Savatage: Poets and Madmen

Poets and Madmen mark the final chapter for Savatage. This comes at a time when Zak Stevens departed to form Circle II Circle and Trans-Siberian Orchestra was beginning to gain a lot of momentum. With Jon Oliva returning to vocal duties, many were left wondering both, what was left in the tank and what the future would hold for the band? Would Oliva be able to focus of creating an album that would do the Savatage name justice, or was he more focuses on TSO (Or Jon Oliva’s Pain, which was right around the corner)?

This album, which by looking at the cover one would have assumed would be a horror themed, Poe inspired concept. Instead, it tells the tale of a South African Journalist, whom struggles with morals and his own conscience. I suppose it makes sense, but being a fan of horror, it was a bit of a letdown. However, the songwriting more than makes up for the iffy concept. There are a number of excellent tracks, many that vary between progressive, power and even more of an old school speed metal. The emotion Oliva puts into his writing is still on display, which in my opinion, stays true to the Savatage mantra.

As for the actual music, I will start by saying, I enjoyed the Zak Stevens years of Savatage and although they can’t compare to the likes of “Hall of the Mountain King” nor “Gutter Ballet”, I loved “Edge of Thorns” and “The Wake of Magellan”. With Stevens exiting and Oliva back on vocals, I’ll admit that a part of me was hoping for a little classic era sound, even though I knew ultimately they would never be able to fully capture the magic without Criss (RIP) by Jon’s side. Nonetheless, Jon’s vocals are indeed back and although they are not delivered with the same pedigree they once were, they still have the Oliva touch I loved as a kid. His wails still have the ability to capture the listener’s attention and his shrieks, while not as harsh as they once were still carry plenty of energy. His range still allows him to take on deep, heavy rooted vocals, as well as softer low tones to help balance things out. Simply put, this is still Jon Oliva on vocals and yes he’s still has the magic. But, understand that this is Jon Oliva 2003 not 1987.

As for the guitars I will say, there’s no point in trying to compare Chris Caffery to Criss Oliva. It simply is pointless. Criss Oliva was a legend that created music for the gods. A once in a lifetime guitarist. Now, that’s not meant to cast shade on Chris Caffery, who, I feel is a very excellent guitarist. I’ve enjoyed his time on Savatage and have heard some of his solo act (as well as TSO), but if we’re being honest, he’s no Criss Oliva. But, then again, no one is. Caffery’s sound is a little more reigned in if you will, compared to Oliva. What I mean is that, Oliva had seemingly endless spectrum of riffs, leads and solos at his disposal and you never quite knew how magical each would be until you heard them first hand. Caffery on the other hand, although very competent with his skills, seems to deliver a more modern, clean sounding riffs and solos. They are good in their own right and they are very catchy and fit the music on this album quite well, but they feel much more rehearsed and formulaic. With that said, I enjoyed the majority of riffs and solos on “Poets and Madmen”. I felt they were well designed and timed nicely to fit with Jon’s voice and although they don’t carry the same magic as with past Savatage albums, they do carry own sound and identity with some thick and groovy sounds to their structure.

As per usual with Savatage, the drums tend to take a bit to the back seat on this album. Although they are present and never feel washed out, their presence feels more like a supporting role. The bass, at times really pops and delivers a nice heavy and crunchy sound which can really be heard on the track “Awaken”, Of course, Savatage wouldn’t be complete without Jon playing some of his keys and piano, which always gave the ban a little flair, which is exactly what they do on this album. They keys offer an almost industrial vibe at times such as the beginning of “There in the Silence”, while the pianos on “Surrender” help add to the sullen mood of the song. Always a welcome addition to Savatage’s sound, yet never feel forced or over redundant.

With “Handful of Rain” up to “Poets and Madmen”, I had to take a stand on how I would view these albums. At first, I was always trying to compare these albums to their predecessors, which ultimately left me feeling unsatisfied. However, over time, I decided to view these albums through the ears of what a new fan of Savatage might hear, which allowed me to appreciate the music on albums such as “Poets and Madmen” to a much greater degree. Sure, this album has a few blemishes and is not as glorious as “Hall of the Mountain King”, but at the end of the day, I felt it was a nice slab of progpower that still holds up well to this day.

