Chapter I – Haus Wahnfried
If you don’t waste your life away on social media you might have already stumbled upon one of those (usually) rectangular-shaped objects with sheets of paper attached to one another. What is it called? A book! Yes, that most ancient tome of knowledge. And if you ever entered one of those buildings that stores these books (a bookstore or – gasp – a library) the name Parzival might even ring some far-distant bells in the deepest corners of your mind. It is the name of the Arthurian hero that Wolfram von Eschenbach writes about in the book entitled – surprise, surprise – «Parzival». To make a long story short, the book details his adventures through Medieval Europe in search for the Holy Grail. But as the great Konstantinos Kavafis claims in his poem «Ithaca», the journey itself is much more important than we could ever hope our ultimate goal to be. It is a book, first and foremost, about love, where humility, compassion and honor coalesce together in the quest for that ever-present spirituality that shapes itself as love.
And that is the story of most of us in our own personal quest for purpose in this wonderful cosmic accident that we call life. Or at least that is my personal story. If you can relate with me or not, I guess that is for you to find out. This journey is an individual mission that each of us needs to complete alone – that is beyond any doubt. But I suppose some of us have similar (not equal – every man/woman is an island) stories of personal discovery, there are important events in our lives that light the spark and something deep within us changes. That spark has a name. It is Heavy Metal.
Although there is no exact timeline, it usually happens when we are 14/15/16 (could be sooner but not all of us have the emotional maturity to listen to Sodom when we are 5 (ahhh, the ‘zines of the mid-nineties). You are adrift in the middle of the ocean, uncertain of what you are supposed to be, just following the herd of conformity. Not because it is your true calling but because it’s the easy way out and you don’t even realize there is another way. Living detached of yourself, you survive… barely. Until the day when a single piece of driftwood passes by and you cling to it. Heavy Metal paints the world with a whole new color. A lot of new and exciting gates are swiftly opening everyday in front of you now that you hold the 7 keys. You discover more and more. Heavy Metal is an obsession and controls all aspects of your life. All you can focus are radio shows, magazines, songs, albums – nothing else seems to matter anymore. You cannot get enough of those melodies, guitar solos fill your every dreams, high piercing screams reverb in your ears. And then, without warning, it manifests itself right before your eyes like an apparition in Arkham – Manowar.
Real Heavy Metal is not something that you find somewhere, it does not work like that. Heavy Metal will find you, if you are ready for it. And it was with Manowar that I have learned that… Sure, Heavy Metal is about loud guitars, twisted riffs, pounding drums and raging screams. But there is something else. Something that is hard to explain, a spiritual side to it. It is where you leave the mundane world behind and enter the mystical realms of absolute transcendence. And you finally start to grasp the real meaning of it all. It is not just about music, it goes way beyond that. It shapes your personality, changes your world views and the path you decide to tread in every crossroad. It should make you a better person altogether, much like the Parzival hero.
This conversation takes me back to one Christmas in the early 90s (best Christmas ever!), when my older brother gave me as a present not one, not two but three Manowar CDs to complete my collection (though by then I didn’t even know «Sign of The Hammer» existed – the pre-internet world was filled with mysteries). Those albums were «Fighting The World», «Hail To England» and «Into Glory Ride». Obviously «Hail To England» and «Fighting The World» took all my attention and «Into Glory Ride» stayed in the backseat – again, the emotional maturity is inseparable from the way we perceive the diverse realities. I am not going to lie. It took me a while to fully comprehend all the different layers that are present in the album. It takes a full body armour to be able to withstand the torrent of molten lava that spills forth from «Into Glory Ride». But the seed that was planted early on at last bears fruit within you. And your life changes forever. Do you dare to let it change you?
Browsing through the subsequent years, we are confronted by the abominations that have poisoned our world. Like Grunge in the 90’s or Nu Metal at the turn of the millennium, alongside dreaded high and mighty concepts like evolution and innovation (we know what vermin hides within those big words). We have seen trends coming and going, we have watched in wonder the illegitimate birth of all kinds of sub-genres palatable for every specific individual need – a marketing trait if there ever was one – and the total subversion of all that actually meant something in the grand scheme of things. That is why everything AND the kitchen sink passes by Prog these days, Symphonic Metal is neither symphonic nor Metal and the oxymoron entitled Happy Grind is all the rage these days. Somewhere along the way Heavy Metal shape shifted into Extreme Music. Be aware. Extreme Music is Heavy Metal for non-Metalheads. And all that had a profound effect on our own perception of what Heavy Metal truly is.
We let record labels dictate our tastes and magazines sabotage the scene. And now in the year 2020, what do we see? No one buys records anymore unless they are die-hard limited numbered editions on colored vynil. But do we actually listen to those records? God forbid! It must remain sealed. Our dumb-phones are our hi-fi systems. All we care about is likes, views, subscribing, followers… craving for the attention that we so desperately need. I will follow you if you follow me – everything is a transaction. And the saddest thing is that this happens all the same – both on an underground and mainstream level. We take a look around and all we see is conformity, apathy and – the worst of all – shallowness. So what is the point, after all?
From being the meaning of life, Heavy Metal turned into another hobby, a game for spoiled brats. Marco Concoreggi (Dexter Ward’s singer) said some day that people nowadays haven’t got the slightest idea on how hard it was to find albums back in the day. In his words (I am paraphrasing him by memory so this might not be 100% on spot) we had to fight polar bears to get new albums. To illustrate this point further, let me just recall an episode from a while ago where in one of those Heavy Metal groups on facebook (yes, we all know what that means) there was a guy frantically searching for an app to tell him what albums he had already listened. So he wouldn’t have to listen to them again. Because why would anyone listen to the same album twice? In today’s world where every single piece of music is readily available in a matter of seconds you are bound to become detached to it. In a society where everything is readily available for consumption, things have no value anymore. Music is not a quest any longer, it is a commodity. Commodities are disposable, hence stripped of all its intrinsic value. This new generation of Metalheads can never fathom how fundamental Heavy Metal is to our lives. Is it technology’s fault? I wouldn’t say that. People have become lazier every year, almost like everyone on Wall-E’s earth. We are happy to touch the water’s surface with the tip of our fingers when we should dive into the sea – head on! Things are just too easy now. Easy to listen to new bands. Easy to form new bands. Easy to record new albums at home. All of these ingredients contribute to this cesspool of disillusion that Heavy Metal has turned itself into. Like Savatage says, this is the time “when Metal doesn't ring the same reaction from inside your brain”.
I remember the days when we started going to Heavy Metal shows. Waiting in line for hours, bringing a backpack with sandwiches, not knowing what will be. The Magick of the unknown. That is unthinkable nowadays. We have to have a proper meal in a fancy restaurant before the show. We have watched countless videos on youtube of this current tour and we have uploaded the setlists to our dumb-phones. At the same time, our Heavy Metal heroes are constantly blabbering away online over the most trifling things. No surprises, a fully fabricated transparency that we consume. Consuming is the key word here – I cannot stress this enough. We are not fans anymore, we are consumers.
Since there are so many bands and even more records coming out every week, our Heavy Metal heroes build this image of being just regular folks like you and me. A human side to them. A useful tool to camouflage them into what we want them to be. We know what they eat, what they think, where they live. Or we think we do. That is why – nowadays – musicians that keep a low profile tend to be regarded as untrustworthy, suspicious, conniving. If we don’t know everything about their personal lives (as if…) what are they hiding? Surely they must be hiding something really terrible. This claim for public exposure is profoundly sick and borders on psychopathic behavior. Like we see every now and then with the supposedly hardcore Manowar fans demanding the right to know everything about Scott Columbus’ death. Because we are entitled to know. Same with André Matos’ death. Even his brother had to come out in tears begging for people to stop speculating about his departed brother. Because we are entitled to know… everything. Privacy is a luxury no one can afford. Specially musicians. Real musicians, not guys who have a band and record albums. There is a (not so) small difference.
We talk about supporting the scene. We talk about union. We talk about the Metal family. Have you noticed how the term Heavy Metal has been cast away to the dungeons of oblivion? Now we have the term Metal. Whereas Heavy Metal actually means something, Metal is utterly devoid of meaning. Heavy Metal is not a t-shirt, it is our very skin. Heavy Metal is not an arbitrary tattoo that we choose from some glossy catalog, it goes way deeper than that. The temple at the end of our pilgrimage has been torn asunder. Our hopes and our dreams to make our fantasies reality are in tatters. And we realize that feeling of camaraderie is irreversibly lost. Anacrusis asked in 1993 if we should force a brotherhood. I echo their doubts: “should we invent a common bond”? Is it still reasonable to insist on this dysfunctional family that we call Heavy Metal? Well, as David Defeis brilliantly puts it, there is Magick still. As long as we care to find it. And thus we come full circle into Parsifal.
Parsifal is the Richard Wagner interpretation of von Eschenbach’s book. If you have more than a passive interest in Manowar you should have realized Joey DeMaio’s love for Wagner. The german genius has always been much more than a simple influence. He is definitely the model that helped Manowar becoming what it is now, as much as someone of Wagner’s stature can be a model from anyone two centuries later, of course. This connection comes in several different ways. Composition-wise, a little bit for it’s not an easy legacy to carry, but also in the search for the perfect sound quality, and – last but not least – the outright refusal to compromise his vision. And in this brave new world where being a nice guy while you are on the spotlight is one of the fundamental pillars for success, that is one of the things that rubs people the wrong way. You can’t be uncompromising and pat everyone on the back. The results are in plain sight. For the whole Heavy Metal world (from the deepest pits of the underground right to the unlimited heights of the mainstream) Joey DeMaio is an asshole. Even he acknowledged that when, on his «The Blood of The Kings Tour», he reportedly claimed asshole was his definition on the dictionary. And now I guess he was got to live with it for all eternity.
