Review Summary: The definitive Manowar lineup crafting fun songs during their peak years
Released in a compact time frame between 1982 and 1984, Manowar's first four albums are often cited as their best and most influential work. They were groundbreaking at a time where metal had not yet segmented into dozens of formulaic branches and featured elements that would be recycled or expanded by later bands in genres as diverse as power metal and viking metal.
Sign of the Hammer was the fourth and last record of this golden era. For those familiar with any or all of their previous releases, this one will not take you by surprise. It features the definitive lineup of Eric Adams (vocals), Joey DeMaio (Bass), Ross the Boss (Guitar) and Scott Columbus (Drums). The production is basic, the music is raw and the performances are wild. Yet for all of this, Manowar did manage to polish their sound a little while remaining creative.
One of the hallmarks of Manowar is to mix themes of heroic tales from ages past with modern, rebellious rock n' roll anthems. This is obvious here once again. The album title and the cover featuring a hammer of battle that would suit Thor make you yearn for that epic feel but the album opener,
All Men Play On Ten, is a hard rock statement on the evils of selling out. It's all about refusing to get a haircut and "buy small gear". Quite a catchy song, very lyrical and Joey DeMaio's surprisingly groovy bassline is preeminent and punchy, thanks to the no-frills mix. It's mid-tempo and heavy. Slightly reminiscent of Whitesnake, from the vocal work of Eric Adams to the song structure itself. They follow this with another hilariously cheesy song, Eric Adams likening himself to an
Animal whose sex-appeal power will not be denied. The singer roars mightily throughout, the song is at a much quicker pace but fails to hit as hard as the opener. It does end on a high note with Ross the Boss ripping a lead as the song fades out.
It is on the third track that the epic side of Manowar finally rears its head and this will be the case for the remainder of
SotH.
Thor (The Powerhead) is a prototypical Manowar cut. Opening with drum, bass and guitar following the riff in unison and then developing into classic metal structure praising the god of thunder. Adams is backed up by choir-like synth effects between verses. The chorus features vocal harmonies by Adams that are subtly menacing. The song comes to a close much like it began, on a bang.
Sign of the Hammer also features similar ingredients, although it ups the tempo and is quite furious. These two are very powerful.
The Oath, is another aggressive track. In fact, more akin to speed metal than traditional metal but despite its frantic nature, it fails to grab the attention.
The band shows a totally different brand of epicness on
Mountain, which is the longest track of the record at over 7 minutes and a highlight on this album. This is a completely unique song, very ethereal and haunting. Taking full advantage of the piccolo bass, DeMaio proves himself one of the better bassists in the genre not by shredding but rather with sheer creativity and restraint. The interplay between the vocal and bass melodies is sheer genius. One of the better use of a bass-driven song in the history of metal. The other standout track is closer
Guyana (Cult of the Damned) and again, this is in part due to DeMaio as he kicks off the tune with a jaw-dropping intro, using his bass as a lead guitar. It immediately grabs your attention and never lets go. The sarcastic opening line from Eric Adams is intriguing and memorable:
"Thank you for the Kool-Aid, reverend Jim"
This grandiose track was inspired by the mass suicide that took place in Jonestown. It has all the flair and drama which Manowar are capable of unleashing. Joey DeMaio will certainly not go down as history's greatest lyricist but it is fun and refreshing to see Manowar tackle religious fervor, cult mentality and deception. Finally, a bass solo is almost a prerequisite on early Manowar albums and here we have the track
Thunderpick. It is rather insipid wanking and with a running time of three minutes and a half, that's three minutes too long.
Following right on the heels of
Hail to England, which is still considered by many to be their definitive album,
Sign of the Hammer capped an amazing creative period for Manowar. It is quite astounding to think the two aforementioned albums were released mere months apart from each other, in the same year. The production may be a little dated but still delivers. Manowar wore their old school rock influences on their sleeves back then and you can definitely hear early heavy metal influences from Deep Purple, Whitesnake, Rainbow, Priest, Sabbath and Maiden. Ross the Boss' pedigree as a punk rocker offers a nice counterpoint to DeMaio's neoclassical leanings and Eric Adams puts the finishing touch thanks to his unique voice and spirited delivery.
SotH will appeal to fans of classic rock and early metal but devotees of various branches (Epic, viking, power) would also do well to check it out as one of the main sources of inspiration for later sub genres.
