it is a message that sticks - and it was right - my "future life would be glorious" - or at least pretty damned good.**

The jarring beginning and crashing beats of "Halloween" are powerfully evocative. Like being steamrolled with music. The vocals are magnificant, the music stupendous, little quirks like the tinkling of magic in the air, the whispering voices... all combines to create a wonderful, dramatic, evocative, melodramatic and overall wonderful aural experience. Masterfully clever, and even at 13 minutes long (the video is much abridged), it changes pace and style enough to keep you entertained.  Oooh, that sounded like a flurry of bats!
 (Btw, if you watch the video, make sure you check out Kiske's expresion when the demonic voice tries to corrupt him. It's priceless. If he didn't decide to follow the path of using his glorious voice, he would have made a decent actor, I reckon - he's definitely charismatic and expressive enough.)

The haunting little instrumental, with whispering voice, bids us to "Follow the Sign" and probably subtly encourages us to buy the next album. Which, if you've heard this one (and if your music mood sensors are wired like mine) - you will anyway, since one is NOT enough.

 THIS is the essential album for every speed metal, power metal fan's collection. If you like this genre of music and you do not have this album - BUY IT NOW. And, while you're at it, you might as well get the second one too, because together they are EPIC.

I'm sure you don't need me to tell you my rating - but I will anyway - a triumphant 10/10.

 * Oddly enough, I don't think I liked it that much on the first listening (my brother can probably recall my comments). I believe at that point I was in my "Sepultura phase" which lasted about one week and then I turned up the volume on "Future World" and it hit the pleasure synapses in my brain and I fell instantly, irrevocably, in love. Back in those days (remember, I was around 13), I used to watch RTR countdown, which was the NZ music chart show, counting down the top selling cassingles for that week (nowadays, that would be itunes downloads, for all you modern-day teens) - and every week I would make my own list. This song stayed at #1 for an awfully long time, until finally getting shunted off by the Escape Club's haunting "I'll Be There".

** Although I am sure my 13-year old self would have considered it more glorious had Michael Kiske come and whisked her away!

Candlemass - Nightfall (1987)

Ah, the beauty and majesty of Candlemass. I know this band well, having discovered them way back when I was in my early Metal Years. This was, if I recall, my first of their albums, and I originally purchased it on cassette tape. I own the CD now, of course.

Messiah Marcolin, vocalist at this time, is a Metal God. He has the voice of an angel - albeit a somewhat large one and slightly sweaty one. That is to say - it is a lovely, beautiful voice but so much power - the sort of power that could devastate buildings or rise mountains from the sea.

He is magnificant.

This is the first of the Trinity of Divine Candlemass albums.  As I own them all, they shall all be listened to, dissected, admired and enjoyed. I am undecided as to which is my favourite, but as this is the first, it defnitely rates highly.

Okay, so you get the idea, I love these albums. I love Messiah. They are beauty and power and... let's just listen to it already, shall we? Actually, I vaguely remember analysing some of these songs for a  school project/poetry assignment. We had an awesome English teacher.

And don't worry, I'll try and find you some videos too - in case you are one of the unintiated.

Firstly - this album jacket is beautiful, taken from "The Voyage of Life: Old Age" by Thomas Cole. It depicts an aged man, in a boat afloat on a lonely ocean, dark clouds looming overhead, a ray of light splitting them asunder. Before him hovers an Angel, a vision of white and glory. In the very centre, small and unassuming but very easy to read, is the band name and the title. The sleeve itself is a simple affair - a one fold cover with all the lyrics printed in small but legible font, set against the twilight clouds.

As I noted previously, most metal albums from this era begin with a short intro piece with haunting music or - in this case - crashing lightning or perhaps a cracking "Gothic Stone".

Whatever it is, it quickly fades into the looming majesty of "The Well of Souls". Messiah's soaring and powerful voice rises above the doom-laden chords, filled with his passion and dedication to protecting the world from:

"...hatred and scorn..."

Perhaps because Messiah's customary attire is a robe, crucifix and he pretty much looks like an epic avenging monk, it is very, very easy to envisage him as the "old man" whose life is dedicated to protecting the world from the looming threat of Satan.

Lyrics indicate that he is unsuccessful in this endeavour, yet like in the earlier track "The Sorcerer's Pledge", the battle is a non-climactic one. In this case, daylight destroys the darkness. Let us just be thankful that they write lyrics, not novels.

"Codex Gigas" is another pounding instrumental, with ominous, slow beats and brooding atmosphere. I am imagining someone carrying a heavy load, ponderously through the dark.

Ah, the opening chords of "At the Gallows End" bring a shiver to my spine and a tear to my eye. Partly it is nostalgia - but also it is a beauty lead-in - slow and haunting, with Messiah's wonderful voice dripping with raw emotion and loss. I am standing with him, waiting for my death. What a swan song.

"Only the vultures will come to see me hang..."

