This only adds to the already awesome sounds of Voices Part 1. It's that cool of a piece of the conceptual puzzle. Straight to hell is is where this character being sung about is headed.
Once again Hartmann appears on vocals with a lesser role than on the previous track, as this features a wild bridge that Blackmore follows with some artistically different vibes. Devil In Disguise A symphonic intro sets this tune up nicely with Blackmore coming in at full command with some interesting chords. There is even a slight Queen element and some lovely piano displayed here to top it all off. The entire track rings of long lost 80s metal such as Iron Maiden and others.
The keyboard into guitar solo here is yet again remarkable as he gets that soothing tone across once again.
Some more excellent searing guitar work is on offer here as Blackmore begins to come alive with great breaks leading into a tone perfect solo. Ultimately, this is a track about the father of rock who started it all hundreds of years ago.
I would have to say it's more of an intermediate tempo, as it's no full on ballad but is carried by that element. The complex intro leads into another fine metal-ish number, as vocalist Michael Bormann carries on about the composer with some great lyrics to describe him in his popular image. Destructive Mania This begins with some ebbing tide sounds into a nice piano motif that sets up Blackmore's lyrical guitar lines.
This review is available in book format hardcover and paperback in Music Street Journal: The fact that this is all applied to rock 'n roll begins to take its shape in the concept here, as bands like Deep Purple and Led Zeppelin are mentioned to spice it up all the more. His guitar might be the main commodity, but it's very apparent that he is only part of this whole concept.
This is a fantastic concept album, released on import in October 2011. The tune is quite like the rest on offer, but her voice adds a stark contrast at this point.
This work is licensed under a Creative Commons Attribution 3. Metalheads unite here in such a universal way. This one does pick up a little toward the end with some more amazing guitar work full of colorful effects. Featured on display is a lovely, if also slightly menacing guitar backed by a pretty string arrangement and some killer acoustic thrown into the mix. Progressive Rock. Then, things get quite different with a Hammond organ that leads into a chugging rhythm that makes way for Catherine Jauer on vocals for a sheer change in the proceedings.