optisailor2002 With the recent spate of weak releases under Tobias Sammet, including 2008's Tinnitus Sanctus and the recent Avantasia double album - The Wicked Symphony and Angel of Babylon, each album marking his move towards AOR and mainstream hard rock, expectations were pretty low for their recent release, Age of the Joker, even though Edguy has always remained one of my favourite power metal bands, being one of the first bands that I listen to in my foray into metal proper. Despite so, the band has not given up their reputation as one of the most fun-loving bands, with this album seeing them simply taking the jester as their mascot, placed proudly smack in the middle of the album artwork.

While Age of the Joker is no return to their original Helloween-inspired power metal form, it is certainly an improvement from their previous album, Tinnitus Sanctus, and the music sounds more in the veins of 2006's Rocket Ride (say what you want, but this has managed to make it as one of my favourite Edguy albums), with more progressive elements included. Opening track Robin Hood is a perfect example of the style that will be on the rest of the album, and reminds listeners of what could have come from the Rocket Ride album, a sleek heavy metal/hard rock fusion, melodic and catchy at the same time. But the progressive elements really come in during the later tracks where influences ranging from folk to blues are spotted. For example, songs like Nobody's Hero incorporate some thrashy riffs, Rock of Cashel includes some folk metal moments that would sound fit on an Eluveitie album and Pandora's Box makes it sound like a modern/power metal take on blues music, with the usage of the dobro. Of course, there are also the usual heavy and faster numbers like Breathe and Faces in the Darkness, along with the slower and emotional ballads like Every Night Without You that the band are known for.

One thing that is immediately obvious is that Tobias Sammet no longer pushes his vocal range as often as he does like on albums such as Hellfire Club, but his raspy vocal styles are still instantly recognisable. The usage of backup vocalists to harmonise Tobias' lead vocals help to make a fuller experience as well. Also, the keyboards Sascha Paeth seems to play a big role throughout the album, with many tracks being shrouded by the ambient/atmosphere provided by the keyboards. There are even moments which are heavily keyboard-driven like on The Arcane Guild, yet managing to not sound overly cheesy. The trademark guitar solos of Jens Ludwig remain as usual, between melodic and emotional ones and those that display finger acrobatics, while rhythm guitarist Dirk provides the background for his performance. Usage of such instruments as the hammond organ also keep things interesting.

Of course, the tongue-in-cheek moments are still present, and one just has to watch the music video of Robin Hood to ascertain this. Furthermore, songs like Two out of Seven incorporate lyrics like "What the fuck | Suck my cock", reminding the Edguy fan that this is still Edguy, with their dirty mind and funny lyrics, though admittedly, the sudden inclusion of that line definitely spoiled the moment a little.

Age of the Joker, if compared against the works that Edguy has presented throughout the 90s and early 00s, would certainly be considered a weak effort. However, looking at the direction that Tobias has been heading with recent releases of his bands and projects, Age of the Joker definitely stands as a good album on its own, and is recommended for people looking for a good record to sing along to, but not for the fan looking for an Edguy returning to 90s form.

Originally written for http://www.heavymetaltribune.com/

Mjöllnir “Ladies and gentleman, welcome to just another Edguy offering...”, but a good one all the same. Building on the success of the punchy “Mandrake”, Hellfire Club straddles the line between the grandiose and the comedic phases of their career.

The album opens with the two best cuts in fine form with the straight ahead but fiery “Mysteria” and the extended number “The Piper Never Dies”. This one follows the template of the last album’s moody “The Pharaoh” closely but manages to avoid the potential dangers of this and crafts a touch of its own character. “Down to the Devil” and “Under the Moon” lead the rest of the pack built around stupendously sharp riffs and a classic heavy metal attitude. The sing along single “King of Fools” does its job adequately and “Lavatory Love Machine” points the way to follow up album “Rocket Ride” with upbeat bounce and outrageously silly lyrics with a perfectly ridiculous delivery from Tobias Sammet. Maybe all that Metal Opera stuff was just getting too serious for him and felt the need to loosen up a bit?