And you know what? Maybe he is. Does that even matter? Is any one of us the paradigm of moral rectitude? Take a good look at yourself in the mirror. Who amongst us is worthy of unconditional reverence? No man or band is immune to criticism. Even gods (before monotheistic religions bore the world to death) were to be accountable for their capricious whims. Manowar – as Kings of Metal – bears that stain. The burden of infamy is firmly attached to their shoulders, mostly alone. Something that has no comparison whatsoever with any other band of the same stature. I am all for a rigid code of ethics that bands should adhere to. But shouldn’t the same rules be applied to every band equally? The truth is that Joey DeMaio, with all his titanic assholery (for lack of a better term) never hailed White Power in his stage antics, for instance. Assuming that Joey is an asshole, for the sake of argument, the question we should be asking is: an asshole compared to whom? And what about music, you say? Well… take a real good look at Manowar’s discography. Just to name a few at the top of my head, where is their «Demolition»? «Risk? «Load/Reload/St. Anger/Lulu» (so much to choose from)? «Endorama»? «Symbol of Life»? «I Hear Black»? «Dissident Alliance»? «Reopening The Gates»? «Diabolus In Musica/God Hates Us All»? «Cold Lake»? «Illud Divinum Insanus»? «Eye II Eye»? «Chaos A.D./Roots»? «Demonic»? «The Least Successful Human Cannonball»? «Green»? «Force of Habit»?
Spoiler alert: there is none! While most of the bands (both big and not so big) were thinking out of the box and leaving their comfort zones (translation – throwing mud at the wall to see what it might stick) in a desperate attempt to stay relevant (translation – catering to the palate of the groove generation that invaded us like a swarm of undead in the 90s), Manowar – along some very few others, let us be honest here – still had their feet firmly planted in the sacred soil of Heavy Metal. And Manowar never shied away of that trail. The cynics claim they wished to but are afraid to lose their fans. Hence everything they do is dishonest. That is a game of chance with no foreseeable solution but still… they have not changed, they are not made of clay. They should get some credit for sticking to their guts. But no. The bands that were experimenting (what a big fucking joke!) were welcomed as the proverbial prodigal sons when they backtracked on their alleged evolution and bravely ran away back to their supposedly Heavy Metal roots. Are those stylistic inflections questioned in any way? Hell no! It is as if those records have never existed at all or get the revision treatment that tries to contextualize them in terms of survival in the merciless ever-evolving music business. It is Manowar that instead gets shunned away like a shameful memory that we urgently try to get rid of. Well, guess what? Enough of turning the other cheek. The time to strike… is now!
In March last year both «Into Glory Ride» and «Hail To England» have gotten brand new editions, remixed and remastered in Manowar’s own Valhalla Studios by the usual team/couple of Ronald Prent and Darcy Proper that have been working with the band for several years now and I’m sure you know from other albums in your collection. Roland’s resume speaks for itself with mixing or engineering credits in milestone albums like Queensrÿche’s «Operation: Mindcrime», Def Leppard’s «Hysteria» or Iron Maiden’s «Somewhere In Time» and «Seventh Son of a Seventh Son». In general terms, the sound is much clearer – I swear you have never got the chance to hear Eric’s voice like that!) but still raw as it should be, as it is evidenced by the various short studio banter with Joey himself doing the counting before the song starts. I have read some complaints about it but it sounds amazing, almost taking you right back into the studio and the maelstrom Manowar invokes in each new music piece. Or better yet, further back into the genesis of the band, back to the rehearsal place. Every band spends their lifetime trying to reproduce that primordial energy through their entire lifetime and here we can actually feel the sweat dripping down the walls and the foul breath of that mountain of amps. There has been no tweeking to appease the loudness generation, meaning you will still have to turn it up way loud to get the best sonic results. And the best results is what we hunt for in the face of what are – frankly speaking – the two single best Heavy Metal albums ever released. The booklet contains some really moving testimonies of Manowarriors about the individual songs and «Hail To England» features a marvelous picture of Dawk Stillwell (to whom the new edition is dedicated to) in front of Hammersmith Odeon, The only thing I might have reservations with is the new artwork of «Into Glory Ride», an adaptation of the «King of Kings» t-shirt that (though the design is as great as Manowar has ever done) can’t hold a candle to the iconic original picture that we all love.
If you don’t waste your life away on social media you might have already stumbled upon one of those (usually) rectangular-shaped objects with sheets of paper attached to one another. What is it called? A book! Yes, that most ancient tome of knowledge. And if you ever entered one of those buildings that stores these books (a bookstore or – gasp – a library) the name Parzival might even ring some far-distant bells in the deepest corners of your mind. It is the name of the Arthurian hero that Wolfram von Eschenbach writes about in the book entitled – surprise, surprise – «Parzival». To make a long story short, the book details his adventures through Medieval Europe in search for the Holy Grail. But as the great Konstantinos Kavafis claims in his poem «Ithaca», the journey itself is much more important than we could ever hope our ultimate goal to be. It is a book, first and foremost, about love, where humility, compassion and honor coalesce together in the quest for that ever-present spirituality that shapes itself as love.
And that is the story of most of us in our own personal quest for purpose in this wonderful cosmic accident that we call life. Or at least that is my personal story. If you can relate with me or not, I guess that is for you to find out. This journey is an individual mission that each of us needs to complete alone – that is beyond any doubt. But I suppose some of us have similar (not equal – every man/woman is an island) stories of personal discovery, there are important events in our lives that light the spark and something deep within us changes. That spark has a name. It is Heavy Metal.
Although there is no exact timeline, it usually happens when we are 14/15/16 (could be sooner but not all of us have the emotional maturity to listen to Sodom when we are 5 (ahhh, the ‘zines of the mid-nineties). You are adrift in the middle of the ocean, uncertain of what you are supposed to be, just following the herd of conformity. Not because it is your true calling but because it’s the easy way out and you don’t even realize there is another way. Living detached of yourself, you survive… barely. Until the day when a single piece of driftwood passes by and you cling to it. Heavy Metal paints the world with a whole new color. A lot of new and exciting gates are swiftly opening everyday in front of you now that you hold the 7 keys. You discover more and more. Heavy Metal is an obsession and controls all aspects of your life. All you can focus are radio shows, magazines, songs, albums – nothing else seems to matter anymore. You cannot get enough of those melodies, guitar solos fill your every dreams, high piercing screams reverb in your ears. And then, without warning, it manifests itself right before your eyes like an apparition in Arkham – Manowar.
Real Heavy Metal is not something that you find somewhere, it does not work like that. Heavy Metal will find you, if you are ready for it. And it was with Manowar that I have learned that… Sure, Heavy Metal is about loud guitars, twisted riffs, pounding drums and raging screams. But there is something else. Something that is hard to explain, a spiritual side to it. It is where you leave the mundane world behind and enter the mystical realms of absolute transcendence. And you finally start to grasp the real meaning of it all. It is not just about music, it goes way beyond that. It shapes your personality, changes your world views and the path you decide to tread in every crossroad. It should make you a better person altogether, much like the Parzival hero.
This conversation takes me back to one Christmas in the early 90s (best Christmas ever!), when my older brother gave me as a present not one, not two but three Manowar CDs to complete my collection (though by then I didn’t even know «Sign of The Hammer» existed – the pre-internet world was filled with mysteries). Those albums were «Fighting The World», «Hail To England» and «Into Glory Ride». Obviously «Hail To England» and «Fighting The World» took all my attention and «Into Glory Ride» stayed in the backseat – again, the emotional maturity is inseparable from the way we perceive the diverse realities. I am not going to lie. It took me a while to fully comprehend all the different layers that are present in the album. It takes a full body armour to be able to withstand the torrent of molten lava that spills forth from «Into Glory Ride». But the seed that was planted early on at last bears fruit within you. And your life changes forever. Do you dare to let it change you?
Browsing through the subsequent years, we are confronted by the abominations that have poisoned our world. Like Grunge in the 90’s or Nu Metal at the turn of the millennium, alongside dreaded high and mighty concepts like evolution and innovation (we know what vermin hides within those big words). We have seen trends coming and going, we have watched in wonder the illegitimate birth of all kinds of sub-genres palatable for every specific individual need – a marketing trait if there ever was one – and the total subversion of all that actually meant something in the grand scheme of things. That is why everything AND the kitchen sink passes by Prog these days, Symphonic Metal is neither symphonic nor Metal and the oxymoron entitled Happy Grind is all the rage these days. Somewhere along the way Heavy Metal shape shifted into Extreme Music. Be aware. Extreme Music is Heavy Metal for non-Metalheads. And all that had a profound effect on our own perception of what Heavy Metal truly is.
We let record labels dictate our tastes and magazines sabotage the scene. And now in the year 2020, what do we see? No one buys records anymore unless they are die-hard limited numbered editions on colored vynil. But do we actually listen to those records? God forbid! It must remain sealed. Our dumb-phones are our hi-fi systems. All we care about is likes, views, subscribing, followers… craving for the attention that we so desperately need. I will follow you if you follow me – everything is a transaction. And the saddest thing is that this happens all the same – both on an underground and mainstream level. We take a look around and all we see is conformity, apathy and – the worst of all – shallowness. So what is the point, after all?
From being the meaning of life, Heavy Metal turned into another hobby, a game for spoiled brats. Marco Concoreggi (Dexter Ward’s singer) said some day that people nowadays haven’t got the slightest idea on how hard it was to find albums back in the day. In his words (I am paraphrasing him by memory so this might not be 100% on spot) we had to fight polar bears to get new albums. To illustrate this point further, let me just recall an episode from a while ago where in one of those Heavy Metal groups on facebook (yes, we all know what that means) there was a guy frantically searching for an app to tell him what albums he had already listened. So he wouldn’t have to listen to them again. Because why would anyone listen to the same album twice? In today’s world where every single piece of music is readily available in a matter of seconds you are bound to become detached to it. In a society where everything is readily available for consumption, things have no value anymore. Music is not a quest any longer, it is a commodity. Commodities are disposable, hence stripped of all its intrinsic value. This new generation of Metalheads can never fathom how fundamental Heavy Metal is to our lives. Is it technology’s fault? I wouldn’t say that. People have become lazier every year, almost like everyone on Wall-E’s earth. We are happy to touch the water’s surface with the tip of our fingers when we should dive into the sea – head on! Things are just too easy now. Easy to listen to new bands. Easy to form new bands. Easy to record new albums at home. All of these ingredients contribute to this cesspool of disillusion that Heavy Metal has turned itself into. Like Savatage says, this is the time “when Metal doesn't ring the same reaction from inside your brain”.