Highlights: "Stay with Me Awhile" “Drive” “I Seek Power” “Man in the Mirror”

Rating: 4

Savatage: Hall of the Mountain King

When it comes to metal, not just power metal, “Hall of the Mountain King” has to be one of the shining moments in metal history. There’s no doubt in my mind that this particular album is one of those landmark albums that helped shape my mind to the world of metal as I know it and if I had to guess, you might feel that way as well. Aside from being Savatage’s magnum opus, this album epitomizes what it means putting your heart and soul into an album. They say, you only get out what you put in. Well, it won’t take long to realize that the guys from Savatage put every ounce of their metal souls into this album, as the output is simply a masterpiece.

First and foremost, this is far and away, the best vocal performance of Jon Oliva’s career. I’ve enjoyed every piece of work of his, be it Savatage, his solo work or even TSO, but nothing will ever live up to “Hall of the Mountain King.” His trademark wails and shrieks once again, share center stage as the driving force of this album. Now, if you’ve listened to Savatage, this is nothing new, but the amount of emotion and passion Oliva poured into his vocals on this album can truly be heard as he belts out his haunting shrieks on “Hall of the Mountain King”. Of course, Jon’s vocal range is very diverse and there is seemingly no limit to his ability. Whether it’s clean singing, deeper raspy vocals or his harsh shouts, his voice sounds perfectly in tune with the atmosphere of the album; dark, dynamic and powerful.

I mentioned that Jon’s vocals shared the spotlight as the driving force. That is because the second of this two headed giant of power metal brilliance belongs to his brother, Criss’ guitar work. Now, I have mentioned Criss Oliva’s magnificent guitar work before, so I won’t heap too much praise that I have for this man’s ability. Criss plays a wide variety of riffs that are simply exuberant, creating a powerful and robust sound, but also maintains a melodic touch that gives each song its own unique characteristic. The guitar tone set on this album is what I would say, the purest definition of heavy metal. It’s a sound that energizes its listener and captivates your attention while sticking with you long after you listen. The solos on “Hall of the Mountain King” erupt with such fluidity and power, yet are not simply bouts of shredding madness. Yes, there are some speedy solos, but others rely on tempo shifts and melodic sounding chords that help showcase both Criss’ songwriting and ability to wield his axe.

I’ll admit, that due to the Oliva’s musical magical they share, that Doc Wacholz’s drums can almost seem lost within such majesty. That may hold true on many Savatage albums, but on “Hall of the Mountain King” they are just as magical and every part as important to the overall sound. The pounding on the titular track sets the tone of the song, establishing a forceful rhythm and energetic pulse that accentuates the Oliva magic. The same can be said for the bass, which is given more than enough spotlight to showcase it’s heavy, yet playful grooves (see the opening of “Legions”), while the keyboards and pianos help create an enchanting sound that only adds to the already mythological atmosphere of the album.

From start to finish, “Hall of the Mountain King is a Tour de Force. Each song carries it own story, one that adds an additional layer to the album as a whole. From the Iron Maiden sounding “Devastation” to the speed metal laced “White Witch” and the cover of Edvard Grieg's "Prelude to Madness". Everything, from the songwriting, musicianship, producing, mastering, hell even the cover art is top notch. When you excel at every facet of creativity, you produced an album such as “Hall of the Mountain King” and you produce one of the pinnacles of heavy metal history.

Highlights: “Hall of the Mountain King” “White Witch” “Beyond the Doors of the Dark” “The Price You Pay”

Rating: 5

Savatage: Edge of Thorns

Savatage. This is one of those bands that had a very big impact on me when I was just getting into heavy metal. I can remember many a Savatage tapes being played on long car rides with my folks, jamming out to the likes of “Hall of the Mountain King”, “Gutter Ballet” and “Handful of Rain”. Another album that was played often was “Edge of Thorns”, one that I know often marks a separate era for the band, one that is rather polarizing among the fan base.

