- Get $1 in Amazon MP3 credit with qualifying purchase. Limited to one promotional credit per customer. Here's how (restrictions apply)
|
||||||||||||||||||
|
||||||||||||||||||
|
||||||||||||||||||
| ||||||||||||||||||
Special Offers and Product Promotions
Product Details
Would you like to update product info or give feedback on images?
|
Track Listings
| 1. A Dragon Shall Come |
| 2. A Slave To Metal |
| 3. Midnight Sky Masquerade |
| 4. Goodnight Boston |
| 5. Darkness Comes To Light |
| 6. A Beast Abandoned |
| 7. I Will Never Ever Stop |
| 8. All Hail The Warrior |
| 9. Kingdom Of The Battle Gods |
| 10. Spirit Of The Elves |
| 11. No Metal Son Of Mine |
| 12. Out Of Control |
Editorial Reviews
Review
Herr Henning Pauly has cut his slice in the Metal market thanks to several projects, the last of which is the debut-CD of the Classic metal/rockers described on this occasion. Germany is and will be more and more the stronghold of traditional Metal, even more than the UK, and this is nothing but a further confirmation, musicaly and lyrically.The trio gathered this time by the very active bald man shows us 13 tracks for over 71 minutes of Metal tributing the biggest names and taking rust away from the historical patterns thanks to a digital production. The main influences declared by the band themselves are as follows: Dio - Whitesnake - Iron Maiden - Manowar - Rainbow - Foreigner - Ratt - Quiet Riot - Uriah Heep - Yngwie Malmsteen - Europe - Ozzy Osbourne - Gary Moore - Cinderella - Alice Cooper - Judas Priest - Accept - Halloween.
So, no Prog rock? Surprised and disappointed? You oughtn't to, as Prog Rock records is smart enough to know that the spectrum of the human mood is quite ample and it is necessary to make way for other styles to fully satisfy its thirst depending on the feelings we deal with everyday; this of course without shaming the name it earned thru all these years.
"A Dragon Shall Come" starts the assault with tight HR sounds along with Teutonic Power metal structures; great energetic vocals and Judas Priestian-back-up vocals as well; the same you will find in the following "A Slave to Metal", rocky mid-tempo with an ineffable refrain. All of the lyrics are destined to defenders, and at the nth power these ones. Already stuck in my neurones, inevitably a must in the combo's live set-list.
The title-track, rich in lights and shades, ricochets with the solos and the dual guitar works, leaving a sign also in the Icelandic version, including an acoustic version of the same composition, more simple and suitable as a closure.
The acoustic guitar appears (together with drums and a slightly distorted second guitar) in "Goodnight Boston", a ballad oozing with West-Coast AOR and 80's flavor from begin to end.
Things turn Euro Power metal with "Darkness Comes to Light", fascinating Hard rock and Metal veined by Hammond B3 organ lines here and there and an excellent guitar solo on the trail of Eddie Van Halen.
Decidedly my favorite one, "A Beast Abandoned", opens and closes with a Steve Harris-like bass introduction and the rest also contains a few riffs and axe solos digging back the glory of Iron Maiden's first two milestones. Heavy rock fulla pathos.
The keyboards are the protagonists of "I Will Never Ever Stop", a song I didn't love immediately that I've learned to appreciate upon the second listen only, and another reference to the North American Class rock that made Dakota and similar acts popular.
Epic and warlike like the title suggests, "All Hail the Warrior" melts cutting riffs with battle-cries alà Manowar, and there's also room for shrill keyboards. Pretty good indeed!
Here comes "Kingdom of the Battle Gods", the longest song of the 13 presented here; a lullaby growing British Hard rock the way Deep Purple used to play a coupla decades ago. Class metal once again with a superb solo and the ten minutes fly by without you can even realize.
The record highlight palm definitely goes to "Spirit of the Elves", gifted with an irresistible chorus and steady references to Uriah Heep.
The recipe is changed again with "No Metal Son of Mine", old style Heavy rock with thin streaks of Foreigner in the refrain; the manner the song gets to the end, vocals and keyboard lines included pays plain homage to Alias, and with the last but one song before the above-cited bonus track. "Out of Control" shows that the German 3-piece got the balls and can create heavier material in line with Hammerfall, Primal Fear, the fastest Iron Maide --Rockmetal Bands
So, no Prog rock? Surprised and disappointed? You oughtn't to, as Prog Rock records is smart enough to know that the spectrum of the human mood is quite ample and it is necessary to make way for other styles to fully satisfy its thirst depending on the feelings we deal with everyday; this of course without shaming the name it earned thru all these years.
"A Dragon Shall Come" starts the assault with tight HR sounds along with Teutonic Power metal structures; great energetic vocals and Judas Priestian-back-up vocals as well; the same you will find in the following "A Slave to Metal", rocky mid-tempo with an ineffable refrain. All of the lyrics are destined to defenders, and at the nth power these ones. Already stuck in my neurones, inevitably a must in the combo's live set-list.