I remember the days when we started going to Heavy Metal shows. Waiting in line for hours, bringing a backpack with sandwiches, not knowing what will be. The Magick of the unknown. That is unthinkable nowadays. We have to have a proper meal in a fancy restaurant before the show. We have watched countless videos on youtube of this current tour and we have uploaded the setlists to our dumb-phones. At the same time, our Heavy Metal heroes are constantly blabbering away online over the most trifling things. No surprises, a fully fabricated transparency that we consume. Consuming is the key word here – I cannot stress this enough. We are not fans anymore, we are consumers.
Since there are so many bands and even more records coming out every week, our Heavy Metal heroes build this image of being just regular folks like you and me. A human side to them. A useful tool to camouflage them into what we want them to be. We know what they eat, what they think, where they live. Or we think we do. That is why – nowadays – musicians that keep a low profile tend to be regarded as untrustworthy, suspicious, conniving. If we don’t know everything about their personal lives (as if…) what are they hiding? Surely they must be hiding something really terrible. This claim for public exposure is profoundly sick and borders on psychopathic behavior. Like we see every now and then with the supposedly hardcore Manowar fans demanding the right to know everything about Scott Columbus’ death. Because we are entitled to know. Same with André Matos’ death. Even his brother had to come out in tears begging for people to stop speculating about his departed brother. Because we are entitled to know… everything. Privacy is a luxury no one can afford. Specially musicians. Real musicians, not guys who have a band and record albums. There is a (not so) small difference.
We talk about supporting the scene. We talk about union. We talk about the Metal family. Have you noticed how the term Heavy Metal has been cast away to the dungeons of oblivion? Now we have the term Metal. Whereas Heavy Metal actually means something, Metal is utterly devoid of meaning. Heavy Metal is not a t-shirt, it is our very skin. Heavy Metal is not an arbitrary tattoo that we choose from some glossy catalog, it goes way deeper than that. The temple at the end of our pilgrimage has been torn asunder. Our hopes and our dreams to make our fantasies reality are in tatters. And we realize that feeling of camaraderie is irreversibly lost. Anacrusis asked in 1993 if we should force a brotherhood. I echo their doubts: “should we invent a common bond”? Is it still reasonable to insist on this dysfunctional family that we call Heavy Metal? Well, as David Defeis brilliantly puts it, there is Magick still. As long as we care to find it. And thus we come full circle into Parsifal.
Parsifal is the Richard Wagner interpretation of von Eschenbach’s book. If you have more than a passive interest in Manowar you should have realized Joey DeMaio’s love for Wagner. The german genius has always been much more than a simple influence. He is definitely the model that helped Manowar becoming what it is now, as much as someone of Wagner’s stature can be a model from anyone two centuries later, of course. This connection comes in several different ways. Composition-wise, a little bit for it’s not an easy legacy to carry, but also in the search for the perfect sound quality, and – last but not least – the outright refusal to compromise his vision. And in this brave new world where being a nice guy while you are on the spotlight is one of the fundamental pillars for success, that is one of the things that rubs people the wrong way. You can’t be uncompromising and pat everyone on the back. The results are in plain sight. For the whole Heavy Metal world (from the deepest pits of the underground right to the unlimited heights of the mainstream) Joey DeMaio is an asshole. Even he acknowledged that when, on his «The Blood of The Kings Tour», he reportedly claimed asshole was his definition on the dictionary. And now I guess he was got to live with it for all eternity.
And you know what? Maybe he is. Does that even matter? Is any one of us the paradigm of moral rectitude? Take a good look at yourself in the mirror. Who amongst us is worthy of unconditional reverence? No man or band is immune to criticism. Even gods (before monotheistic religions bore the world to death) were to be accountable for their capricious whims. Manowar – as Kings of Metal – bears that stain. The burden of infamy is firmly attached to their shoulders, mostly alone. Something that has no comparison whatsoever with any other band of the same stature. I am all for a rigid code of ethics that bands should adhere to. But shouldn’t the same rules be applied to every band equally? The truth is that Joey DeMaio, with all his titanic assholery (for lack of a better term) never hailed White Power in his stage antics, for instance. Assuming that Joey is an asshole, for the sake of argument, the question we should be asking is: an asshole compared to whom? And what about music, you say? Well… take a real good look at Manowar’s discography. Just to name a few at the top of my head, where is their «Demolition»? «Risk? «Load/Reload/St. Anger/Lulu» (so much to choose from)? «Endorama»? «Symbol of Life»? «I Hear Black»? «Dissident Alliance»? «Reopening The Gates»? «Diabolus In Musica/God Hates Us All»? «Cold Lake»? «Illud Divinum Insanus»? «Eye II Eye»? «Chaos A.D./Roots»? «Demonic»? «The Least Successful Human Cannonball»? «Green»? «Force of Habit»?
Spoiler alert: there is none! While most of the bands (both big and not so big) were thinking out of the box and leaving their comfort zones (translation – throwing mud at the wall to see what it might stick) in a desperate attempt to stay relevant (translation – catering to the palate of the groove generation that invaded us like a swarm of undead in the 90s), Manowar – along some very few others, let us be honest here – still had their feet firmly planted in the sacred soil of Heavy Metal. And Manowar never shied away of that trail. The cynics claim they wished to but are afraid to lose their fans. Hence everything they do is dishonest. That is a game of chance with no foreseeable solution but still… they have not changed, they are not made of clay. They should get some credit for sticking to their guts. But no. The bands that were experimenting (what a big fucking joke!) were welcomed as the proverbial prodigal sons when they backtracked on their alleged evolution and bravely ran away back to their supposedly Heavy Metal roots. Are those stylistic inflections questioned in any way? Hell no! It is as if those records have never existed at all or get the revision treatment that tries to contextualize them in terms of survival in the merciless ever-evolving music business. It is Manowar that instead gets shunned away like a shameful memory that we urgently try to get rid of. Well, guess what? Enough of turning the other cheek. The time to strike… is now!
In March last year both «Into Glory Ride» and «Hail To England» have gotten brand new editions, remixed and remastered in Manowar’s own Valhalla Studios by the usual team/couple of Ronald Prent and Darcy Proper that have been working with the band for several years now and I’m sure you know from other albums in your collection. Roland’s resume speaks for itself with mixing or engineering credits in milestone albums like Queensrÿche’s «Operation: Mindcrime», Def Leppard’s «Hysteria» or Iron Maiden’s «Somewhere In Time» and «Seventh Son of a Seventh Son». In general terms, the sound is much clearer – I swear you have never got the chance to hear Eric’s voice like that!) but still raw as it should be, as it is evidenced by the various short studio banter with Joey himself doing the counting before the song starts. I have read some complaints about it but it sounds amazing, almost taking you right back into the studio and the maelstrom Manowar invokes in each new music piece. Or better yet, further back into the genesis of the band, back to the rehearsal place. Every band spends their lifetime trying to reproduce that primordial energy through their entire lifetime and here we can actually feel the sweat dripping down the walls and the foul breath of that mountain of amps. There has been no tweeking to appease the loudness generation, meaning you will still have to turn it up way loud to get the best sonic results. And the best results is what we hunt for in the face of what are – frankly speaking – the two single best Heavy Metal albums ever released. The booklet contains some really moving testimonies of Manowarriors about the individual songs and «Hail To England» features a marvelous picture of Dawk Stillwell (to whom the new edition is dedicated to) in front of Hammersmith Odeon, The only thing I might have reservations with is the new artwork of «Into Glory Ride», an adaptation of the «King of Kings» t-shirt that (though the design is as great as Manowar has ever done) can’t hold a candle to the iconic original picture that we all love.
Chapter II – Into Glory Ride
Nearly a year after the debut «Battle Hymns» Manowar have unleashed into the world a monument that has set the rules for what real Epic Metal is supposed to be and – simultaneously – create the best Heavy Metal album of all times. In «Into Glory Ride» Manowar has stripped (almost) all of the Rock roots of the previous album and used «Dark Avenger» and «Battle Hymn» as a template for the masterpiece of a lifetime. It goes much beyond into the future than anyone has ever attempted before (and since, let’s be honest) and also a lot further back than the 70s. And make no mistake about it. Of course a lot of Manowar’s influences come from the 70s too. How could it not be? That is the age of discovery, the decade where Heavy Metal actually took its first steps. Also it’s not that hard to spot some nods here and there to all the greatest: Purple, Sabbath, Zep, Mountain… even Styx, for instance. Or previous heroes like Cream or Presley… But what Manowar did was embark on a profound study of all the champions and incorporate all those guidelines into their own specific mindset. The difference of Manowar is classical music (let me reiterate that it is definitely not the same as symphonic Metal, please).
Naturally, that – in itself – is nothing new. There were a lot of classical influences in Ritchie Blackmore’s playing (both in Deep Purple and Rainbow) but as far as I can tell no one really touched Wagner’s legacy. Which might seem a bit odd, at first, because it’s bombastic, it’s dense, it’s violent, it’s over the top, it borders on utter lunacy. If not a complete perfect description of what Heavy Metal is, this at least possesses all the familiar traits we can find therein. But Wagner’s music, precisely because of all those inherent characteristics, is also positively difficult to get into, much more use it as an inspiration. It is roughly the mythical siren song that Odysseus’ legend tells us it is a near-death experience to listen to it. In a way (how is this for an overstatement?), Manowar here essentially play the role of Orpheus that Jason has brought for his ship crew on his perilous journey but instead of drowning out the deadly chant they assimilate it within their own songs, fusing them together in an act of love, as pertained by the Will.
