Prior to the advent of thrash, the American metal scene was headed in a very intriguing direction. Inspired by the likes of Judas Priest, Scorpions, and Rainbow, a new wave of bands set out to make metal more ambitious than ever, expanding upon this groundwork and subsequently building the foundation for what we know today as power metal. One such band who falls into this category is Warlord. Formed in 1980 by guitarist/songwriter William J Tsamis, Warlord set out to take metal to a new level, both musically and visually. Their coupling of deeply allegorical lyricism with haunting melodies and unrelenting bombast made them one of the most unique bands of their era, their legend only growing larger in time. Today, we pay tribute to these unsung heroes with our Top 10 Warlord Songs.
10. “Aliens”
Kicking off our list at #10 is an intergalactic tale aptly titled, “Aliens”. From Judas Priest to Blue Öyster Cult, the topic of extraterrestrial life has been a staple of metal since the genre’s inception. Warlord added their own spin on the trope with this here cut off their debut full length/soundtrack (depending on who you ask), And the Cannons of Destruction Have Begun… (1984). With new singer Damien King II at the helm, Warlord tears through this eerie ode, lamenting over the aliens “inside our machines” and “inside our dreams”. This flair for the melodramatic was a staple of their sound, and will be further explored in subsequent entries.
9. “Soliloquy”
The roots of “Soliloquy” date back to 1981, when it was first featured on their second demo. While it didn’t make the cut on 1983’s Deliver Us, it would be rerecorded for Cannons, where it shines in all its agonizing glory. Musically, this cut largely stays in the same place, but the lyrics and atmosphere are more convincing than most so called depressive metal bands of the last 30 years. King II pours emotions of loneliness and sorrow into an impactful vocal performance, with Destroyer’s (Tsamis) sharp guitar melodies and Sentinel’s lush keyboards provide a sense of depth to the arrangement.
8. “Mrs. Victoria”
In the ’80s, metal compilations were arguably as important as individual albums and EPs themselves, and no compilation was more iconic than the Metal Massacre series. Singlehandedly responsible for launching the careers of Metallica, Ratt, and Slayer, just to name a few, it gave bands an opportunity to showcase their new, radical metallic innovations to the world. In turn, it also gave fans an opportunity to discover their new favorite band. Warlord first graced this esteemed series in its second installment, making a striking opening statement with an early version of “Lucifer’s Hammer” (more on that later). The cut made such an impression that they returned for Metal Massacre III with the frenetically majestic “Mrs. Victoria”. Get a load of those incredible keys! Rick Wakeman would be proud.
7. “Black Mass”
Although Warlord was far from a doom metal band, there’s no denying the doominess of “Black Mass”. From its wicked lyrics and bellowing vocals to its menacing guitar riffs and frightening atmosphere, one could easily classify this as an early example of the power doom niche alongside Dio era Sabbath and Cirith Ungol. Amazingly enough, it’s the lowest ranked cut on this list off the Deliver Us EP, yet infinitely more compelling than most ’80s metal bands entire outputs. This is really one of those rare occasions where every entry on here could’ve been #1, so take the order as you may.
6. “Lost and Lonely Days”
From doom metal to pomp metal! It’s songs like this one that give credence to the argument that ’70s titans like Styx and Kansas left a bigger mark on this music than the basement dwellers over at the Metal Archives would like to admit (Love you guys, even though you’re wrong about Praying Mantis). Call it blasphemy, but somewhere on the heavy metal interwebs, a fellow maniac wrote that “Lost and Lonely Days” could’ve been the theme song to an ’80s soap opera, and honestly…I don’t disagree. This is true US steel at its most regal, sophisticated, and AOR infused, while still being undisputedly metal. It’s also the best cut off Cannons for my money.
5. “Winter Tears”
There’s many reasons why it’s easy to forget Warlord was an American band. For one, they were always more respected in Europe than their homeland. Songs like “Winter Tears” only further spur the confusion. If heard blindly, one could easily mistake it for a late ’70s Scorpions deep cut with its exotic guitar lines and androgynous vocal delivery. Make no mistake, it’s metal through and through, but heaviness is rather a secondary element to create something more unique, which is the case for many a Warlord classic. Melodic epic metal? Whatever it is, “Winter Tears” is a certified classic.
4. “Lucifer’s Hammer”
While I’m under the impression Tsamis prided himself a songwriter/philosopher first and foremost, my goodness could the guy play guitar. His reputation as a riff-master was forever set in stone from the moment Warlord cut “Lucifer’s Hammer” in the studio. Seriously, if I was any other member of Warlord hearing him laydown that unforgettable Iommi-esque riff for the first time, I’d be cringing so hard in approval that my face would be stuck that way for a week. Beyond the lead riff itself, “Lucifer’s Hammer” is a masterful tale of fiery damnation and a plea to humanity: “Save us – from ourselves”.
3. “Deliver Us from Evil”
There have been so many “battle marches” in the history of metal that at this point, the trope is more than over-abused; it’s exhausted. In the same breath, the “battle marches” that hit home hit hard, and none hit harder than “Deliver Us from Evil”. Based largely on the Lord’s Prayer, “Deliver Us” is an epic metal manifesto, introducing us to the warriors of light that are Warlord. In an age where the satanic stylings of Venom and Mercyful Fate were starting to take hold, here was an equally convincing metal band singing, “Father and Son, heed the words we pray. Deliver us from evil this day. Deliver us from evil today.” Too bad Brian Slagel didn’t come up with the “white metal” branding until Trouble.
2. “Penny for a Poor Man”
If there ever was a Warlord song that boasted “hit single” potential, it’s “Penny for a Poor Man”. Similar to “Lost and Lonely Days”, this too is a pomp infused cut which, sonically speaking, isn’t far removed from the Rush and Triumph output of the era that dominated FM rock radio. I’ll go a step further and say this song is equally as timeless as “Tom Sawyer” and “Fight the Good Fight”. The hooks are huge, the riffs are air guitar worthy, the synths are spellbinding, and the chorus is an earworm and a half. The title may be “Penny for a Poor Man”, but it’s worth a million and change!
- “Child of the Damned”
If you know me personally, then you knew this was going to be #1 without contest. Assuming you don’t fall into this category, allow me to explain. As perfect as every song on this list is, “Child of the Damned” is the most perfect. Matter of fact, it might just be the greatest metal song of all time. Every aspect of it, the rampaging energy, steely riffs, powerhouse vocals, chilling lyrics, and epic delivery, embodies everything I hold sacred about this music and its lineage. It’s a song like “Child of the Damned” that makes me proud to be a TRUE metalhead, and angry when some chud off the street approaches me saying something asinine along the lines of, “I like metal too! Do you like Avenged Sevenfold?” Every time I hear it, I crank the volume knob all the way to the right and lose myself in its metallic bliss, for “I’m just a child of the damned.” Aren’t we all? Rest in power Destroyer.