Pounding bass, dramatic and chilling. 

And oh, now we have the most beautiful "Samarithan". Every song a memory. Slower rhythms, slightly lower vocal register; sorrow and compassion weigh down the words. A homeless man, offered sanctuary - a simple act of kindness that brings with it much reward. This song is a thing of beauty.

I am never quite sure if Candlemass are technically a Christian band - their lyrics are filled with Christian imagery, but they seem to regard it with more honour and respect than the bands that preach about hellfire and damnation. It feels biblical in the oldest sense of the word, and noble.

The ponderous and dramatic "Marche Funeral"  bridges us between this song and "Dark are the Veils of Death". This is a faster paced, and somewhat more dramatic slightly hectic song, almost desperate at times. Messiah's vocals are no less than stupendous.

"Enter the great adventure, just wait and see..."

I think Candlemass helped me to "survive" my teen years. Whilst they are, technically, a doom band, their lyrics are not filled with as much death and despair as other bands of that ilk* - they have hope - of the afterlife, of redemption, of the triumph of good against evil.

The devastatingly beautiful "Mourner's Lament" follows. A song laden so much with mourning, loss and anguish. A father mourns his deceased son. A song that sends shivers down my spine and a thrill in my heart. The power... the raw emotion... The whispered "Rest in peace" brings a tear to my eye.

Why, you could almost say that I'm "Bewitched" - which is coincidentally, the next (and almost final) track on this album. It is a song with decidedly pagan elements, putting it at odds of every other track on this album:

"Bewitched by delight, you'll reach the night dancing and singing to my fiddle. So take my hand, and understand, that no-one will see you again." 

It is a splendid song, and somewhat more upbeat than the rest of the album. Of course, the video is something of a letdown, thanks to be exceedingly cheap and cheesy and rather silly. I suspect that the band are not quite as serious as they pretend to be. Still, noone is immune to a little fun.

Candlemass are an amazing band, and this is an awesome album. Along with the other two Messiah-vocaled Candlemass albums, they are some of the finest doom and gloom albums ever made. Even the nostalgia aspect notwithstanding, it would be a crime against metal to give this album anything less than 10/10.


* Stay tuned for Confessor (music to kill yourself to). But they'll probably have to wait until I've looped through all my Candlemass. Ironically, Confessor helped me in those angst-ridden years too.

Iron Maiden - No Prayer For The Dying (1992)

Now to continue with Epic Metal Friday.

Following up Helloween with the masters of the Metal genre, the forerunners of the Power Metal scene... Iron Maiden.

And, once again, I've (randomly selected, in this case) one of their less-than-stellar CDs. Which is a bit of a shame - because I probably won't be doing the band justice this early on in my reviews. But never fear, I have plenty of Maiden albums, so we'll be sure to get something good out of it (I also, regretfully, have their album with Blaze Bayley).

It opens with the rockin' "Tail Gunner". Dickinson's voice is in fine form, although this album also seems to lack the passion of the earlier works of 'Maiden. It's a little repetitive and maybe a tiny bit too polished.

"Holy Smoke" is nicely catchy a wee bit controversial - and rather tongue-in-cheek. Is it about burning preachers? Why yes, it does appear to be. Hah, good stuff. Nicely catchy and a wee bit raucous.

The following "No Prayer for the Dying" is a nice song, with some slow moments, but oddly unmemorable. Some nice guitar rifts though.

"Public Enema Number One" is not just a good title, it's a solid metal song, with a nice smooth chorus. Ultimately, however, the lyrics are perhaps a bit too politically hard-hitting and complicated to make this an overwhelmingly memorable track.

A slow start to "Fates Warning" makes me wonder if we're in for a ballad - but no, the guitars and drums take over and we're thrown into the rock once more. Again, a decent song but nothing that really stands out amongst the others.

Some nicely twiddly guitaring leads us into "The Assassin", a slightly threatening track. The verses are unremakarble, but I quite like the chorus.

"Better watch out, better watch out... Cos I'm the Assassin..."

 Again, "Running Silent, Running Deep" has the strong choruses and elaborate guitar solos, but still fails to inspire that spark inside of me. And nor does "Hooks in You" (is it about bondage?). So far I can take or leave this album, and I can see why it does not rank amongst the "must hear Maiden albums". Admittedly, the punnihs lines in "Hooks in You" are quite funny:

"...Hooks in you, hooks in me, hooks in the ceiling, for that well hung feeling... No big deal, no big sin, strung up on love, I got the hooks screwed in..."

At least "Bring your Daughter to the Slaughter" is one I'm quite familiar with. It's catchy, albeit rather more-than-a-little vicious and somewhat misogynistic, but the repetitive nature of the chorus rather insists that it sticks in your head for some time afterwards.


We conclude with "Mother Russia". With its intricate and senstive opening bars, it has promise, but this falls down with two short verses, then a lengthy guitar etc solo, before we fade into what is the closest we get to a chorus and is actually pretty good, but disappointingly brief.