Looking back at the two albums («Into Glory Ride» and «Hail To England») with the distance allowed by over 35 years it is impressive how different they are in terms of songwriting, pacing and general sound approach. Not a mean feat for a band that experts, connoisseurs and general anencephalic pseudo-Metalheads all boast about releasing the same record over and over again. Whereas «Hail To England» served as a staircase for all that we’ve come to love from the band afterwards, «Into Glory Ride» stands above, as a beacon, a sentinel that guards the most idolized secrets of our cherished Steel. There is no other album like it and it is surely the most unique Heavy Metal album in the rich history of the genre. And that might be the reason why, in fact, «Into Glory Ride» was never unanimously acclaimed as the masterpiece it really is (which proves once again that only with the distance provided by the passage of time do we get a faithful perspective of the artistic and emotional merits of this kind of records). Immediacy is the enemy that needs to be crushed into smithereens. If you are really convinced that this anti-Manowar stance (it is a reality that cannot be sugar-coated) is something new (by new I mean since the 90s, 00s or 10s – there are moments in time to please a vast array of Heavy Metal influencers) you are in for a mammoth surprise. In hindsight, this less than stellar reception that Metalheads in 1983 granted «Into Glory Ride» is pretty easy to decipher. After all, we were just in the initial stages of Speed and Thrash Metal where most bands wanted to play faster, following the steps laid out by Venom’s «Black Metal» and Accept’s «Fast as a Shark». With new and upcoming bands releasing demos and singles (Hellhammer, Znöwhite and Sodom, to name a few) and the debut albums of Metallica, Exciter and Slayer coming out in 1983 that effectively planted the seeds on which the brand new Heavy Metal scene would grown from, it’s clear that Manowar’s «Into Glory Ride» stands out as a complete foreign object. With this in mind it’s obvious that the reviews that had issues with the album were stating the lack of speed and describing the songs as “too long, one paced and monotonous” while confronting that with Manowar’s claim of “playing louder, harder and faster”.
Nearly a year after the debut «Battle Hymns» Manowar have unleashed into the world a monument that has set the rules for what real Epic Metal is supposed to be and – simultaneously – create the best Heavy Metal album of all times. In «Into Glory Ride» Manowar has stripped (almost) all of the Rock roots of the previous album and used «Dark Avenger» and «Battle Hymn» as a template for the masterpiece of a lifetime. It goes much beyond into the future than anyone has ever attempted before (and since, let’s be honest) and also a lot further back than the 70s. And make no mistake about it. Of course a lot of Manowar’s influences come from the 70s too. How could it not be? That is the age of discovery, the decade where Heavy Metal actually took its first steps. Also it’s not that hard to spot some nods here and there to all the greatest: Purple, Sabbath, Zep, Mountain… even Styx, for instance. Or previous heroes like Cream or Presley… But what Manowar did was embark on a profound study of all the champions and incorporate all those guidelines into their own specific mindset. The difference of Manowar is classical music (let me reiterate that it is definitely not the same as symphonic Metal, please).
Naturally, that – in itself – is nothing new. There were a lot of classical influences in Ritchie Blackmore’s playing (both in Deep Purple and Rainbow) but as far as I can tell no one really touched Wagner’s legacy. Which might seem a bit odd, at first, because it’s bombastic, it’s dense, it’s violent, it’s over the top, it borders on utter lunacy. If not a complete perfect description of what Heavy Metal is, this at least possesses all the familiar traits we can find therein. But Wagner’s music, precisely because of all those inherent characteristics, is also positively difficult to get into, much more use it as an inspiration. It is roughly the mythical siren song that Odysseus’ legend tells us it is a near-death experience to listen to it. In a way (how is this for an overstatement?), Manowar here essentially play the role of Orpheus that Jason has brought for his ship crew on his perilous journey but instead of drowning out the deadly chant they assimilate it within their own songs, fusing them together in an act of love, as pertained by the Will.
Looking back at the two albums («Into Glory Ride» and «Hail To England») with the distance allowed by over 35 years it is impressive how different they are in terms of songwriting, pacing and general sound approach. Not a mean feat for a band that experts, connoisseurs and general anencephalic pseudo-Metalheads all boast about releasing the same record over and over again. Whereas «Hail To England» served as a staircase for all that we’ve come to love from the band afterwards, «Into Glory Ride» stands above, as a beacon, a sentinel that guards the most idolized secrets of our cherished Steel. There is no other album like it and it is surely the most unique Heavy Metal album in the rich history of the genre. And that might be the reason why, in fact, «Into Glory Ride» was never unanimously acclaimed as the masterpiece it really is (which proves once again that only with the distance provided by the passage of time do we get a faithful perspective of the artistic and emotional merits of this kind of records). Immediacy is the enemy that needs to be crushed into smithereens. If you are really convinced that this anti-Manowar stance (it is a reality that cannot be sugar-coated) is something new (by new I mean since the 90s, 00s or 10s – there are moments in time to please a vast array of Heavy Metal influencers) you are in for a mammoth surprise. In hindsight, this less than stellar reception that Metalheads in 1983 granted «Into Glory Ride» is pretty easy to decipher. After all, we were just in the initial stages of Speed and Thrash Metal where most bands wanted to play faster, following the steps laid out by Venom’s «Black Metal» and Accept’s «Fast as a Shark». With new and upcoming bands releasing demos and singles (Hellhammer, Znöwhite and Sodom, to name a few) and the debut albums of Metallica, Exciter and Slayer coming out in 1983 that effectively planted the seeds on which the brand new Heavy Metal scene would grown from, it’s clear that Manowar’s «Into Glory Ride» stands out as a complete foreign object. With this in mind it’s obvious that the reviews that had issues with the album were stating the lack of speed and describing the songs as “too long, one paced and monotonous” while confronting that with Manowar’s claim of “playing louder, harder and faster”.
Casting aside all my personal opinions, even from the interviews way back in 1983, Joey DeMaio always referred classical music as a huge inspiration. That is the whole ethos that permeates through the songs. In a 1983 interview published in the second number of the prestigious Metal Forces magazine, Joey addressed that issue as such: “We want to be different. If all other bands started playing longer, slower songs then we will star playing short, faster numbers”. As for what means to be Heavy Metal, he answers with a simple question: “Just what is Heavy Metal?”. To which he himself replied, in his usual eloquent way: “The word HEAVY means something that weighs a lot and is difficult to pick up and METAL is a substance such as iron or aluminium. A ship is HEAVY and is made of METAL but that cruises along in its own time, crushing all that gets in its way, and that’s what MANOWAR is about”. The subject of pace is of utmost importance and comes as a pretty good explanation for what Manowar wanted to achieve – Pace ‘till Death, beating you endlessly into total annihilation, like a steady wave that progresses slowly but decidedly and will stop for nothing nor anyone.
The opening track is the classic (maybe I should stop using the term or it will get obsessively repetitive) «Warlord», indubitably the most normal song on offer here. Some (or a lot, depending on what circles you usually find yourself part of) people wrongfully claim this song is an alien body in the record. It is not. It is the perfect link that connects the debut album to «Into Glory Ride». In all Manowar albums there is always (at least) one blunt song in the middle of more elaborate numbers. This aesthetic contrast as Chris Papadakis so elegantly expressed it in his analysis of the album in an article for Metal Invader works wonders in terms of dynamics, textures and the overall balance that makes the universe this wonderful organic machine. One surprising aspect that immediately jumps at you from the get go is the soundscape of the album. The sound is categorically vicious and coupled with a song that is rampant with lyrical themes of alienation (akin to what we’ve heard the year before in «Shell Shock») paints a bleak picture of desolate plains in the sick world we are living in. The rest is unsullied Manowar. The flashing chrome of a chopped-up Harley, the combined stench of oil and high test gasoline and hot women lining up for a ride because they all want to figure out “what people say is true”. A tribute to freedom with wings spread open wide where the chase is much more important than the catch. An anthem to the exuberance of youth with Eric singing proudly that he will never grow old – no wonder Joey said in a press conference in Lisbon in 1998 that his mind had shut off when he was 16. The introduction is hilarious with Eric coming up with that mischievous laughter of his again. Some might find the “she’s only 16!” cry a bit offensive but it was common fare in the world of Rock ‘n’ Roll with all the raunchy tales of Jimmy Page, David Bowie, Guns ‘n’ Roses and the list could go on endlessly. And what is the couple listening to before getting caught in the act? Listen carefully and you will easily figure it out.
«Secret of Steel» is a song that will go down in history as one of those unrepeatable monoliths in universal history. A funny anecdote I’d like to share with you is that I have some friends who are not ashamed to say Joey DeMaio, as the main composer in Manowar, is incapable of using all the endless possibilities of Eric Adams’ vocals, almost as if he never gives the vocalist free room for him to freely express himself, in his true glory. Well… take a good look at «Secret of Steel». What is this song if not a vehicle for all of Eric’s capabilities? I am selling the song short. It is clearly much more than just that. There are many types of bands in Heavy Metal. Horrible, bad, irrelevant, good, excellent and legendary. And after legendry lies something else. Godhood, perhaps? Not exactly… It goes a little bit higher than that. It lies in a whole different plane, beyond our own perception of reality. We stare into it but we cannot see it clearly and maybe never will. There are too many layers for us to differentiate. We are limited creatures after all. Maybe if our senses evolve into some kind of superhuman vision system similar to the admirable mantis shrimp we will gain that capacity. As it is now all we can do is gaze in awe and marvel at infinity for this is the ideal soundtrack to gaze into the infinite. This is where Heavy Metal breaks forth and transcends into eternity and beyond. It is not about breaking barriers and cross-pollinating genres – nothing of the sort. This is the purest sort of Heavy Metal there can be. It is so pure that it is no longer just Heavy Metal but pure transcendence. Not many bands can claim such artistic triumph. What can we say about a band that manages to create something like this? It is kind of frightening. What sort of chemistry and Magick leads to this? The truly terrifying thing is that, if we ponder hard enough about it, «Secret of Steel» is not even Manowar’s crowning achievement… but that is a conversation for another time. We would have to invent a brand new form of communication to portray this. Sadly my language limitations won’t allow me to even try. And that is good in a way for I am afraid I would ruin it all with my incoherent driveling because there are no words to describe this. Everything is perfectly placed: the melody, the way the song evolves, the lyrics and that chorus. It is effectively a living entity that matures organically (no artificial addictives neither shady growth hormones are needed here). And it culminates in one of the most outstanding vocal performances in the history of music. When Eric commands us to “Rise!” with that precious voice it is absolutely incredible. He embodies the essence of the faceless warrior, the arcane hero that we all aspire to be. I actually feel myself levitate to another plane of existence. It is an overpoweringly mystical experience that can only be felt, not explained. Other bands play, Manowar empowers us spiritually.