It was “Edge of Thorns” that we saw Jon Oliva take a step back from the musical side of the band (although he did add some work on the pianos and drums on a couple tracks) and focus more on the creative side. Although, Oliva’s voice might be absent, I feel his creativity is still very much on display throughout “Edge of Thorns”. This would also mark the beginning of the Zak Stevens era on lead vocals, another reason this era tends to divide fans. Now, it is very tall order to have a new vocalist step in and take over for a long time singer. This transition does not always go over well, but there have been noticeable successes in the past such as AC/DC or Black Sabbath when it came to passing the torch as to speak. With that said, I prefer Oliva over Stevens, but I’ve always enjoyed the Stevens era of Savatage. “Edge of Thorns” would also and sadly, be Criss Oliva’s final work, as he tragically died in an auto accident less than a year after the release of “Edge of Thorns”. Some point to this very moment as the beginning of the end of the band, as I can’t imagine how I would feel if either of my brothers were taken from me earlier, but the effect it had on Jon would resonate for years.

Now, I will say that this album tends to suffer from a lack of the theatrics that the band had been known to conjure up such on albums such as “Hall of the Mountain King” or “Gutter Ballet”. The bombastic passages the Oliva created with both his voice and songwriting are not as present as previous works, while the overall sound is akin to what Zak Stevens would continue on with Circle II Circle. That being said, I understand the divide that this album created among fans, as the trademark sound of Savatage has shifted to a more accessible sound that seemed to fit the sound in the early 90’s metal scene. On the other hand, if you enjoy Stevens’ voice, “Edge of Thorns” is still be a very enjoyable album.

Staying on the subject of Stevens, let’s talk about his singing. Personally, I’ve always been a big Zak Stevens fan. I enjoyed his work with Circle II Circle, which of course, would mean I enjoyed his time with Savatage. I don’t view “Edge of Thorns” as a Savatage album without Jon Oliva, but rather a Savatage album with a different approach. Yes, I miss Oliva’s wailing, but Stevens has a strong voice, one with enough rasp and grit to carry a heavy vibe, but also a melodic tone as well. This allows Stevens to sing with the power that Savatage generally brings to the table, but also gives him the freedom to showcase his midrange vocals as well as his softer side to his voice.

Criss’ guitar work over the years leading up to “Edge of Thorns” was nothing short of magical. I can’t recall how many catchy and memorable riffs the man created in his career, but the number is staggering. His ability to hook the listener with interesting time shifts and sublime leads is nothing out of the ordinary for his legendary ability. Such ability is easily detected on “Edge of Thorns” as there are countless riffs that create both heavy and melodic characteristics, which stick in your mind well after the song ends. His solos are excellently timed and fit perfectly with structure of the songs, often giving them an almost progressive nature to their overall structure. The rhythmic groves and his ability to harmonize them with the rest of the instruments creates a very complete sound the overall atmosphere, but also allows Stevens’ vocals to come to the forefront of the music. That is quite possibly, what I admire most about the songwriting is how they all for Stevens’ vocals to shine, all the while keeping the instruments center stage each and every song.

Doc Wacholz, once again, displays his drum mastery on this album. The pounding beats enhance the guitars and pianos, while carving out their own powerful niche from song to song. They too, have the ability to shift speed and tempo to allow for both the proper harmony within a song, but also, take hold of a song and become its driving force. The bass fits nicely in the overall sound, lending a loud, crunching tone that compliment many of the guitar leads.

My biggest complaint with “Edge of Thorns” would be the excessive amount of ballads present. I understand that power ballads were still big in the early 90’s, but I felt this album would have been stronger as a whole with simply one ballad, which would have complimented the two instruments. Songs such as “Sleep” and “As I Bleed” feel like unnecessary filler, that neither add or take away from the atmosphere of the album, but rather seem to just be there for the sake of being there.

