Manowar’s devotion to epic, bombastic songs that appeal to one’s young inner warrior is both a blessing and a curse. The New York quartet, known for their credo “Death to False Metal” and painfully high-decibel levels at concerts, have crafted some gloriously over-the-top works inspired by robust classical symphonies. At the same time, tracks like “All Men Play on 10,” “The Gods Made Heavy Metal,” and “Hail and Kill” also give you an idea of the general lyrical slant. But for those listeners weaned on such rockers, it’s still a fun listen in adulthood. For the general public, perhaps not so much.
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The truth is that the band’s classic lineup—singer Eric Adams, guitarist Ross the Boss, bassist/principal songwriter Joey DeMaio, and drummer Scott Columbus—exhibited abundant talent, unconventional compositions, and created a unique sound. They also scored points for getting the late Orson Welles to provide narration for not only one, but two songs. And DeMaio once penned a 28-minute epic called “Achilles, Agony and Ecstasy in Eight Parts.”
The silly or cheesy nature of many Manowar lyrics and the band’s very macho posturing understandably overshadow the music for many, but they have created songs that even naysayers can listen to and gain a new appreciation for. The following six selections represent some potent Manowar moments.
“Shell Shock” from Battle Hymns (1982)
The first Manowar album Battle Hymns, which felt underproduced, was released on Liberty Records, a subsidiary of Capitol Records at the time. It included two songs that were inspired by experiences of Vietnam vets. The opening track “Death Tone” took an angrier, more sarcastic take about a disgruntled soldier who has trouble fitting in at home after serving his country. “Shell Shock” is a more intense song about a vet who writes a letter home addressing how he’s already become mentally and emotionally damaged by what he has seen in war. The third verse sees him return home but feeling like his mind’s blown. The second verse includes the poignant line, And if they tell you that I’m M.I.A. / Think a little less about me each day / ‘Cause if I ever get back / I’ll be shell shocked.
“Gates of Valhalla” from Into Glory Ride (1983)
All but one of the tracks on Manowar’s second album run between five and a half and eight and a half minutes long. The title of this song pretty much tells you where it’s going—it’s about a proud Viking who basks in the glory of joining his fellow slain warriors and Odin in the majestic hall of Valhalla in Asgard. It’s one of a few tracks on the album during which Columbus uses his pounding toms to great effect, and DeMaio’s elegant acoustic intro offers a strong prelude. (His piccolo bass is unusual in that it can sound like an electric bass or electric guitar or somewhere in between.) The song’s just a lot of fun to listen to.
“Mountains” from Sign of the Hammer (1984)
One of two slower, seven-minute-plus epics on this release, it’s also one of those rare Manowar tracks to put lush synths up front in the intro. One can tell songwriter DeMaio likely watched a lot of both Conan the Barbarian movies before penning this tune because it really fits the vibe of that movie. His higher-pitched piccolo bass dominates the song, feeling very improvised and jazz-like, while Ross the Boss’ gentle solo features a lot of restrained feedback. The majestic choruses see Adams encouraging listeners to reach for the greatness inside them. A lesser band wouldn’t make this work, but Manowar did.
“Guyana (Cult of the Damned)” from Sign of the Hammer (1984)
The closing track of their fourth album features a lot of agile bass playing from DeMaio and launches lyrically with the sarcastic line, Thank you for the Kool Aid, Reverend Jim / We’re glad to leave behind this world of sin. While many of the songs on Sign Of The Hammer are more fired up, this is a slower one with choruses that halve the tempo of the verses. This is the type of epic inspired by the emotional flow of European classical music, and another featuring both choral vocals and gentle and soaring Adams melodies. So much about this track, from the crunching African percussion to the bass and guitar tones, is beguilingly different.
“Violence and Bloodshed” from Fighting the World (1987)
This ominous, riff-heavy track from the band’s first album for Atlantic Records serves up lyrics that invoke the type of angry, unhinged perspective incorporated into plenty of exploitation movies involving vigilantes and malcontented Vietnam vets. There’s a weird nihilism that undercuts the whole song, accented by Ross the Boss’ feral riffs and soloing, with wordplay that walks the line between sincerity and irony. But that’s what makes it an effective track to listen to.
“Heart of Steel” from Kings of Metal (1988)
Manowar have released a decent number of ballads in their time. “Heart of Steel” feels like a more polished and epic version of “Mountains.” But this song begins with piano and vocal for the first two minutes before the band makes a thunderous entrance. Despite some of the booming drum sound effects (ah, the late ‘80s), it has a rousing chorus and an epic, noble guitar solo from Ross the Boss. Adams’ scream right before the solo makes a big impact. He’s one of the greatest singers in the genre. The song’s a little over-the-top, but it’s still compelling.
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