Queensryche: The Warning

Operation: Mindcrime” is often considered Queensryche’s magnum opus, in fact it is often considered one of metal’s grandest albums. Debate aside, prior to this legendary concept album, they already had two solid releases under their belt. Their debut “The Warning” was releases in 1984 and although this would be the beginning of a long and controversial career for Geoff Tate and company, the earliest years were filled with some wonderful music.

The music on “The Warning” is a blend of classic heavy metal with elements of progressive rock and a hint of power metal. Many will point to some obvious Iron Maiden comparisons due to the band’s twin guitar harmonies that they employ, but this is neither a clone nor an album playing worship music. The songwriting on “The Warning” are at times complex, creating song structures that are both sporadic at times, but are so mainly due to the variety of genres the songs are rooted in.

On “The Warning” we get to hear the early workings of the band’s magic. Tate’s vocals are always ranked among the greatest in the business and they show consistently throughout the album. His voice carries a certain pitch that, although may share similarities with the likes of Rob Halford, they are unmistakably unique. His highs are brilliantly clean and on point, while his mid-ranged tone carry a catchy bounce to their tone that give them a trademarked sound that Tate would build his career upon. Michael Wilton and Chris DeGarmo create a dazzling display of lead riffs, catchy rhythms and well executed solos that make it easy to see why they are often compared to Maiden. Not so much because they sound alike, but more, the sheer awesomeness they create while playing such well-timed harmonies. The bass plods along in the background with the twin guitars adding an additional piece to the rhythm section, while the drums provide a poppy sound, playing right along with the guitars and adding some unique fills along the way. The only real downside to the drums would be the lack of power in the form of a bass drum. With a good pair of headphones, you can detect its presence, but otherwise is absence is noticeable. To be honest though, I feel the bass drum would have enhanced the overall sound of the album, but the lack of the bass doesn’t’ necessarily take anything away either.

As for the album itself, the opener “Warning” starts off with a mid-pace tempo that showcases Geoff Tate’s legendary wails. The leads play with a progressive sound, slowly building into a Maiden-esque rhythm section, before shouts of ‘Warning’ echo into the distance. We then switch to a straight up, NWOBHM sounding guitar tandem on the next track “En Force”. The following track, “Deliverance” changes structure once again and plays with a much more up tempo, speed metal sounding power that features catchy leads and a memorable chorus, thanks to Tate’s singing and Wilton and DeGarmo’s harmonious guitar work. Just when you think you might have gotten a handle of the structure of this album as a whole, “No Sanctuary” arrives and the changes the pace of the album, yet again. The song opens with an acoustic guitar and slowly, but progressive builds into a soaring chorus that features Tate’s ability to capture both the mood of the song and of course, of the listener as well. The song carries a very progressive rock tone ala Pink Floyd to its overall sound and delivery. The remaining songs follow a similar pattern of complexity and switching from progressive rock, to speed metal and back again to a NWOBHM Maiden sounding style.

Now, with such a complex stable of songs on hand, the only downside is the actual flow of the album itself. I don’t know if this was how the band intended “The Warning” to sound, but with the interchanging of various genre influences at hand, the album plays more like a collection of songs with not much direction. Personally, this doesn’t take much away from its enjoyabiltiy, as there are a number of handpicked songs that can easily be played and enjoyed on their own, but there is something to be said when and album plays straight through and maintains a consistent ebb and flow of music and emotion.

“The Warning” may not live up to their 1988 masterpiece, but it is a solid debut with plenty of catchy and memorable moments that will leave and 80’s metal and US power metal fan more than satisfied.

Highlights: “Warning” “No Sanctuary” “En Force” “Deliverance” 

Rating: 4

Queensryche: Operation: Mindcrime

Queensryche’s, Operation: Mindcrime is often heralded as one of the landmark albums of US power metal and for good reason. Perhaps best described as a rock opera, the concept behind “Operation: Mindcrime” follows the tale of a drug addict named, Niiki and the sinister plans of Dr. X. Feeling a sense of revolution, Niiki seeks out the notorious, Dr. X, whom uses a form of drug to brainwash individuals and thus, tasks Nikki to assassinate various targets. Eventually, Nikki becomes conflicted upon having to kill a particular target, a woman for whom he falls in love with and from there the story progresses into bouts of panic, pandemonium and suspense.