The title-track, rich in lights and shades, ricochets with the solos and the dual guitar works, leaving a sign also in the Icelandic version, including an acoustic version of the same composition, more simple and suitable as a closure.
The acoustic guitar appears (together with drums and a slightly distorted second guitar) in "Goodnight Boston", a ballad oozing with West-Coast AOR and 80's flavor from begin to end.
Things turn Euro Power metal with "Darkness Comes to Light", fascinating Hard rock and Metal veined by Hammond B3 organ lines here and there and an excellent guitar solo on the trail of Eddie Van Halen.
Decidedly my favorite one, "A Beast Abandoned", opens and closes with a Steve Harris-like bass introduction and the rest also contains a few riffs and axe solos digging back the glory of Iron Maiden's first two milestones. Heavy rock fulla pathos.
The keyboards are the protagonists of "I Will Never Ever Stop", a song I didn't love immediately that I've learned to appreciate upon the second listen only, and another reference to the North American Class rock that made Dakota and similar acts popular.
Epic and warlike like the title suggests, "All Hail the Warrior" melts cutting riffs with battle-cries alà Manowar, and there's also room for shrill keyboards. Pretty good indeed!
Here comes "Kingdom of the Battle Gods", the longest song of the 13 presented here; a lullaby growing British Hard rock the way Deep Purple used to play a coupla decades ago. Class metal once again with a superb solo and the ten minutes fly by without you can even realize.
The record highlight palm definitely goes to "Spirit of the Elves", gifted with an irresistible chorus and steady references to Uriah Heep.
The recipe is changed again with "No Metal Son of Mine", old style Heavy rock with thin streaks of Foreigner in the refrain; the manner the song gets to the end, vocals and keyboard lines included pays plain homage to Alias, and with the last but one song before the above-cited bonus track. "Out of Control" shows that the German 3-piece got the balls and can create heavier material in line with Hammerfall, Primal Fear, the fastest Iron Maide --Rockmetal Bands
Product Description
Henning Pauly is known for a wide variety of albums, but most notably for his releases with Frameshift where he could work with singers James LaBrie (Dream Theater) on the first album and Sebastian Bach (ex-Skid Row) on the second. He released two albums with the Progmetal band CHAIN where he first worked with Michael Sadler of SAGA fame. Juan Roos already lend his amazing pipes to Henning's music on "Credit Where Credit is Due" (the second Henning Pauly titled release after "13 Days"), which explored the realm of Nu-Metal and industrial Sounds. "Greatest Hits" from THE ANTHOLOGIES was Henning's journey into punk. "Babysteps" was his rock opera which featured Jody Ashworth (Trans Siberian Orchestra), James LaBrie and Michael Sadler. Henning also lends his talents to other artists as a producer and co-writer like on Edward Heppenstall's "Parts that Hate me" and Matt Cash's country album "Western Country". More than wanting to be rich and famous, Henning's goal is to laern new things by doing them and that must be the reason why every new CD is an exploration of a different aspect of modern music, but no matter what style he writes in, his signature always shines through and fans of his music enjoy just that.
"Shadow's Mignon" was born out of an idea Henning Pauly had one day. He heard some classic metal in the car and decided to try to write some music in this style on his own. He employed the help of singer Juan Roos to give the project the definite metal vocal sound. At some point Keyboard player Stephan Kernbach brought over his Roland D50 for the official 80's keyboard sounds. He laid down some parts of his own, especially his signature Hammond B3 playing. The music of the band is everything you would expect from the glory days of the 80's when guitar solos still screamed and vocals soared just like the eagles and dragons they were singing about. The album also features a few of the "must-have" ballads with all the classic chorusy guitars and keyboard sounds. "We were able to do so many things and use so many sounds we are told we "can't use anymore" today because they are out of date, so we went back to our roots and made music that cannot live without them.", says Henning.
"Shadow's Mignon" was born out of an idea Henning Pauly had one day. He heard some classic metal in the car and decided to try to write some music in this style on his own. He employed the help of singer Juan Roos to give the project the definite metal vocal sound. At some point Keyboard player Stephan Kernbach brought over his Roland D50 for the official 80's keyboard sounds. He laid down some parts of his own, especially his signature Hammond B3 playing. The music of the band is everything you would expect from the glory days of the 80's when guitar solos still screamed and vocals soared just like the eagles and dragons they were singing about. The album also features a few of the "must-have" ballads with all the classic chorusy guitars and keyboard sounds. "We were able to do so many things and use so many sounds we are told we "can't use anymore" today because they are out of date, so we went back to our roots and made music that cannot live without them.", says Henning.
Customer Reviews
|
There are no customer reviews yet.
|
|||
|
Video reviews
|
Tags Customers Associate with This Product(What's this?)Click on a tag to find related items, discussions, and people.
|
Customer Discussions
|
This product's forum
Active discussions in related forums
Search Customer Discussions
|
Related forums
|