The second track closest to what a direct song should be is number 3, «Gloves of Metal». It’s direct only in comparison with the other milestones in the album because this is far from your usual run-of-the-mill filler to reach the contractual obligation of the estimate duration of a full-length. This is Heavy Metal through and through, punishing us over and over again and never letting go until we are an amorphous mass of battered flesh and broken bones. Great guitar riffs and those relentless drums from the – at the time – rookie Scott Columbus set the tone for a song of Metal celebration like only Manowar can do. What we have come to associate with the Kings of Metal is all there. All things that would subsequently be developed much further by the band. I am talking about the army of the night, the power and the might. And the call that summons us together, fists raised towards the sky, to stand against an unjust world ruled by selfishness and greed. All delivered with precision and resolve, hell-bent for leather, spikes and chains this is seemingly one of the most headbangable Metal numbers from Manowar – many necks all over the world have muscled up with this one.
«Gates of Valhalla» is one of the top funeral songs by the band and I often think about it when anyone dares to pose that question: “Manowar? What is Manowar?” This is it! Majestic, unshackled, invictus. A song that on the surface retells the final journey of a viking warrior towards Asgard, where he will join the other fallen warriors in Valhalla, the hall of the gods. In fact, it is much more than that. It is a farewell song where we reflect upon the way we have lived our lives and how we can use that scrutiny on our own pitiful existence, in search for something more. Not in a materialistic sense but a search for greatness in character, in ethics, in personality. This procedure of letting ourselves drown in the proverbial Manowar magickal mirror can only be possible if there is a connection strong enough to escape the escapism itself. Because – frankly – not many bands are able to break free of their own parables. Most bands are nothing more than a canvas for empty-hearted allegories. This bond can only be formed because the songwriting is beyond human comprehension. A brief look at the beginning of «Gates of Valhalla» is a proper demonstration of that capacity where the two main parts of Manowar shine alone, bass and voice (and a subtle keyboard line, yes – I know). Not to take anything away from everyone’s personality to the Manowar sound (the band would surely not be the same witouth their priceless contribution), but Joey & Eric have demonstrated to everyone through decades how unified they are and how they incarnate the true Manowar spirit. That bass sound is unreal in its tragic tone and Eric, the immortal Eric, takes us to the skies, interpreting each word as if it’s his last. Every word a letter carved in the tombstone of our lives. A song that mimics the lyrics perfectly. Death & Ressurection, falling down and getting up again. Suffocating and breathing. When you are backed into a corner existence is the only conceivable form of resistance. There is no other way. This is a true revolutionary song. A hymn, if there ever was one. When the last farewell to the Viking land is bid and Eric’s voice dances in the air, I can see it in front of me. It gains shape and is modeled through his magickal vocal chords. The song then explodes in agonizing fashion. It pounds and pounds using that famous Manowar beat. “I point my hatchet to the wind” drives me crazy. The guitar solo is outstanding and the line “endless knowledge, endless time” can only be delivered with such conviction in dreams… or by Eric Adams – those are the only available options. The final battle cry is a shrieking omen to all naysayers. The sound of those drums is smashing. The late Scott truly pounds his drums like the hammer of Thor.
The opening track is the classic (maybe I should stop using the term or it will get obsessively repetitive) «Warlord», indubitably the most normal song on offer here. Some (or a lot, depending on what circles you usually find yourself part of) people wrongfully claim this song is an alien body in the record. It is not. It is the perfect link that connects the debut album to «Into Glory Ride». In all Manowar albums there is always (at least) one blunt song in the middle of more elaborate numbers. This aesthetic contrast as Chris Papadakis so elegantly expressed it in his analysis of the album in an article for Metal Invader works wonders in terms of dynamics, textures and the overall balance that makes the universe this wonderful organic machine. One surprising aspect that immediately jumps at you from the get go is the soundscape of the album. The sound is categorically vicious and coupled with a song that is rampant with lyrical themes of alienation (akin to what we’ve heard the year before in «Shell Shock») paints a bleak picture of desolate plains in the sick world we are living in. The rest is unsullied Manowar. The flashing chrome of a chopped-up Harley, the combined stench of oil and high test gasoline and hot women lining up for a ride because they all want to figure out “what people say is true”. A tribute to freedom with wings spread open wide where the chase is much more important than the catch. An anthem to the exuberance of youth with Eric singing proudly that he will never grow old – no wonder Joey said in a press conference in Lisbon in 1998 that his mind had shut off when he was 16. The introduction is hilarious with Eric coming up with that mischievous laughter of his again. Some might find the “she’s only 16!” cry a bit offensive but it was common fare in the world of Rock ‘n’ Roll with all the raunchy tales of Jimmy Page, David Bowie, Guns ‘n’ Roses and the list could go on endlessly. And what is the couple listening to before getting caught in the act? Listen carefully and you will easily figure it out.
«Secret of Steel» is a song that will go down in history as one of those unrepeatable monoliths in universal history. A funny anecdote I’d like to share with you is that I have some friends who are not ashamed to say Joey DeMaio, as the main composer in Manowar, is incapable of using all the endless possibilities of Eric Adams’ vocals, almost as if he never gives the vocalist free room for him to freely express himself, in his true glory. Well… take a good look at «Secret of Steel». What is this song if not a vehicle for all of Eric’s capabilities? I am selling the song short. It is clearly much more than just that. There are many types of bands in Heavy Metal. Horrible, bad, irrelevant, good, excellent and legendary. And after legendry lies something else. Godhood, perhaps? Not exactly… It goes a little bit higher than that. It lies in a whole different plane, beyond our own perception of reality. We stare into it but we cannot see it clearly and maybe never will. There are too many layers for us to differentiate. We are limited creatures after all. Maybe if our senses evolve into some kind of superhuman vision system similar to the admirable mantis shrimp we will gain that capacity. As it is now all we can do is gaze in awe and marvel at infinity for this is the ideal soundtrack to gaze into the infinite. This is where Heavy Metal breaks forth and transcends into eternity and beyond. It is not about breaking barriers and cross-pollinating genres – nothing of the sort. This is the purest sort of Heavy Metal there can be. It is so pure that it is no longer just Heavy Metal but pure transcendence. Not many bands can claim such artistic triumph. What can we say about a band that manages to create something like this? It is kind of frightening. What sort of chemistry and Magick leads to this? The truly terrifying thing is that, if we ponder hard enough about it, «Secret of Steel» is not even Manowar’s crowning achievement… but that is a conversation for another time. We would have to invent a brand new form of communication to portray this. Sadly my language limitations won’t allow me to even try. And that is good in a way for I am afraid I would ruin it all with my incoherent driveling because there are no words to describe this. Everything is perfectly placed: the melody, the way the song evolves, the lyrics and that chorus. It is effectively a living entity that matures organically (no artificial addictives neither shady growth hormones are needed here). And it culminates in one of the most outstanding vocal performances in the history of music. When Eric commands us to “Rise!” with that precious voice it is absolutely incredible. He embodies the essence of the faceless warrior, the arcane hero that we all aspire to be. I actually feel myself levitate to another plane of existence. It is an overpoweringly mystical experience that can only be felt, not explained. Other bands play, Manowar empowers us spiritually.
The second track closest to what a direct song should be is number 3, «Gloves of Metal». It’s direct only in comparison with the other milestones in the album because this is far from your usual run-of-the-mill filler to reach the contractual obligation of the estimate duration of a full-length. This is Heavy Metal through and through, punishing us over and over again and never letting go until we are an amorphous mass of battered flesh and broken bones. Great guitar riffs and those relentless drums from the – at the time – rookie Scott Columbus set the tone for a song of Metal celebration like only Manowar can do. What we have come to associate with the Kings of Metal is all there. All things that would subsequently be developed much further by the band. I am talking about the army of the night, the power and the might. And the call that summons us together, fists raised towards the sky, to stand against an unjust world ruled by selfishness and greed. All delivered with precision and resolve, hell-bent for leather, spikes and chains this is seemingly one of the most headbangable Metal numbers from Manowar – many necks all over the world have muscled up with this one.
«Gates of Valhalla» is one of the top funeral songs by the band and I often think about it when anyone dares to pose that question: “Manowar? What is Manowar?” This is it! Majestic, unshackled, invictus. A song that on the surface retells the final journey of a viking warrior towards Asgard, where he will join the other fallen warriors in Valhalla, the hall of the gods. In fact, it is much more than that. It is a farewell song where we reflect upon the way we have lived our lives and how we can use that scrutiny on our own pitiful existence, in search for something more. Not in a materialistic sense but a search for greatness in character, in ethics, in personality. This procedure of letting ourselves drown in the proverbial Manowar magickal mirror can only be possible if there is a connection strong enough to escape the escapism itself. Because – frankly – not many bands are able to break free of their own parables. Most bands are nothing more than a canvas for empty-hearted allegories. This bond can only be formed because the songwriting is beyond human comprehension. A brief look at the beginning of «Gates of Valhalla» is a proper demonstration of that capacity where the two main parts of Manowar shine alone, bass and voice (and a subtle keyboard line, yes – I know). Not to take anything away from everyone’s personality to the Manowar sound (the band would surely not be the same witouth their priceless contribution), but Joey & Eric have demonstrated to everyone through decades how unified they are and how they incarnate the true Manowar spirit. That bass sound is unreal in its tragic tone and Eric, the immortal Eric, takes us to the skies, interpreting each word as if it’s his last. Every word a letter carved in the tombstone of our lives. A song that mimics the lyrics perfectly. Death & Ressurection, falling down and getting up again. Suffocating and breathing. When you are backed into a corner existence is the only conceivable form of resistance. There is no other way. This is a true revolutionary song. A hymn, if there ever was one. When the last farewell to the Viking land is bid and Eric’s voice dances in the air, I can see it in front of me. It gains shape and is modeled through his magickal vocal chords. The song then explodes in agonizing fashion. It pounds and pounds using that famous Manowar beat. “I point my hatchet to the wind” drives me crazy. The guitar solo is outstanding and the line “endless knowledge, endless time” can only be delivered with such conviction in dreams… or by Eric Adams – those are the only available options. The final battle cry is a shrieking omen to all naysayers. The sound of those drums is smashing. The late Scott truly pounds his drums like the hammer of Thor.
