Author: Peter Podbrežnik
Artist: Crimson Glory
Label: Roadrunner Records
Released: 1986
Rating: 4/5
Crimson Glory, long gone from the collective memory but never forgotten by metalheads with a brain, a Florida attraction that will apparently go down for all time as one of those obscure but cult bands that could have achieved everything there was to achieve, only to run out of steam before the commercial breakthrough thanks to a few bad decisions within the band. The consequences of those ill-considered moves ultimately led to the band existing today only on paper, with every attempt at a reunion proving unsuccessful in the end. Even so, their cult status in the pantheon of progressive rock music, and more precisely in the company of the best classic and progressive metal bands, is secure. Mostly thanks to the excellent debut, the subject of this review, and the follow-up album, the masterpiece “Transcedence” (1988).
The defining trait Crimson Glory had in the second half of the 80s, and one that did a lot to build their cult status in an era teeming with metal bands that looked and sounded as alike as two peas in a pod, was their own distinct identity, which set them apart from their musical kin from a mile away. Unlike other metal bands of the time, which mostly drew their creative inspiration from the hardships of the real world, assorted horror stories or fantasy, their music, and most of their lyrics too, fed on the world of science fiction, which was far from the only thing that made them special.
Their enthusiasm for everything futuristic and transcendental was also reflected in their odd, theatrical image, which made them look like total oddballs, since all the members originally wore special metal masks made of silver, which they kept on at gigs, in public and in official photos alike. While at the start of their career they wore masks covering the whole face (soon modified for the heat, and later dropped altogether), the only exception was their charismatic singer Midnight (real name John Patrick McDonald Jr.), whose mask covered just half his face to leave room for the vocals.
And it was the mystical Midnight who was the main factor behind all their successes and the engine of the band. His outstanding vocal range and operatic timbre drew plenty of parallels with Geoff Tate, the influential singer of the far more successful and recognizable Queensryche. It’s the latter’s musical expression, especially their early phase, that most people link with the Crimson Glory sound. Beyond the vocal similarities, the roots in classic heavy metal, and the fact that both bands noticeably changed their sound from album to album and eventually alienated their loyal fans with some of their releases, there’s actually little else connecting them. You can also find parallels with early Fates Warning, although in my opinion none of those bands reaches the intense, hyper-kinetic energy that just gushes out of Crimson Glory’s creations.
Their self-titled debut presented Crimson Glory as an energetic outfit playing old-school classic heavy metal, embodied above all by the twin-guitar attack of the superb guitarists Jon Drenning and Ben Jackson, godfathers of fabulous harmonized triplets and dreamy solos, backed by the massive yet versatile drumming of Dana Burnell, and with Midnight’s supersonic singing pushing things one step further when it comes to conjuring mystical atmospheres. The compositions are varied throughout, and in their mix of epic melody and electrified rhythmic punch they’re not just plain steel-plated old-school marches, they also don’t skimp on first-class theatricality. That mostly gushes out of Midnight’s phenomenal vocal performances, whether it’s the high notes that smash through the wall of sound or the somewhat lower, often aggressive parts that tell stories inspired by mysticism.
Typical examples of this early, classic metal Crimson Glory style are the opening “Valhalla in “Dragon Lady”, which stand out with punchy yet melodic passages, witty solos and an exchange of harmonized triplets between the two guitarists. Midnight, meanwhile, shows off his incredible vocal range and confirms his place among the best singers in the history of metal. The band opens a window onto their prog metal future for the first time with “Heart Of Steel”, which has a calm acoustic intro, marked by the use of acoustic guitar and a dramatic vocal performance. Then a juicy riff crashes in, followed by an inevitable epic chorus that lodges in your ears fast, thanks to penetrating drum fills, harmonized triplets in between and solos. Next comes the epic “Azrael”, a hell of a candidate for the best track on the album, showing even more of the atmospheric sophistication that would blossom on their next album “Transcendence”. The superb triplet harmonies blend beautifully with Midnight’s dramatic vocal expansions and bursts of drumming.
The brutal, almost speed metal-minded “Mayday” has quite a few thrash undertones thanks to extensive use of the double bass pedal, and you simply have to hear Midnight’s singing to believe the breadth of his vocal range. “Queen Of The Masquerade”, which you could already call a bigger step toward prog metal, makes for a big contrast, a composition steered into slower waters with an almost hard rock riff. While the eerie, mysterious vocal weaves a tale of a masked lady in black, Drenning’s melodic passages echo in the background and, with Johnson’s help, eventually pick up quite a few triplet embellishments. “Angels Of War” is another very good demonstration of classic metal at its best, and it once again nicely proves how important Midnight was, practically irreplaceable, for this band.
Just as their British cousins Iron Maiden liked to do, Crimson Glory close the album with a dramatic epic, “Lost Reflection”, probably the best track on the album. With its sophisticated acoustic guitar passages, orchestral synth arrangements and a melancholic-theatrical vocal performance, a sudden outburst of rage and a barrage of aggressive electric guitar passages, then a return to a melancholic finale, it throws the window wide open onto their next phase, the prog metal chapter.
“Crimson Glory” is an excellent debut that gushes with extraordinary ambition and the energetic hyperdrive of a young band hungry for challenges and for proving itself. Despite its high quality, it’s no towering landmark in the history of classic heavy metal and prog metal, since it owes quite a lot to the fathers of metal (above all Iron Maiden), but it’s essential for all fans of those two genres and of bands like Judas Priest, Iron Maiden, Queensryche and Fates Warning. Its contribution to the development of progressive metal is still undeniable, and it’s a reminder of the existence of a now-obscure band that once could go toe to toe with the best of its time. By the follow-up “Transcedence”, Crimson Glory had made huge progress and created their one and only masterpiece, a prog metal classic and an album that embodies one of the peaks of 80s metal, and then came the sad decline of former greatness.
Lineup
Midnight – vocals
Jon Drenning – lead guitar
Ben Jackson – rhythm guitar
Jeff Lords – bass guitar
Dana Burnell – drums
Production
Dan Johnson
Tracklist
1. Valhalla (3:46)
2. Dragon lady (4:21)
3. Heart of steel (6:07)
4. Azrael (5:42)
5. Mayday (2:59)
6. Queen of the masquerade (5:27)
7. Angels of war (5:23)
8. Lost reflection (4:43)
Running time: 38:53