Ultimately, this is a decent metal album - it's got solid rifts, intricate lyrics, powerful vocals, but there is something about it that is sadly lacking. Maybe it's just that the lyrics are too intricate, the chrosuses not quite catchy enough. Very few of the songs of this album became Maiden classics - I think the only one I was particularly familar with was "Bring Your Daughter to the Slaughter" and I wouldn't even say I particularly liked that one. Maybe if I listened to it multiple times I would grow more familair with the tracks, and perhaps more fond of it - but for now I shall rate it a rather disappointed 5/10.

Gamma Ray - Heading for Tomorrow (1990)

When Kai Hansen parted ways with Helloween in 1988, he went on to form the band Gamma Ray with his friend Ralf Scheepers (ex-Tyran Pace). This is their first studio album.

Hansen is a fine guitarist, and his majesty is writ all over this album, with its soaring guitar solos and twiddly chords. Scheepers has a decent voice, high, but with a rough edge. I have heard Tyran Pace, and their music was unextraordianry, but they were hilarious - since Scheeepers was parading around in a leopard-print leotard at the time. You've got to remember, that was 1985. Not a good year for fashion. Needless to say, Ralf Scheeper's is now burned in my brain looking like that!

We begin with a intro/instro called "Welcome", I'm not sure why most power metal bands of the late 80s/90s chose to make the first track only a minute or so long and not a real song - is it just to boost the track listing? I always feel a little cheated when of the 10 tracks on the regular release (mine has 3 bonuses), one is short - why can't they just connect it onto the first song? The two are joined anyway, one flowing into another.

"Lust for Life" carries the melody and power, along with the relatively positive message that I've come to connect with power metal. Catchy choruses, intricate guitar solos, a strong message -

"Loud and proud, we're going to say it now - live -life - easy, live - life - easy..."

 Enjoy your life, it's all you've got, after all.

This is followed up by the catchy beginning of "Heaven Can Wait" (not to be confused with the Iron Maiden song by the same name*), it has a slightly more negative bend to the lyrics and a somewhat sinister edge. The morals are good, however, and the message strong -

"The load upon my shoulder, makes me stronger, even bolder..."

This song has elements of true Metal Anthem - play it loud and proud! (As I shall when my husband leaves for work).


One cannot help but feel that the song "Space Eater" is about drugs. The semi-surreal and rather creepy video seems to match this theory too. It's a pretty cool song, regardless, with slammin' guitars (and the occasional twiddly bits) and the occasional low, slightly menacing vocals.

"Money" is a funny song, quite heavy, and exceedingly catchy. It also allows Scheepers to explore more scope with his vocals. Overall, Gamma Ray have used him with more versatility than Tyran Pace ever did. He has Kai Hansen for back-up, of course, and I'm not sure who exactly is singing which bit, as their styles are relatively similar.

Then we mellow up a bit with the stirring song, "The Silence". This is the most epic, the most powerful track on the album and less rock n' roll than the other pieces. The vocals are rousing, the music running perfect counterpoint to it.

"Hold Your Ground" gets back into the good solid rock song with pounding bassline, as does "Free Time" which is something of an anthem on its own. And one most of us cannot help but identify with:

"Free time is one of the things that I love... free time is one of the things I enjoy... "

'Tis a song about letting your hair down (easy for these guys, who all have curly 80s mops) and letting loose for the weekend. Yeah, "Free Time" is one of the things that I enjoy too.

And then we conclude with the epic title track "Heading for Tomorrow". With complex twiddly guitar bits, rousing choruses, mellower moments and a decent message.

"Look at Yourself" invites the listening to have some faith in themselves. It's a pretty basic song, basic message. Not a stand out piece by any means.

But this isn't the end, is it? No, despite the complete lack of any mention of it on the track listing, my CD has three extra songs:

"Mr Outlaw" is a rockin' number. The following "Lonesome Stranger" is most entertaining, as two men (who make me think of cowboys) argue over which metal bands they support. It has a somewhat Western vibe going for it, making me think of gun stand-offs and deserts, and an instrumental.

The final song, "Sail On" has a gentler, harmonic vibe, with repeated choruses and strongly evocative of a ship disappearing over the waves.

Gamma Ray are an awesome blend of the powerful and the fun - they hark from an era where music was about having a jolly good time (or at least, appearing to) and making the occasional point but in a manner that is neither preachy nor persistent, but more like saying "life can be great, just step out and grab it, go for it with all you've got." The vocals may not be quite as operatic and rich as some of the other bands, but the raw edge leads them a unique sound of their own, and the bridges and choruses are catchy enough to have them running through your head for hours, or for the listener to pick up on the second or third listen.

Play it loud!

A fine debut = 8/10

* or the Michael Jackson, Meat Loaf or Charlotte Gainsbury songs, a popular name, it seems.