Something that he proceeds with in the Doom anthem to crush all Doom anthems. Epic Metal is Doomy by default. This is a doomy kind of Black Metal almost, conceptually, sonically and lyrically. It is an ultra slow song, murderous and demoniac. If you want to invest yourself in some sort of cathartic process, feast your eyes on «Hatred» and feel the power. It’s almost mantra-like. It is slightly repetitive, almost hypnotic and lethally shamanistic. This is a ritual that comes from within to invoke the dark forces you are forced to keep hidden most of the time. There is nothing outside, all you need is deep within. This is the soundtrack to channel those unknown forces. The percussion accents here and there are used ever so subtly, contrasting the visceral assault of the song because as it’s obviously clear by the title of the song there is nothing really that subtle here and Eric delights with the vile nature of the song: “I kill your face”. The instrumental interlude would bring us to the predictable conclusion this is a song about madness. It is most definitely not! It is exactly the opposite. This song is the salvation from madness, the only thing that separates us from outright dementia. It boils and boils until it lastly explodes with one closing scream. And a sigh of relief after Joey punishes the bass once more. The ceremony is over. I am alive! There are no limits to what I can do. This is where the song drives me to.
«Revelation (Death's Angel)» is the Armageddon song. A biblical tale of retribution and judgment. A forlorn song where there is no hope for salvation. We are dying from the moment of birth but can we escape our fate? Eric flashes in style with another stellar execution. “Die with the beast” he sings. And the way he sings beast… The things this man does with his voice are not of this world. Total annihilation. The variety and the moods he implies in the same phrases – by the gods!!!! – it seems humanly impossible. The constant rhythm engaged by Scott is a punishing force from Hell, horse-like and galloping towards the end of days. After all this intensity grows near the limit, the brakes are stepped upon right after another wonderful solo by Ross The Boss just to be propelled again ever so gradually next to another supernatural scream from God Eric. This is a somber song where we can feel the scorched earth being ravaged by the Angel of Death. But the song is constructed in such a way as to makes us desire the apocalypse and not flee from it. We long for destruction. We long for death. We long for reckoning. Mankind is the disease. And death is the only possible cure.
«March for Revenge (by the Soldiers of Death)» is a battle song like no other. A moving story of sacrifice and revenge, remembrance and harmony, empathy and alliance. It is a testimony to human struggles, a homage to the plights and suffering of the oppressed, the enslaved and the dispossessed. A song of courage and heroism that teaches us to soldier on when all odds are firmly placed against us whose emotional climax – yet once more – reaches us on the wings of Eric and Joey. The funeral part of the song with that unique bass and that phrase that we guard in our hearts of Steel through a myriad of times. “For when we march, our sword rides with me” is a protective shield, a life motto, a code of honour. And then the final part with each roaring pound of Scott’s drums emphasizing the challenge posted by Eric’s unassailable voice: “Kill me if you can!”. A defiant wail, a slap in the cowardly face of destiny and a look of utter contempt at the grim reaper resolutely attached to our blood-spattered shoulders: “Death is life!” We look back at death itself and laugh in its ghastly face. The creed of unity is sworn, unity brings us strength, our survival depends on it. Comradeship lacerates fear into pieces, we are born to “fight, not run”. If it’s true that God gives nuts to those who don’t have teeth, Satan gives teeth even to those who don’t have nuts. «Into Glory Ride» is an album of defiance. The end of the album is the epitome of Epic Metal with choirs enveloping us in a victory chant, marching drums and a final scream of certain victory – the Wagnerian spectacle of might is upon us.
«Revelation (Death's Angel)» is the Armageddon song. A biblical tale of retribution and judgment. A forlorn song where there is no hope for salvation. We are dying from the moment of birth but can we escape our fate? Eric flashes in style with another stellar execution. “Die with the beast” he sings. And the way he sings beast… The things this man does with his voice are not of this world. Total annihilation. The variety and the moods he implies in the same phrases – by the gods!!!! – it seems humanly impossible. The constant rhythm engaged by Scott is a punishing force from Hell, horse-like and galloping towards the end of days. After all this intensity grows near the limit, the brakes are stepped upon right after another wonderful solo by Ross The Boss just to be propelled again ever so gradually next to another supernatural scream from God Eric. This is a somber song where we can feel the scorched earth being ravaged by the Angel of Death. But the song is constructed in such a way as to makes us desire the apocalypse and not flee from it. We long for destruction. We long for death. We long for reckoning. Mankind is the disease. And death is the only possible cure.
«March for Revenge (by the Soldiers of Death)» is a battle song like no other. A moving story of sacrifice and revenge, remembrance and harmony, empathy and alliance. It is a testimony to human struggles, a homage to the plights and suffering of the oppressed, the enslaved and the dispossessed. A song of courage and heroism that teaches us to soldier on when all odds are firmly placed against us whose emotional climax – yet once more – reaches us on the wings of Eric and Joey. The funeral part of the song with that unique bass and that phrase that we guard in our hearts of Steel through a myriad of times. “For when we march, our sword rides with me” is a protective shield, a life motto, a code of honour. And then the final part with each roaring pound of Scott’s drums emphasizing the challenge posted by Eric’s unassailable voice: “Kill me if you can!”. A defiant wail, a slap in the cowardly face of destiny and a look of utter contempt at the grim reaper resolutely attached to our blood-spattered shoulders: “Death is life!” We look back at death itself and laugh in its ghastly face. The creed of unity is sworn, unity brings us strength, our survival depends on it. Comradeship lacerates fear into pieces, we are born to “fight, not run”. If it’s true that God gives nuts to those who don’t have teeth, Satan gives teeth even to those who don’t have nuts. «Into Glory Ride» is an album of defiance. The end of the album is the epitome of Epic Metal with choirs enveloping us in a victory chant, marching drums and a final scream of certain victory – the Wagnerian spectacle of might is upon us.
Chapter III – Hail To England
«Hail To England» is the album that defines Power Metal since 1984. Completely different than its predecessor, this is a lot more polished effort compared to the rabid savagery of less than a year before. The horde of barbarians that trampled upon us with worn blades and war-torn battle axes have now sharpened their new weapons and enhanced their skills. Which is not to say they have lost any of their punch or malice, they merely chose to walk another path. That only serves to highlight how special the album «Into Glory Ride» really is. It is a snapshot of a very specific moment in time where they really got something to say – a brand new album for an up and coming new small label (like Joey said once, “I don’t believe a band needs to be on a major label to be a major act – you need major talent”) after getting evicted by the major EMI. It was a question of honour, resilience and perseverance. It could never be repeated or improved. It is the most potent hex – frozen in the sands of time. «Hail To England» takes all those same virtues and crystallizes them into what has come to be known as Power Metal. It is still as Epic as anyone can be but comes out of the left field instead of a frontal assault of all our senses.
Epic Metal is the most difficult genre to get into. Exactly like Power Metal it sure is about musicianship, about technique, about chemistry, about the whole sound palette. These are all fundamental attributes in both genres but what makes Epic Metal special is that which cannot be explained. It is that initial spark that illuminated our lives back in the day, in our genuine time of revelation. It is about feeling. And that is something Manowar has managed to keep intact throughout their career. Even in this giant leap from «Into Glory Ride» to «Hail To England». The latter is much easier to understand, which pretty much explains why it was much better accepted by the magazines of the day like in issue 14 of the brazillian Rock Brigade that labeled Manowar as the “four Metallic riders of the apocalypse” and «Hail To England» as “an epic story for Heavy Metal like Homer’s «Odyssey» is for mythology”, underlining the “magic sounds that dot the unreachable galaxies”. Even unconvinced listeners of the band like the late Bob Muldowney of Kiss Ass Monthly magazine fame could not resist the Black Wind of «Hail To England», naming (on issue 24) one of the songs as having “some of the fuckin’ heaviest riffing I have ever heard” and the album in general as “one which absolutely no real metaller should be without”.
The best possible description of what Power Metal really is the opening song, the classic «Blood of My Enemies». The album aptly starts with (what else could it be?) Joey DeMaio’s bass. That sound is one of a kind and can only come to fruition through the irrefutable magick of his fingers and the craftsmanship of the late sound wizard Dawk Stillwell. That marching rhythm thrust us forward onto victory or death. As it is so common in the band, it is a song that uses viking mythology as imagery, a metaphor for our mundane little battles that we must fight against others and – why not? – against ourselves, in the company of our fellow brothers and sisters. There is only so much we can do on our own, as lone wolves, society is built on camaraderie and solidarity. Eric Adam’s vocals are just unreal – that is the perfect word to describe them. One of the most underrated singer that has ever lived, certainly the most underrated in Heavy Metal, his total control is actually frightening. That “heathen’s rage” scream is a shimmering example, another could be the extraterrestrial flow of words in the phrase “with powers of evil – dark knowledge is mine”. More than singing, he is juggling with words. The vocal choir during the chorus is something that is the trademark of the band since the immortal «Battle Hymn». A beautiful solo by Ross accentuates the song, truly wild and also peculiarly subtle at the same time. The way the bass, guitar, the drums and the choirs mingle in the last section, while the chorus is repeated (always with flimsy variations here and there) is nothing short of excellence. The cherry on top is the total dominance Eric exudes through his vocal chords. All this in a little more than 4 minutes, which is a testimony to the songwriting skills of Joey DeMaio and proves, yet again, how there is no direct correlation between length and epicness. Size is irrelevant.
The leader of the band gets to shine once more in the second track, one of the heaviest Manowar songs (Muldowney was definitely right on this one), with the bass even more overbearing. Alleged Metalheads and assorted clueless audiophiles like to complain about how the bass is too loud in the band, when compared to other bands. How great would it be if Manowar had harmony guitars like Judas Priest and while we are at it, why not the octopus-like drums of Absu or the keyboards of Emerson, Lake & Palmer… but would that really be Manowar any longer? Anyway, the best answer to people whose dream was to have all bands sounding the same comes right after when Eric sings “smoke of my sacrifice”. What the hell is that bass sound? It eviscerates your skin and digs deep into your flesh, leaving a wound that will never heal. You are scarred for eternity. A truly evil song with absolutely genius lyrics full of venom and spite. Eric Adams again puts himself in a league of his own with a menacing performance, both unsettling and nightmarish at the same time. He is the rightfully owner of the cat skin gloves, for sure. That final scream is haze inducing. You are possessed and there is not salvation.
