Tag Archives: tommy bolan

“Es Wird Gefeiert”; Warlock’s “Triumph and Agony” Hits 30 (1987-2017)

Hails My Metal Legions, it’s time to “Heben Sie Ihre Faust” or as we say in English, “RAISE YOUR FIST” because today is the 30th Anniversary of the Warlock album “Triumph and Agony” which was released on this day care of Mercury Records. The album, while their fourth and final release, was probably the one that the fans of this type of music first learned of the band and their rocking leader – The Amazing Doro Pesch. The group was popular in their native Germany but back then it was very hard to break a band over in this part of the globe. We had Helloween of course, but even they didn’t come over here for touring all that much to my recollection. The album would feature a completely new lineup for the group and its signature, and most iconic track is the anthemic “All We Are”. I’ll go over some more about the tracks after reminding how like most of our toasts, this is a personal reflection more than its line by line analysis since that stuff has long been done on the albums Wikipedia entry.

Warlock’s new lineup consisted of Niko Arvanitis and Tommy Bolan on guitar, Tommy Henriksen on bass while Michael Eurich handled the drums. I found it interesting to learn that there were also three guest drummers on the release that included the late great Cozy Powell (a personal favorite player), Rich Richman and Sterling Campbell. The latter two I am unfamiliar with any work from across my Metal mainframe. Bolan and Henricksen would add an American Metal flair to the previously full German based band that was found delivering “True As Steel” (the preceding album). Some of the Metal fans that were more “in the know” about what was happening elsewhere in the world got into them care of that album but as I’ve said for the larger side its “Triumph and Agony” all the way. Though my copy of the original is a long unsolved mystery in terms of its location, I do have a copy of this on CD which allows me to blast it at maximum volume once more for its anniversary. I still enjoy the whole release, but like most albums there are some songs that I absolutely love from the session. Let’s take a look at the full track listing down below from the original album.
Continue reading “Es Wird Gefeiert”; Warlock’s “Triumph and Agony” Hits 30 (1987-2017)

Doro Pesch Celebrates 30th Anniversary Of Legendary “Triumph And Agony” w Special US Tour

1987 was a great year for Heavy Metal music and one of the awesome releases that should be in your collection is Warlock’s “Triumph and Agony”. It arrived in September 1987 and while the bands fourth album, was the very first release that a whole bunch of Metal heads had as their introduction to the amazing Doro Pesch. Now, while I am assembling a few posts based on the exploration of the “Five Points Festival”, I was happy to pause that side of the creative efforts and share the news about the singer announcing a celebratory special run of US dates in honor of that albums 30th Anniversary. Take a look below and know that I will return at the close.

The Press Release:
Released in 1987, Triumph And Agony is the fourth studio album from German heavy metal titans WARLOCK. The record was a mammoth success globally with hit singles and MTV’s Headbangers Ball favorites “All We Are” and “Für immer” among other now-pinnacle anthems like “East Meets West”, “Metal Tango,” “I Rule The Ruins,” and “Touch Of Evil.” Triumph And Agony stands among heavy metal’s true cult classics.

Gushed Decibel Magazine of the zenith offering, “Triumph And Agony contains one glorious anthem after another for the duration of its (too short) forty-minute run time. ‘All We Are’ is the big fist-pumper, their ‘Rock You Like A Hurricane’ or ‘You’ve Got Another Thing Comin’.’ ‘Three Minute Warning’ absolutely scorches, something Accept would have been proud to write. ‘I Rule The Ruins’ lays waste to everything and THEN rules it. ‘Kiss Of Death’ provides the requisite tragic vampire soliloquy, and ‘Make Time For Love’ provides the requisite drama ballad. ‘East Meets West’ taps some serious spine with its love letter to the Land Of The Rising Sun, while ‘Metal Tango’ may be the only, well, metal tango. And then there’s ‘Touch Of Evil,’ which ends with one of the most astonishing vulgar displays of screeching ever recorded.”
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