At the end of the day, “Edge of Thorns” despite the excessive ballads, is a solid addition to the Savatage legacy. I can see both the praise is disdain this album draws and while everyone is entitled to their personal tastes and opinions, I’ve always enjoyed “Edge of Thorns” not for what it could have been, but for what it is: a catchy, talented showing of power metal.

Highlights: “Edge of Thorns” “Miles Away” “Degrees of Sanity”

Rating: 4.5

Matthias Steele: Haunting Tales of a Warriors Past

I remember the first time I heard Matthias Steele’s “Haunting Tales of a Warrior’s Past” on Youtube a few years back, but could only find a copy of cassette online, which was going for some price that I was unwilling to pay. Fortunately, Minotauro Records decided to reissue the album and a reasonably priced CD became available. (Off topic, but I have to mention, I was disappointed with the cover art being changed to a more comic book drawing as opposed to the original work that looked like it was pulled from early Magic the Gathering.)

I’ll admit, when I was a kid, anything related the Christianity and heavy metal was an immediate turn off, but as I’ve grown and matured, I try not to let any views or opinions sway me from at least giving an album a try. Anyhow, Matthias Steele play a very catchy brand of power metal, that although is rooted in Christianity, is not a constant “praise the lord” style of worship by any means. Make no mistake, this is a heavy metal album through and through and the lyrical themes taken nothing away from its brilliance.

As for the music, the first thing that will grab your attention are Anthony Lionetti’s vocals. This man can sing. His range is incredibly wide and he’s not afraid to let it loose on “Haunting Tales of a Warrior’s Past”. Whether it’s a high note, a low note or holding a note over a period of time, Lionetti does so flawlessly. Now, I don’t know the history of the band or its members, but as far as I can tell, Matthias Steele would be Lionetti’s only outfit he would be a part of, which is a shame. His soaring vocals could have easily risen the heights of Russell Allen, Fabio Lione or Andi Deris had he continued walking the path of heavy metal.

Throughout the album, the guitars quickly hook the listener with their ability to create catchy riffs and strong leads that help set the stage for Lionettis’s vocals. They play both a very up tempo style in vain of the classic US power metal mold, but also slow things down to provide an almost progressive element, which often build into an anthemic chorus. The same can be said for the acoustic guitar, which easily has the same effect to set the tone for a particular song. This can be heard on “Shadow of Illusion” when the acoustic kicks things off with a subtle, yet strong opening, which slowly builds until the electric guitar enters (along with the bass) and generates a memorable display of riffs and rhythms. This may also be Lionetti’s best work on the album as to this day, I still find myself singing “In the corner of my eye” aloud at random times.

As I mentioned, the bass is also a key player in the overall sound, playing nicely with the guitars especially when the band incorporates a nice solo (although there are not many). The drums are often front and center, which is often an issue with production (sometimes making them pop too much and leads to overshadowing the guitars), by they lend a nice dose of speed metal ala Blind Guardian to the overall sound. Despite a few sound flaws, all the instruments can be heard throughout the album and they harmonize nicely along with Lionetti’s vocals to create some very crisp sounding power metal.

Don’t let the Christianity tag sway you from picking up “Haunting Tales of a Warrior’s Past”. This is one of those shamefully overlooked power metal albums that got lost in the shuffle. One listen will explain why it was a shame these guys were moribund for 25 years after this release. Power metal fans rejoice.

Highlights: “Magick Wand” “Shadow of Illusions” “Return with a Vengeance”

Rating: 4

Ghost Ship Octavius: Ghost Ship Octavius

Ghost Ship Octavius is a progressive/power metal band from the USA, that feature Van Williams (Nevermore), Matt Wicklund (Warrel Dane). I first read about Ghost Ship Octavius by way of an article I read a while back featuring Nevermore’s Van Williams. It wasn’t long aft the band’s 2015 self-titled debut was released independently. Unfortunately, I had forgotten all about the album being released and didn’t rediscover it until early 2018, but I suppose better late than never, although after listening, I wish it had been sooner rather than later.