«Hail To England» is the album that defines Power Metal since 1984. Completely different than its predecessor, this is a lot more polished effort compared to the rabid savagery of less than a year before. The horde of barbarians that trampled upon us with worn blades and war-torn battle axes have now sharpened their new weapons and enhanced their skills. Which is not to say they have lost any of their punch or malice, they merely chose to walk another path. That only serves to highlight how special the album «Into Glory Ride» really is. It is a snapshot of a very specific moment in time where they really got something to say – a brand new album for an up and coming new small label (like Joey said once, “I don’t believe a band needs to be on a major label to be a major act – you need major talent”) after getting evicted by the major EMI. It was a question of honour, resilience and perseverance. It could never be repeated or improved. It is the most potent hex – frozen in the sands of time. «Hail To England» takes all those same virtues and crystallizes them into what has come to be known as Power Metal. It is still as Epic as anyone can be but comes out of the left field instead of a frontal assault of all our senses.
Epic Metal is the most difficult genre to get into. Exactly like Power Metal it sure is about musicianship, about technique, about chemistry, about the whole sound palette. These are all fundamental attributes in both genres but what makes Epic Metal special is that which cannot be explained. It is that initial spark that illuminated our lives back in the day, in our genuine time of revelation. It is about feeling. And that is something Manowar has managed to keep intact throughout their career. Even in this giant leap from «Into Glory Ride» to «Hail To England». The latter is much easier to understand, which pretty much explains why it was much better accepted by the magazines of the day like in issue 14 of the brazillian Rock Brigade that labeled Manowar as the “four Metallic riders of the apocalypse” and «Hail To England» as “an epic story for Heavy Metal like Homer’s «Odyssey» is for mythology”, underlining the “magic sounds that dot the unreachable galaxies”. Even unconvinced listeners of the band like the late Bob Muldowney of Kiss Ass Monthly magazine fame could not resist the Black Wind of «Hail To England», naming (on issue 24) one of the songs as having “some of the fuckin’ heaviest riffing I have ever heard” and the album in general as “one which absolutely no real metaller should be without”.
The best possible description of what Power Metal really is the opening song, the classic «Blood of My Enemies». The album aptly starts with (what else could it be?) Joey DeMaio’s bass. That sound is one of a kind and can only come to fruition through the irrefutable magick of his fingers and the craftsmanship of the late sound wizard Dawk Stillwell. That marching rhythm thrust us forward onto victory or death. As it is so common in the band, it is a song that uses viking mythology as imagery, a metaphor for our mundane little battles that we must fight against others and – why not? – against ourselves, in the company of our fellow brothers and sisters. There is only so much we can do on our own, as lone wolves, society is built on camaraderie and solidarity. Eric Adam’s vocals are just unreal – that is the perfect word to describe them. One of the most underrated singer that has ever lived, certainly the most underrated in Heavy Metal, his total control is actually frightening. That “heathen’s rage” scream is a shimmering example, another could be the extraterrestrial flow of words in the phrase “with powers of evil – dark knowledge is mine”. More than singing, he is juggling with words. The vocal choir during the chorus is something that is the trademark of the band since the immortal «Battle Hymn». A beautiful solo by Ross accentuates the song, truly wild and also peculiarly subtle at the same time. The way the bass, guitar, the drums and the choirs mingle in the last section, while the chorus is repeated (always with flimsy variations here and there) is nothing short of excellence. The cherry on top is the total dominance Eric exudes through his vocal chords. All this in a little more than 4 minutes, which is a testimony to the songwriting skills of Joey DeMaio and proves, yet again, how there is no direct correlation between length and epicness. Size is irrelevant.
The leader of the band gets to shine once more in the second track, one of the heaviest Manowar songs (Muldowney was definitely right on this one), with the bass even more overbearing. Alleged Metalheads and assorted clueless audiophiles like to complain about how the bass is too loud in the band, when compared to other bands. How great would it be if Manowar had harmony guitars like Judas Priest and while we are at it, why not the octopus-like drums of Absu or the keyboards of Emerson, Lake & Palmer… but would that really be Manowar any longer? Anyway, the best answer to people whose dream was to have all bands sounding the same comes right after when Eric sings “smoke of my sacrifice”. What the hell is that bass sound? It eviscerates your skin and digs deep into your flesh, leaving a wound that will never heal. You are scarred for eternity. A truly evil song with absolutely genius lyrics full of venom and spite. Eric Adams again puts himself in a league of his own with a menacing performance, both unsettling and nightmarish at the same time. He is the rightfully owner of the cat skin gloves, for sure. That final scream is haze inducing. You are possessed and there is not salvation.
The Speed Metal song of the album is «Kill With Power», a first for Manowar and it is still today one of the fastest Manowar songs ever. We can actually feel that pick attacking the bass strings with overwhelming power. Eric assaults us with another performance for the ages. That chorus is always a live favorite in a song that, again through a template where mythological references abound, is a death threat to false Metal. And yes, the fight against false Metal is something that is as relevant today – in 2020 – as ever in the history of Heavy Metal and that will be continued later on in the album. Just look around, check your social media and be amazed in total disbelief. Or – better yet – browse through the official Heavy Metal media and be shocked to the breaking point with what is considered to be Heavy Metal these days. Then come back to «Hail To England» and let yourself be soothed by Scott Columbus. No wonder his Drums of Doom were made of stainless steel – no other standard kit could survive his full-on brutal assault. There are no fancy breaks, no progressive leanings, there is nothing remotely smooth about it. Just sheer brute force to annihilate all in its way. Did I mention Eric Adams already? It is never enough to praise him. His laughter alone would be sufficient to crown him a legend but the way he delivers the line “iron or steel” is bone-crushing.
The title track is one of the two love letters for the fans. A story of passion, dedication and commitment that is rarely seen and sadly in the future will totally disappear. We know how people listen to music these days, how detached we have all become to the things that we used to cherish like life-affirming treasures. Taking in consideration what has become of England it could be a pretty melancholic song nowadays. It’s impressive to see the world of differences, looking back at the fertile scene in the 80s where the country has embraced the Kings of Metal with open arms and the subsequent decades (though, in all fairness, small pockets of partisans never failed to stand their ground, even in the face of harsh calamity). Actually, that is the deeper lyrical theme of the song. Sure, it harkens back to the birth of Manowar on the backstage room (“on english ground, we were born”) but it is really another rallying cry, a sacred well where we quench our thirst for faith. Faith in ourselves, our abilities and qualities, faith in our comrades with their own particular idiosyncrasies. When defeat is the only possible outcome we look death in the eyes and laugh maniacally charging forward, forever onwards – “If lives are the cost let it be”. The bridge before the chorus is almost martial-like, reinforcing this war-like symbolism. The chorus is, once again, a challenge for union and solidarity amongst ourselves, against those who treats us like we’re worthless. Manowar embraces itself and twists and turns inside its own shell. Some would say they are too self-absorbed with all their self references to previous songs and lyrics… but those will never let themselves be fully immersed in the Heavy Metal universe of Manowar. It is not a matter of choice, it is what breathes life into our bodies. If you can hear the “black wind” blow through the night “the sign of the hammer” will appear before you in all its majesty. After another impressive guitar solo from Ross (notice the immaculate wickedness in that guitar tone throughout all the solos in the album) and Eric giving the order to “light the hall” the song comes to a halt near the end. It’s bordering on a tantric musical experience that rounds off in an orgasmic finale with the choirs blasting off.
The second tribute to the fans bears the same name of the mythical Manowar can club. «Army of The Immortals» is probably the most straightforward song in the album. As it has already been mentioned above, there is always (at least) one rocking song in every Manowar album, this time with a fantastic guitar riff from Ross. The lyrics are decidedly irresistible for anyone with a heart of Steel. The question of faith reoccurs here with Eric claiming “we were born from your belief” and that – in a nutshell – explains why is it that we have labeled them the Kings of Metal. Manowar has granted us immortality – “in our hearts you’ll live forever more”. Not in a physical sense of selfish delusions of grandeur but in a much more important sense. This idea of eternity, of collectivism, of bonding together to make a better world. Manowar is the catalyst for this union. Though vox populi often enjoy themselves perpetuating the idea that Manowar is sectarian and divisionist it is exactly the other way around. Manowar builds bridges instead of erecting walls. That is why it is quite common to spot croatian and serbian flags or turkish and greek flags next to one another in their live shows. It is a band of brothers and sisters. In the end, there is only one flag – the flag of Heavy Metal and «Army of Immortals» is an anthem that you can sing without feeling awkward. Metal does makes us stronger, as the anthological final section shows us in practical terms. Fourteen times Eric screams, like Siegfried’s hammer striking the scorching steel to forge the mystical sword anew, as it was foretold. Each blow grows in intensity and we feel the strike in each scream. We are between the hammer and the anvil getting stronger with each blow of the hammer until we are reborn as Nothung – such is the gift of absolute power.
“Let each note I now play be a black arrow of death, sent straight to the hearts of all those who play false Metal.” So it begins the bass solo from Hell, a song that non-Manowar fans like to use as an example of the over indulgence of Joey DeMaio. I have got news for you! Heavy Metal is about excess. Of course this track is loud. It’s abrasive too. It’s violent also. And strident. It’s a heinous attacks on our senses – like it was meant to be! Joey’s declaration in the intro should leave no doubts whatsoever about his intent. What is there to (mis)understand? As for using the bass as the main driving force of the music – or the only one in this case – is nothing new in this context. Even a legendary bass player like The Who’s John Entwistle liked to crank his weapon to 11, at full power, imposing and undefeatable. Take it or leave it. Listen and perish or forever be entrapped in the spell.
