Tag: crimson glory

This is album number two for one of America’s pioneers of the infant progressive metal movement. They are often called Queensryche clones which is very unfair as they definitely have their own sound and this is the their finest hour. Yup, Midnight does sing in that high register and has a hint of the operatic, as does Geoff Tate, but the music is going in a much different path. Queensryche gave up the metal in favour of epic statement but as you can hear here, Crimson Glory most definitely did not.

Opener and my favourite track Lady Of Winter is one of the better opening tracks you will hear anywhere. Killer riff and groove, and that hook and chorus for a metal band is top drawer. A more speed metal vibe to Red Sharks, and dare I say a hint of a Maiden gallop. That middle and ending is killer! Painted Skies is the one track where they do sound like Queensryche and it’s all down to the vocals. Back to the metal with Masque Of The Red Death, and this is where the band really shine for me. Side 1 closes out with In Dark Places, a big evil sounding dramatic piece with a very familiar riff 😉.

Side 2 opens up with Where Dragons Rule. A huge sounding, epic intro with awesome twin harmony guitars with a big Holy Diver vibe. Lonely follows and Midnight’s voice is the centre piece to this track, right from the slow intro to the end and it’s as close as this band get to a single. Cool riff! Burning Bridges is up next and a very similar intro and vibe to Lonely, but when that main riff kicks in… killer. Eternal World has the most epic of intros with a cool time change into the main tune. Heaviest track on the album? I would say so. The title track closes out the album with a huge sounding intro that flows into a somewhat medieval vibe.

Great record that sounds huge with a top production and mix.

9/10 from The Grooveman.

Long before Ghost’s Tobias Forge was but a twinkle in his nameless ghoul’s eye, Crimson Glory’s Midnight was wearing the mask for full theatrical affect. Hailing from the state of humidity, Florida, this is their first album and was released back in ’86. They were often called Queensryche-like by certain sections of the rock press, mainly due to the vocal similarities between the two singers. I know I’m in a minority, but I actually prefer these  guys to Queensryche as they were not afraid to call themselves what they were: a metal band.

Valhalla opens up the album and that voice just hits you straight away. Amazing range and those high notes are just insane. Dragon Lady is a great tune and owes more to Iron Maiden for influences than the big Q. Then we get the big power ballad Heart Of Steel, and the Geoff Tate comparisons are there for all to see. Hints of what were to be known as Prog metal are all over this track, and the instrumental section is killer. I love the guitar harmonies! Azrael close out Side 1 and the word epic does not do it justice. A very atmospheric medieval intro that flows into those harmony guitars with that Holy Diver groove driving the song along.

Mayday blows the cobwebs away at the start of Side 2 and this is a full on metal assault. Double kicks and chuggas all the way, and I’m sure a glass broke with those high notes. Definitely my fave track. Queen Of The Masquerade follows, and when they played live this was the centrepiece with all the dramatics. John Drenning’s guitar sounds killer on this piece. Another medieval intro to Angels Of War. A simple choppy riff with amazing vocal harmonies, and another killer middle section. The album closes out with Lost Reflection. An amazing vocal performance on what is, for the most part, an acoustic ballad until the end where someone put a coin in the meter.

An enjoyable metal romp with added theatrics.

9/10 from The Grooveman.