The first thing that should be noted is that, even though this is technically a three piece outfit, various guests assume lead guitar roles throughout the album. Mattias Ia Eklundh (Freak Kitchen), Jeff Loomis (Nevermore) and Chriss Caffrey (Savatage) all lend a hand in creating the final product for the band.

As for the music, Ghost Ship Octavius’ blend of progressive and power metal is much more on the heavier side of the equation. I would say that power metal is far more noticeable than anything else, but the band uses a varied approach to creating their sound, one that never gets stagnant, nor lurks in one genre’s territory for too long. It would be hard not to compare certain aspects of the band to Nevermore, for obvious reasons, but Ghost Ship Octavius is no clone They create their sound through the use of crisp guitars, catchy rhythms, powerful drums and clean vocals.

For instance, the opener “Saturn and Skies” begins with a thick, groovy riff that hooks the listener immediately. The drums pound away, offering a steady flow of beats and percussion that help carry the sound. The rhythm and harmony of the guitars create a nice atmosphere of heavy power metal, but also ease into passages of a more progressive sound reminiscent of vintage Dream Theater. Newcomer Andon Fanion’s melodic vocals play wonderfully with such a heavy sound, creating a pleasant contrast to aggressive riffs and hammering drums.

That being said, not every song is driven by the aggressive power/progressive sound. Although there is still a level of heaviness to be heard in almost every song, “Mills of the Gods” offers a much more mellow approach to their sound, allowing their progressive side to take center stage. “In Dreams” offer a more traditional progpower sound, with Fanion singing in a softer tone over a mid-paced riff and drums and building to a heavier chorus.

Although this far from being a landmark album, I can’t find very much to be disappointed about “Ghost Ship Octavius” unless I made it a point to. Which I’m not.  Songs like “Silence” and “Epitaph” are probably the weakest offerings on the album due to the lack of hooks and overall memorability of the songs, but they are by no means throw away tracks.

It’s easy to see why this band made some noise in progpower circles upon its release (even though I was late to the party), as any fan of Nevermore, Circle II Circle and even Dream Theater should find some enjoyment from this release. The band shows they have the ability to create a catchy blend of aggressive power metal with progressive overtones and should only improve as they move forward.

Highlights: “Saturn and Skies” “Mills of the Gods” “Alive”

Rating: 3.5

Charred Walls of the Damned: S/T

Hype. Probably the best description I can associate with Tim “The Ripper” Owens. When Rob Halford stepped away from Judas Priest, the hype for his replacement was none other than The Ripper. When Matt Barlow left Iced Earth, the hype returned with The Ripper filling in. The hype surrounding Yngwie J. Malmsteen looking for a singer? You guessed it. So what am I trying to get at? Well for starters, I enjoy Owen’s voice, I always have. I think Ripper era Priest was a respectable showing given the circumstances. I loved his work with Iced Earth, Beyond Fear and Winters Bane. So of course, when I learned that there was yet another band that would feature The Ripper, I was hyped. (See. I tied it all together). Jokes aside, I had no doubt that Owens could front another outfit, and I was excited to hear with Charred Walls of the Damned would offered.

Charred Walls of the Damned play a style I simply call, “Powerthrash”. It may not be an actual genre, but I view it much like Viking or Speed metal (descriptors rather than categories). Anyhow, the music on “Charred Wall of the Damned” reminds me of the style of Iced Earth; power metal to the core, but with enough heaviness and thrash elements to give it more grit than a standard power metal outfit.  The riffs chug along throughout the album providing a simple, yet powerful base, while creating some nice melodies and a few decent solos along the way. The drums provide a steady dose of double base and pounding strikes while the bass provides an excellent supporting role that any good album should incorporate. The Ripper’s voice may not be as high octane as I was expecting, but the song writing on this album did not call for endless Priest style wails (although he does wail often), so they are more than adequate. The production is spot on, highlight each musician’s talents while not overshadowing or phasing one out in favor of another. Songs like “Blood on Wood” and “Creating Our Machine” really show of the bands potential and are always a couple go to songs when I think of the band. So what’s my gripe?