The way the bass solo segues into «Bridge of Death» is incredible, one fading out into oblivion, while another one comes out in full force from the distance. This is not only one of the best Manowar songs but ultimately one of the best pieces of music ever written. Firstly and still continuing from last song, Joey’s bass-playing is outstanding and as far from the «Black Arrows» style as it possible can – this is called versatility. Eric’s voice in the first section is its own reality. It is not about screaming – it never was. It’s about expression, it’s about feeling, it’s about pure emotional deluge. “He calls my name and waves me on” opens the gates of Hell. The song then gains an undulating swaying motion, propelling us into the abyss of our own choosing. When Joey’s distorted voice pledges allegiance to the Dark Lord we can feel its strong arms embracing us. The power is there. “Lucifer is king – praise Satan.” The bell accompanying Eric’s almighty proclamation (“I know the one who waits – Satan is his name”) is absolutely perfect, probably the best bell sound ever used in a Heavy Metal record. Eric says Satan as if he is truly committed. He is – there is no doubt. No indecision. All fears cast aside. It is do or die. The “obey him without question” is pretty dubious (and contradicts the popular opinion that swears Manowar is emotionally transparent), if we fast forward to 1992 and take a good look at the cover artwork for «The Triumph of Steel». There we see the faceless warrior in Hell with one knee on the ground, not both of them. It is a sign of respect, not submission. Besides, we know that “every man is a star” and “every number is infinite”. Our true calling is ours to unveil. In allegiance with the dark forces we are happy and fulfilled. Eric’s laughter is not torture, it is lucid bliss. The bells at the end summon us to self-discovery and true awareness. This is the satanic song to crush all satanic songs and next to it, most of what is deemed Black Metal is merely child’s play, a joke for us to toy around and look rebellious and true cult. «Hail To England» is an act of faith. Not in imaginary omnipotent beings that chained us to blind obedience but to what we really are, in the deepest recesses of our beings. Manowar is the magickal mirror that force us to look within. Thus the finish prophet’s words are true: “anyone who doesn’t like Manowar is afraid of himself”.
The title track is one of the two love letters for the fans. A story of passion, dedication and commitment that is rarely seen and sadly in the future will totally disappear. We know how people listen to music these days, how detached we have all become to the things that we used to cherish like life-affirming treasures. Taking in consideration what has become of England it could be a pretty melancholic song nowadays. It’s impressive to see the world of differences, looking back at the fertile scene in the 80s where the country has embraced the Kings of Metal with open arms and the subsequent decades (though, in all fairness, small pockets of partisans never failed to stand their ground, even in the face of harsh calamity). Actually, that is the deeper lyrical theme of the song. Sure, it harkens back to the birth of Manowar on the backstage room (“on english ground, we were born”) but it is really another rallying cry, a sacred well where we quench our thirst for faith. Faith in ourselves, our abilities and qualities, faith in our comrades with their own particular idiosyncrasies. When defeat is the only possible outcome we look death in the eyes and laugh maniacally charging forward, forever onwards – “If lives are the cost let it be”. The bridge before the chorus is almost martial-like, reinforcing this war-like symbolism. The chorus is, once again, a challenge for union and solidarity amongst ourselves, against those who treats us like we’re worthless. Manowar embraces itself and twists and turns inside its own shell. Some would say they are too self-absorbed with all their self references to previous songs and lyrics… but those will never let themselves be fully immersed in the Heavy Metal universe of Manowar. It is not a matter of choice, it is what breathes life into our bodies. If you can hear the “black wind” blow through the night “the sign of the hammer” will appear before you in all its majesty. After another impressive guitar solo from Ross (notice the immaculate wickedness in that guitar tone throughout all the solos in the album) and Eric giving the order to “light the hall” the song comes to a halt near the end. It’s bordering on a tantric musical experience that rounds off in an orgasmic finale with the choirs blasting off.
The second tribute to the fans bears the same name of the mythical Manowar can club. «Army of The Immortals» is probably the most straightforward song in the album. As it has already been mentioned above, there is always (at least) one rocking song in every Manowar album, this time with a fantastic guitar riff from Ross. The lyrics are decidedly irresistible for anyone with a heart of Steel. The question of faith reoccurs here with Eric claiming “we were born from your belief” and that – in a nutshell – explains why is it that we have labeled them the Kings of Metal. Manowar has granted us immortality – “in our hearts you’ll live forever more”. Not in a physical sense of selfish delusions of grandeur but in a much more important sense. This idea of eternity, of collectivism, of bonding together to make a better world. Manowar is the catalyst for this union. Though vox populi often enjoy themselves perpetuating the idea that Manowar is sectarian and divisionist it is exactly the other way around. Manowar builds bridges instead of erecting walls. That is why it is quite common to spot croatian and serbian flags or turkish and greek flags next to one another in their live shows. It is a band of brothers and sisters. In the end, there is only one flag – the flag of Heavy Metal and «Army of Immortals» is an anthem that you can sing without feeling awkward. Metal does makes us stronger, as the anthological final section shows us in practical terms. Fourteen times Eric screams, like Siegfried’s hammer striking the scorching steel to forge the mystical sword anew, as it was foretold. Each blow grows in intensity and we feel the strike in each scream. We are between the hammer and the anvil getting stronger with each blow of the hammer until we are reborn as Nothung – such is the gift of absolute power.
“Let each note I now play be a black arrow of death, sent straight to the hearts of all those who play false Metal.” So it begins the bass solo from Hell, a song that non-Manowar fans like to use as an example of the over indulgence of Joey DeMaio. I have got news for you! Heavy Metal is about excess. Of course this track is loud. It’s abrasive too. It’s violent also. And strident. It’s a heinous attacks on our senses – like it was meant to be! Joey’s declaration in the intro should leave no doubts whatsoever about his intent. What is there to (mis)understand? As for using the bass as the main driving force of the music – or the only one in this case – is nothing new in this context. Even a legendary bass player like The Who’s John Entwistle liked to crank his weapon to 11, at full power, imposing and undefeatable. Take it or leave it. Listen and perish or forever be entrapped in the spell.
The way the bass solo segues into «Bridge of Death» is incredible, one fading out into oblivion, while another one comes out in full force from the distance. This is not only one of the best Manowar songs but ultimately one of the best pieces of music ever written. Firstly and still continuing from last song, Joey’s bass-playing is outstanding and as far from the «Black Arrows» style as it possible can – this is called versatility. Eric’s voice in the first section is its own reality. It is not about screaming – it never was. It’s about expression, it’s about feeling, it’s about pure emotional deluge. “He calls my name and waves me on” opens the gates of Hell. The song then gains an undulating swaying motion, propelling us into the abyss of our own choosing. When Joey’s distorted voice pledges allegiance to the Dark Lord we can feel its strong arms embracing us. The power is there. “Lucifer is king – praise Satan.” The bell accompanying Eric’s almighty proclamation (“I know the one who waits – Satan is his name”) is absolutely perfect, probably the best bell sound ever used in a Heavy Metal record. Eric says Satan as if he is truly committed. He is – there is no doubt. No indecision. All fears cast aside. It is do or die. The “obey him without question” is pretty dubious (and contradicts the popular opinion that swears Manowar is emotionally transparent), if we fast forward to 1992 and take a good look at the cover artwork for «The Triumph of Steel». There we see the faceless warrior in Hell with one knee on the ground, not both of them. It is a sign of respect, not submission. Besides, we know that “every man is a star” and “every number is infinite”. Our true calling is ours to unveil. In allegiance with the dark forces we are happy and fulfilled. Eric’s laughter is not torture, it is lucid bliss. The bells at the end summon us to self-discovery and true awareness. This is the satanic song to crush all satanic songs and next to it, most of what is deemed Black Metal is merely child’s play, a joke for us to toy around and look rebellious and true cult. «Hail To England» is an act of faith. Not in imaginary omnipotent beings that chained us to blind obedience but to what we really are, in the deepest recesses of our beings. Manowar is the magickal mirror that force us to look within. Thus the finish prophet’s words are true: “anyone who doesn’t like Manowar is afraid of himself”.
In conclusion, what effect does Manowar have in our lives? What does it matter anyway? What kind of mark will they leave in the world? A mere footmark on the annals of Heavy Metal or something more? The answer might already have been inadvertently given way back in 1983, in another interesting review published in Sounds Magazine. In it, the author Geoff Bartton (that years later founded a magazine called Kerrang!) complains that, unlike wth the debut «Battle Hymns», Manowar with «Into Glory Ride» is no longer fun anymore: “the humour’s all gone. Too Goddam serious!” he exclaims. And suddenly, like a thunderblade that abruptly cracks the sky open we see the truth and understand what this is all about. Apparently, girls and boys just wanna have fun and they gallantly retreated with their tail between their legs as soon as things get serious. Manowar like to goof around – make no mistake about it. But there is another side to it and that is what most people can never deal with. All these songs about warriors and kings, Vikings and Indian chiefs, war and death, brothers & sisters, victories and defeats. What do you think they are talking about? Think about it. It’s about me, it’s about you, it’s about each of us as free thinking individuals, about us as a collective society. This is about existence, about resistance, about rebellion. In a single word it is about Life, all aspects of life. In that regard, this is in perfect harmony what Wagner intended to do.
In an interview from way back, Joey DeMaio, always the lyricist in the band, when asked about the message of the band, gave a very short and honest answer: “Our lyrics touch on every basic emotion that we all have – love and hate being the two main ones”. 40 years after the band was conceived in the backstage room of a Black Sabbath show, this should be common knowledge to anyone who cares to comprehend. The music of Manowar encompasses the whole spectrum of human existence, in the best tradition of greek tragedy. To the lemmings who complain about Manowar in general and the lyrics in particular, what do you think they should talk about in their songs? What else is there apart from Life? This is Manowar’s gift for humanity, the celebration of life itself. Take it or leave it. Love them or loath them. There is no other band like them. There has never been. There will never be. I for one feel privileged to have lived in the same time as Manowar. So I humbly say it back to them: Manowar… in our eyes you’re immortal, in our hearts you’ll live forevermore.
In an interview from way back, Joey DeMaio, always the lyricist in the band, when asked about the message of the band, gave a very short and honest answer: “Our lyrics touch on every basic emotion that we all have – love and hate being the two main ones”. 40 years after the band was conceived in the backstage room of a Black Sabbath show, this should be common knowledge to anyone who cares to comprehend. The music of Manowar encompasses the whole spectrum of human existence, in the best tradition of greek tragedy. To the lemmings who complain about Manowar in general and the lyrics in particular, what do you think they should talk about in their songs? What else is there apart from Life? This is Manowar’s gift for humanity, the celebration of life itself. Take it or leave it. Love them or loath them. There is no other band like them. There has never been. There will never be. I for one feel privileged to have lived in the same time as Manowar. So I humbly say it back to them: Manowar… in our eyes you’re immortal, in our hearts you’ll live forevermore.