While scrolling through the wasteland that is Facebook, I came across a meme yesterday pitting Running Wild against Alestorm. While I agreed with nearly every point made, there was one on the Running Wild side that just didn’t sit well with me: “The first 2 albums are mid af, but the rest is crazy good.” Excuse me? Sorry, but we here at Defenders have zero tolerance for Gates to Purgatory era slander, let alone Branded and Exiled. In fact, there are many (myself included) who prefer this early, savage version of Running Wild as opposed to the later, nautical incarnation, if you will (even though that era goes hard too). So without further ado, here are our Top 10 Evil Era Running Wild Songs.
10. “Satan”
Leading up to the release of their debut full length, Gates to Purgatory, Running Wild released an EP entitled Victim of States Power. Backing the opening cut to Gates were two cuts: “Walpurgis Night (The Sign of Women’s Fight)” and “Satan”, the latter of which kicks of our list. With its opening twin guitar rampage that rivals Mercyful Fate and straightforward headbanging attitude, “Satan” is as excellent as any song off Gates, which makes one wonder why it was relegated to B side status. Then again, better a B side than the cutting room floor!
9. “Mordor”
Branded and Exiled is most certainly a turning point in the Running Wild mythos. While it still boasts the raw, demonic spirit of Gates, it also features musical foreshadowing of what was to follow. An excellent example of this is “Mordor”. Between its dark fantastical lyricism and adventurous riffing, one could almost describe it as blackened power metal, or power metal from hell. It’s certainly a more elevated composition than what one would expect from Running Wild in 1985, but retains the band’s hellish ethos, serving as a most excellent closer to the first half of Branded and Exiled.
8. “Prisoner of Our Time”
The reason “Prisoner of Our Time” cracks our list is twofold. For one, it’s just a kickass Teutonic metal anthem, guaranteed to gets fists punching the air and heads banging up and down in unison. That said, I don’t think it gets enough credit for it’s lyricism, which proved to be pivotal in more ways than one: “Black metal graffitis are thrown against the wall”, “Black metal art is shocking law ‘n’ order man”, “Black and heavy is our sound”. Sound familiar? The point being, even though Running Wild didn’t sound black metal by today’s standards, they initially identified as such, serving as a crucial influence in the development of both the music itself and philosophy accompanying it.
7. “Realm of Shades”
If “Mordor” is some sort of unholy blackened power metal bastard bridging the gap between early and later Running Wild, then “Realm of Shades” is a full blown euro power metal hymn, officially establishing the path they’d follow for the better part of the next 35+ years. Indeed, 1985 was a pivotal year for metal. The amount of landmark releases released in that 12 month span is mind-boggling. Exodus’ Bonded by Blood, Slayer’s Hell Awaits, Possessed’s Seven Churches, Helloween’s Walls of Jericho: The list goes on and on. While Walls of Jericho is without a doubt the first euro power metal album proper, there’s enough moments on Branded and Exiled that would fit right alongside that masterpiece, with none being more powerful than “Realm of Shades”
6. “Preacher”
When one thinks of Running Wild, doom metal is usually the last subgenre that comes to mind. And yet it’s an early foray into the Sabbath spawned subgenre that comes in at #6(66). Slow, plodding, and unholy in every way imaginable, “Preacher” is a bit of a musical palette cleanser amidst the otherwise breakneck fare that makes up Gates. In the same breath, with its pummeling delivery and foreboding atmosphere, it manages to come off as more terrifying than most of said breakneck fare. It would even go onto be covered by first generation death metal titans Nunslaughter, and if that doesn’t cement its devilish status, I don’t know what does.
5. “Branded and Exiled”
Rock ‘n’ Rolf doesn’t get enough credit as one of metal’s all time greatest riff masters (something while examine further later). Look no further than the opening title track to Running Wild’s second album, Branded and Exiled. Immediately, before we can even process it, we’re looped in by a truly powerful, gripping riff that could only come from Germany. Couple this with a gang vocal chorus and sizzling hot guitar solo, and you’ve got a bonafide euro metal anthem. Almost 40 years on, and we’re still “Branded and Exiled”!
4. “Victim of States Power”
Fasten your seatbelt and hold on for dear life. You’re gonna need to for this one! “Victim of States Power” is a high energy blackened speed onslaught of the senses, battering the listener to bits. In an era where metal was becoming faster, rawer, and more over the top, “Victim” fit right in, pushing Running Wild to the top of the crop in the span of just a few short minutes. I also can’t help but think the lyric “And be Lucifer’s friend” is a nod to the early German metal band of the same name. At least I’d be shocked if it wasn’t. If anyone’s got a lead on Rock ‘n’ Rolf, please send him our way to confirm or deny this!
3. “Adrian S.O.S.”
By 1984, Venom had “grown up”, abandoning their short and unsweet roots in favor of ambitious pieces like “Manitou”, “Warhead”, and the 20+ minute “At War with Satan”. Thankfully, those who longed for those early “Black Metal” days need not look far, as bands like Bathory, Hellhammer, Celtic Frost, and even Running Wild, scratched that itch. Amidst the “Venom worship” that was rampant in ’84, “Adrian S.O.S.” nails the approach to a tee, making “Victim of States Power” sound midtempo by comparison. Metal doesn’t get more pure and fierce than this!
2. “Diabolic Force”
Bulldozing speed? Check. Barbaric six string heroics? Check. Vocals that range from gruff barks to eardrum piercing shrieks? Check. In a day and age where countless metal bands attempt to replicate these musical tropes, it’s a reminder of just what a magical and innovative time the ’80s were for metal. “Diabolic Force” is one of those songs that instantly sears your cranium in all its primal glory, coming off as the missing link between early black metal and the NWOBHM at its darkest (i.e. Satan, Angel Witch, etc.). It’s so awesome that an even serves as the name of a pretty damn awesome blackened thrash band.
- “Black Demon”
Remember earlier when I was talking about the importance of an opening riff? Seriously folks, sometimes a riff can singlehandedly make or break a song. In the case of “Black Demon”, Rock ‘n’ Rolf’s superhuman riff abilities make it and then some. The opening riff to this heavy rocker goes toe to toe with any Priest, Maiden, or Mercyful Fate riff, and I’ll fight anyone who says otherwise. Granted, you’d have to poser to even suggest such, and I’d like to think this here webzine is a poser-free zone. If you took any of these 10 songs and reordered them as your own list, I wouldn’t disagree in the slightest. That said, in the case of this here list, “Black Demon” stands tall as the defining moment of Running Wild’s black and heavy daze, making it #1. “To that bastards lethal, black demon!”
“Adrian SOS” is my favorite!