Story aside, which deserves its own review and synopsis, the music on “Operation Mindcrime” itself is fantastic. Geoff Tate is often considered among the greatest vocalist of our time, which should come to no surprise after hearing his performance on “Operation: Mindcrime”. Not unlike, Dio, Dickinson or Halfod, Tate has a vocal range that can reach soaring heights that carry both power and majesty, but also stir up emotions across the spectrum. His voice is simply captivating and one can’t help but get lost in the dreamy tones he creates throughout this album.  Songs like, “Revolution Calling” and “Speak” show off is glorious highs while songs such as “Breaking the Silence” and “Operation: Mindcrime” he shows off the ability carrying a more mellow tune and sing with a grace few others can. At times, he even has a poppy, more 80’s hair sound to his voice, which can be heard once more on “Operation: Mindcrime.” The verse ‘They're all in Penthouse now, or Playboy magazine, million-dollar stories to tell.’ always make me think of some sleazy glam song, which I absolutely love! The area in which he excels in the most however, would be the choruses, as they allow him to simply let loose and allow him to put all of his emotion into his voice. The choruses really steal the show throughout the album and only enhance the story, or chapter I should say, of each song.

The guitars on Operation: Mindcrime deserve a special nod as if it weren’t for Tate’s legendary performance, they would be the subject of all the praiseworthy banter. However, they deserve no less than an equal showing of admiration as on their own, they display a wide variety of strong and melodic rhythms, as well as captivating and energetic leads. The riffs alone carry enough heft to hook the listener, but then you add in unique rhythms and guitar timings and then sprinkle in some captivating solos and you will be left beyond satisfied. Michael Wilton and Chris DeGarmo’s guitar work on their own warrant their own mention, but it’s their ability to harmonize with one another, feeding off each other’s timing and ability to create a genuine sound that helps not only enhance Tate’s vocals, but allows the entire album to flourish from start to finish.

The bass has a nice reverberating tone to it, a sound that is easily detected and integrates well with Wilton and Degarmo’s dual guitars. There are many times when the bass really helps add an additional pop to the sound during the interchanging of said guitars and helps maintain the pulse of the rhythm. I would argue that the band’s ability to harmonize all three of Wilton, Degarmo and Eddie Jackson’s chords is nothing short of brilliant, as all of their sounds never seem do overtake one another nor do they sound forced at any point.

Scott Rockenfield delivers some fine work on the drums, adding a heavy dose of progressive sounding elements to this progpower masterpiece. The unusual tempos and beats allow the songs to seamlessly alter from straight forward hard rocking sections to a more mellow sound. Whether it’s a quick paced beat or a slower more tempered sound, the drums provide a very nice compliment to the overall rhythm and develop a sturdy foundation for the rest of the instruments (and vocals) to build upon.

The additional pieces of the sound also deserve mention. The use of acoustic guitars, keyboards, synths and of course soundbites play a vital role in creating an additional layer to both the sound and story. The production as well deserves an additional tip of the cap, as it is clear and concise, allowing everything from the vocals to the bass to the synths to shine.

I suppose, what I enjoyed most about Operation: Mindcrime, was not so much how wonderful Geoff Tate’s vocals sound or how great each of the instruments were played, but rather how they sound together. My love for this album is attributed to just how well they all mesh into one cohesive sound forming a single heartbeat that pumps the lifeblood throughout the album’s entirety. It’s true that on their own, the vocals and instruments could be viewed as a success, but the reason this album is so widely praised is the fact that Operation: Mindcrime serve as a perfect analogy to a completed puzzle. Each piece is just as important as the rest, but even if just one is missing, you’ll never have a whole product. You’ll never truly be complete. That is how you sum up this album: complete.  

Highlights: “Revolution Calling” “Operation: Mindcrime” “Speak” “Breaking the Silence”

Rating: 4.5