Well, none really. I enjoyed Charred Walls of the Damned”, but I suppose due to the hype, I was expecting somthing more. This was the equivalent to going to a five star restaurant based on Zagat’s recommendation, getting a nice bottle of wine, the special of the day and a decadent dessert. Everything was set up to be a first class experience, but at the end of the day, the wine was just tasty, the meal was just filling and the dessert was just tasty. Not, mind blowing, but not regrettable either. Maybe I had set my expectations too high for this debut, or perhaps advertising did its job, but at the end of the day, I was just satisfied with an album I expected to be blown away by. I can’t say I was disappointed, as there is plenty to enjoy on this album, but I can’t I was impressed with what this “Supergroup” (another overly hyped term that I will no doubt, bring up in the future) had produced.

Highlights: “Blood on Wood” “Creating Our Machine” “From the Abyss”

Rating: 3

Xandria: Sacrificium

"Sacrificium" is an excellent Symphonic Power metal album with aspects of folk and even a touch of Gothic sprinkled into the mix. The album starts off with a 10-minute epic "Sacrificium" setting the tone from the get go. The song itself starts off with plenty of energy complete with nice melodies and a catchy chorus, which comes to a bit of a crawl towards the 2/3 mark, but picks right back up afterwards. Of course, the idea was to put Dianne van Giersbergen's operatic vocals of full display to let the listener know that her voice would be taking charge throughout the album. Well, message received. I know everyone will quickly offer similar female fronted bands when looking for a comparison, but when "Nightfall" hits, all I can think about is a strong connection to the greats like: Rhapsody or Avantasia. I don't know why, but the tempo of the song, the anthemic vocals just got me rocking like those bands do so often. Anyhow, the music is very memorable with excellent flow and energetic riffs. The symphonic aspects, again, have a clear Rhapsody of Fire influence, which balances the music and vocals into a nice harmony. There are a few ballads on the album, that always seem to be mandatory with power metal, that I could have done without, but are by no means unpleasant or unnecessary. At the end of the day, "Sacrificium" was a very nice surprise for me, as this was my first experience with the band. One that, after reading some previews, established fans seemed to have worried about, but those worries were easily put to rest. I look forward to exploring their other albums and would recommend this album to any power metal junkie.

Highlights: "Sacrificium" "Nightfall" "Betrayer"

Rating: 4

Blind Guardian: Nightfall In Middle-Earth

By far my favorite album by Blind Guardian, if not just in general. This album, to me, is the highest point of Blind Guardian's career to date. It has everything you could want in a Tolkien inspired, fantasy laden, power metal opus. Listening to this album as a whole is the best way to experience the full effect of the album as the interludes by themselves seem non-essential, but they are by no means filler. The sound BG cemented on their previous album "Imaginations From the Other Side" continues onto this release, but the orchestral and operatic sound feels more mature and focused. Kürsch's vocals feel as though they are telling the story of "The Silmarillion" without ever having to had read the book in the first place. The music creates a specific atmosphere for each song, very much how a novel progresses from chapter to chapter. "Into the Storm" offers the classic speed metal sound Blind Guardian built their legacy upon, while "Nightfall" has a progressive element to its structure that builds into an explosive chorus. "Noldor (Dead Winter Reigns)" is a wonderful ballad that is as dark as it is comforting to listen to, while "Mirror Mirror" picks things up with a big chorus over a backdrop of fun and catchy keyboards. "Thorn", which is my darkhorse for runner up on this album, another ballad, but the build up to the first chorus always gives me goosebumps. Last, but not least, "Time Stands Still (At the Iron Hill)". Top three Blind Guardian songs of all time hands down. Just listen to it. You'll understand. Final verdict: Get this album, now.