The album does suffer from a dip in quality as it comes to the end, though “Navigator” keeps it from collapsing with its effectively bombastic chorus. The preceding “Rise of the Morning Glory” is passable Helloween worship, but thankfully the earlier cut “We Don’t Need a Hero” is a stronger example of this side to their sound. And don’t ask about the little following interlude - you must listen to understand... The album closes with a sappy and OTT power ballad, which I can forgive as power metal bands are decidedly hit and miss with those. Following this is an equally predictable bonus song and a version of “Mysteria” with guest Mille from Kreator popping up in here and there. Still, Euro power metal bands rarely stick to the Helloween format while managing to inject some personality into this tried (tired?) and true approach, so they are worth a listen for sure.

Stephen Coming up with a significant improvement over the last 'Tinnitus Sanctus', Edguy is back on track again on 'Age of The Joker', molding and shaping their music based on their glorious power metal days and melodic hard rock. There's a similarity with 'Rocket Ride' in terms of sound, but to judge which one is better is kinda difficult, looks like a balance competition to me. The maturity in writing is depicted in some lengthy beefy songs, also seemed to be infused with Sammet's Avantasia edge, and Edguy at the same time still able to pump out catchy songs to grab the attention of the non-metal fans.

'Robin Hood', the first single and a tale of Nottinghamshire's heroic thief, ran in a high-speed tempo with classic Maiden feel and overall a great song to start but somehow too long at 8 minutes. The 5-minutes single version on the 2nd disc is better I think. 'Nobody's Hero' is furious and melodic, an example of Edguy's superior heavy metal side. 'Rock of Cashel' has an interesting Celtic traditional interlude and also a good track.

'Breathe' has a happy vibe, still good but 'Two Out of Seven' is much better. Dripping with commercial element, the song flows with such a splendid chorus. 'Pandora's Box' and 'Faces In The Darkness' are two obvious fillers here and the weakest part of this album, although after several spins, they're not horrible like my first thought. 'The Arcane Guild' is the most metal track here, reminds me of their early 'Theater of Salvation' days, definitely one of my fave. 'Fire On The Downline' is surprisingly great to me, perhaps another proof that Sammett is highly capable of creating beautiful MHR/AOR tracks, and the enchanting closing ballad, 'Every Night Without You' only strengthen my opinion.

Overall, a solid comeback by the band after being sloppy in 'Tinnitus Sanctus'. I rated this as strong as 'Rocket Ride', but both albums have their own strength and weaknesses, and I might prefer this over ‘Rocket Ride’ at the end of the day. The 2CD-version is nice to have although not essential, but enjoyable with its nice and diverse songs selection. Great album!

1967/ 1976 If you have nothing on Tobias Sammet and his band I believe that this compilation is the bible for the AFM period. Certainly, if you love Power Metal you can not have such a product, especially if you are new to the genre. Also because here you will find 24 charat Power Metal.

CD 1: The strart is with a single version of "Tears Of A Mandrake (original in "Mandrake", 2001), a great Classic Metal/ Power Metal with Symphonic passages, tons of AOR chorus in Power Metal field and great organ. "Jerusalem" (from "Mandrake, 2001) is an epic song, extremely Power Metal and not totally good for me because too excessive in wanting to emphasize the different elements into something already heard. Yet it is a good song. "Out Of Control" (from "Vain Glory Opera, 1998) is a pure Heavy Metal song, not Power or Traditional but simply classic Heavy Metal song. That, at the end, this is a pue Power metal song is insignificant. This song is one of my preferred songs in this compilation. "The Edless Game" ("Theater Of Salvation", 1999) is a traditional Power Metal song, that present all elements of Power Metal but that not convinced me today as in 1999. "Scarlet Rose" (from "Vain Glory Opera", 1998) is a power ballad and in this sense is an AOR song with Power Metal treatment."Nailed To The Wheel" (from "Mandrake", 2001) present a POP Metal intro and Power Thrash rest of song with typical Edguy vocal lines and Power Metal chorus. This song is extremely aggressive. "Vain Glory Opera" (from "Vain Glory Opera", 1998) is a pure Traditional Metal song in Power Metal field: very epic but at the end, simply Rock song with AOR flavor, similar to Europe's Final countdown" (as it has confirmed Tobias Sammet). Another great song by Edguy! "Theater Of Salvation" (from "Theater Of Salvation", 1999) is a mini-suite. In general very epic. Imitation of "Halloween", "Keeper of The Seven Keys" and "Heading For Tomorrow"? In every case... Great composition! "Key To My Fate" (from "The Savage Poetry", version 2000) is a good Power Metal song with an organ a la Deep Purple: And if Deep Purple was a Power Metal band? "Deadmaker" ("Kingdom Of madness", 1997) is good song with grater guitars. But the style used here leads me to say: "And if dio was a Power Metal singer?". In every case one of my preferred song of this compilation: simply, powerful, aggressive and technical! "Land Of The Miracle" ("Theater Of Salvation", 1999) is a ballad but not proper a Power Ballad. It is, better, a pure Rock ballad. "Until We Raise" ("Vain Glory Opera", 1998) is a typical Speed Power Metal song a la Helloween (post Kai Hansen)."The Umbeliever" ("Theater Of Salvation", 1999) is a good Power Metal song that not please me at all, with good organ and aggressiveness.