Highlights (Press Play and enjoy) "Nightfall", Into the Storm", "Time Stands Still (At the Iron Hill)", "Thorn"

Rating: 5

Blind Guardian: A Night at the Opera

Iron Maiden's Golden Era is generally considered to begin with "The Number of the Beast" and end with "Seventh Son of a Seventh Son". This would consist of 5 albums and would not include their first two releases as a result. Now, "Iron Maiden" and "Killers" are fantastic releases, but fans can generally agree on the "Golden Era" beginning with Beast. Blind Guardian, in my opinion also went through a very similar Golden Era. And much like Maiden, after their first two releases their next 5 albums, IMO would form this era, beginning with "Tales from the Twilight World" and ending with "A Night at the Opera". That's not to say the first two releases are not special or anything after this album are inferior.

"A Night at the Opera" was my first true experience with the band (although I bought this, NFIME and SFB at the same time) and my love for Blind Guardian was born. This release has everything you could ask for when it comes to Blind Guardian. I've heaped so much praise on their style and music that I won't go into detail on what we already knew would be present. However, one nice change we hear on this release is the length of the songs, which are a little longer on average, but of course BG, would never let that become an issue of having the perception of dragging on too long. All it means is that you get to enjoy some classic hits for a little longer than normal. The other amazing aspect of this album is that it almost feels like Blind Guardian have become their own Orchestra with the amount of keyboards, sound effects, guitars and vocalists that are heard throughout the album. To harmonize all these components together, is akin to a great conductor leading a score with the Metropolitan Opera. Amazing.

Highlights: "Jerusalem", "Battlefield", "Under the Ice" "Wait for an Answer"

Rating: 4.5

Blind Guardian: Imaginations from the Other Side

If "Somewhere Beyond Time" is considered Blind Guardian's masterwork, then "Imaginations from the Other Side" would mark the point where the band would settle on their sound. This comes with both a plus and a minus depending on how you look at it. On one hand, from this album forward, you know exactly what you’re going to get with Blind Guardian which, in my eyes, is a good thing, as now, they would have a sound that was truly their own. On the other hand, one might say their albums suffer from formulaic copy and pasting and basically once you hear one album, you've heard them all. Obviously, I disagree with that notion, as I like playing with loaded dice in that, I know each roll will be favorable. You can hear this in the titular song, as it showcases the operatic choruses that would become a staple in Blind Guardian, while establishing powerful rhythm and catchy melodies. Thomen Stauch's drums continue to dazzle listeners with both the ability to pound at your skull, but also create an accompanying sound that flows with each song on the album. "Bright Eyes" is another example of how the band can shift sounds and moods, yet not lose hold of the overall atmosphere they are creating as the album progresses. Kürsch’s vocal range goes from high to low, and from soft to harsh all in one track. The sound itself has a more, I'm not sure how to describe it other than poppy sound? Almost a blend of genres of sorts. In any case, it's a wonderful song on a magnificent album. Get this.

Highlights: "Imaginations from the Other Side", "Bright Eyes", "A Past and Future Secret"

Rating: 4

Blind Guardian: Somewhere Far Beyond

Some herald this as Blind Guardian's magnum opus; the best of their storied legacy. While I will not dispute that because I think they are right, this is still not my favorite Blind Guardian album. That being said, "Somewhere Far Beyond" is an absolute juggernaut of power metal glory. The sound that Blind Guardian had sought to mold as their own has finally come together as the final product they set out to create. Hansi's vocals are on a transcendental level that many could only aspire to replicate. The riffs on this album create so many different moods and atmospheres that it's hard to not to marvel at the song writing. Songs like like "Time what is time" and "Journey Through the Dark", blast away as pure speed metal that draws upon powerful melodies and sensational solos. But, the real magic is how BG can drastically alter their sound and abruptly change the atmosphere so smoothly as the album transitions forward. "The Quest for Tanelorn" feels almost like early 80's metal or 70's hard rock, while the track, "The Bard's Song - The Hobbit" has folk elements woven into its structure. It would be hard to point out a less than stellar song on this album (not including the covers, which I feel are done well, but seem like add-ons at the end of the day). Do not pass on this album. You won’t' regret it.