CD 2: Is a CD compiled with bonus tracks, unreleased materials and others. The first song is "The Devil & The Svant" (Bonus track, 2001), a good Power Metal song with AOR moments and good refrain, extremely melodic but very aggressive. "Wings Of Dream" here is in 2001 version and the original version was part of "Kingdom Of madness" (1997). This song is an Epic melodic Speed Metal a la Stratovarious. "For A Trace Of Life" is a bonus track from 1999 and it's an acoustic Power Ballad that smelling of unplugged fashion. In truth "For A Trace Of Life" is a very good Hard/ AOR song. "But Here I am" is a Japan only track from 1998 that present R'n'R strophe and Power Hard Rock refrain all in Punk style . "La Marche Des Gendarmes" is a French promotion single from 2001. Originally this song was written from the French movie "Le gendarme de Saint-Tropez" by Raymond Lefevre and not have nothing in common with Power Metal, also if the chorus is arranged in Power Metal style. The rest of CD 2 is live: "Avantasia" is from live album "Burning Down The Opera" and it is a good melodic Power Metal song. "Walk Of Fighting" is a bonus track recorded in Italy from 1999. The style is a good Power Metal with Symphonic and Thrash treatment but with Hard Rock final style result. "Wake Up The King" is recorded live in Japan in May 2002. This version isn't bad but not please me at all as the studio version.

In definitive substance "Hall Of Flame" is a great compilation, the definitive AFM's Edguy album. you don't hesitate to buy this compilation!!!

ydewata I don’t know why but every time I am listening to Edguy’s songs, what in mind is a child happily playing around with his toys. Any reasons? I don’t know. It’s just what I feel. Unexceptionally is this latest effort from this band’s 2004 release “Hellfire Club”. It is a good? Yes, it is. This album rocks as hell. Starts off with an Edguy trade-mark happy metal track “Mysteria” then followed to a darker “The Piper Never Dies”. It will shock you how the first two tracks would be pretty much different. The following tracks (“We Don’t Need A Hero” and “Down To The Devil”) including the first single “King of Fools”. This one is a heavy track, even for an Edguy’s standard though. “Forever” is a ballad but somehow lost its soul. A standard ballad, a filler, nothing memorable.

“Under The Moon” is an Iron Maiden-ish track where Tobias Sammet even sings very similar to Bruce Dickinson’s trade mark. Nice chorus even though it is not a sing-a-long song. No wonder that “Lavatory Love Machine” is the next single off from this album. It is a happy power metal tune with a pop tune. Nice effort, guys! Those crunchy rhythm guitars will surely catch audience’s ears. Unfortunately, the last four closing tracks almost bore me. Tobias probably needs to improve his singing performance. He’s got a good voice but it seems he delivers the ‘same soul’ on each song, which in effect makes the songs taste similarly through out the whole record. “Rise of The Morning Glory” is a good and catchy fast power metal track but it has the same soul as “Navigator”. Thanks to the rhythm guitar section which delivers different soul to both tracks. Even the album close ballad “The Spirit Will Remain” is offering nothing different. Even in comparison with the previous ballad “Forever”.

If you’re lucky enough, you can get the special edition disc with two bonus tracks, “Children of The Steel” and “Mysteria” as additional tracks. “Children of the Steel” is a fast track. It is surprisingly good that Tobias sings with full emotion here. Wish he’d delivered the similar emotion through out the record. While the latter is “Mysteria”, another version very much similar to the studio album version plus Kreator’s singer Mille Petrozza as guest singer.

My conclusion is Hellfire Club is a great album. Even slightly better compared to their previous efforts. But this band needs to take a further journey beyond their creativity otherwise this CD will be stop played after few spins.