Highlights: "Time What is Time", "Journey Through the Dark", "Ashes to Ashes", "Theatre of Pain", "Somewhere Far Beyond"

Rating: 4.5

Blind Guardian: Tales from the Twilight World

Some will point to this album as being the first Blind Guardian in which the band would polish their sound and establish their foothold in the metal community. The band continues to grow in terms of song writing and quality of sound, but never abandons the magic they started with. The music itself is still, one-part speed metal, one part European power. The guitars churn out classic riff after riff and brilliant solos, while the drums continue to assault your eardrums. Hansi vocals have grown with each release and with "Tales From the Twilight World" we hear a lot more of his operatic potential. His highs are a great as ever and his lows still carry the aggressiveness he delivered on the previous albums. This album is a no brainier for fans of power and thrash fans alike.

Highlights: "Lord of the Rings", "Lost in the Twilight Hall", "Tommyknockers"

Rating: 4

Lucifer's Heritage: Battalions of Fear

Although these songs are included with the remastered versions of "Battalions of Fear" and "Follow the Blind", I first heard them on a copy of a tape (back when you recorded your own mix tapes. The good old days). Anyhow, Lucifer's Heritage would obvious morph into the powerhouse legend known as Blind Guardian. On their second demo, we get essentially a couple songs that were re-recorded for "Battalions of Fear" and an additional song that would be used as a bonus track on said album. Demos and original versions of songs can sometimes be an underwhelming experience. Often they lack the refinement and tune ups that we're used to complete the final product, which can leave their original form feeling rather bland. This is both and not the case with Lucifer's Heritage's version. The songs here, that would be reused, definitely sound different, but not bland or dull, but rather raw and filled with potential. Obviously, the final product would be given the polish needed to make these songs shine, but the originals sound almost like their own version of said songs and I think, should be treated as such. Fans of "Battalions of Fear" (BG's version) should make it a point to listen to this demo, or at least seek out the remastered versions to do so. You won’t' be disappointed.

Highlights: "Majesty" "Battalions of Fear

Rating: 3.5

Blind Guardian: Follow the Blind

"Follow the Blind", Blind Guardian's sophomore album would serve as a transitional piece from the speed metal sound that they began with into the majestic sound they would soon evolve in to. Hansi Kürsch's vocals, although still suited for the speed metal sound, begin to flourish and the beginnings of his trademark sound can really be felt on this release. We still have the thrashing riffs present on the debut, but there are also some instances where the heaviness is turned up a bit. "Damned For All Time" displays this with a far more violent vibe than anything up until this point. Thomen Stauch's drums are still just as pounding as they were in "Battalions of Fear" and the production, much like its predecessor, was decent for the time of the release, but by no means diminishes the sound nor the overall experience. This is a stepping stone to what would soon come.

Highlights: "Damned for All Time", "Banish from Sanctuary", "Follow the Blind"

Rating: 4

Blind Guardian: Battalions of Fear

The album that began it all. Blind Guardian has been one of, if not the most recognized power metal bands in the world. Their Tolkien and fantasy themed albums have delighted fans for 30 years and it had to begin somewhere. Any fan of fantasy novels, D&D, MTG, like myself will have a good time listening to this album. "Battalions of Fear" would see the earliest incarnation of Blind Guardian, one that most would label as speed metal. Up blistering riffs with technical solos are present throughout the album. The base is never muted and clearly adds to to the overall melodies. The drums are equally as present and are a noticeable force throughout the album. And of course, there's Hansi Kürsch's vocals. His voice is one that can easily be distinguished among hundreds of others who aspire to emulate his range, but unfortunately for them, there can only be one (come on I have to throw some nerdism out here). Kürsch sound is not as standard is it would become with latter Blind Guardian albums, but at the time of this release, they sounded raw and untamed, which is a good thing. This album drips with 80's metal glory and although the sound Blind Guardian would seek to harness wouldn't arrive until a couple releases down the road, "Battalions of Fear" is an excellent beginning to an amazing career that would soon follow. Also, the remastered version has the demos from their days as "Lucifer's Heritage". Not essential, but a nice addition to compliment this already excellent release.

Highlights: "Battalions of Fear", "Majesty", "Guardian of the Blind"

Rating: 4