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Cudowne lata...


With debut albums you can never be too certain about what to expect. Some bands are at their best while starting out and go downhill from there. Others still need some time to refine their craft and at last, some are still searching for their sound and just ape their musical heroes instead. In Satan’s case, we’re talking about a band that created magic with their debut and while Court in the Act required some time to warm up to, I nowadays love every aspect of it.

While plenty of NWOBHM albums resemble a certain period in metal history with often specific musical elements that come with it, there’s something extremely futuristic about Court in the Act. With guitars often pushed to their limits, you can almost hear the early incantation of Metallica through a variety of near-thrashing songs, but there’s even more to behold. I can’t be the only one who’s convinced that ‘Into the Fire’ sounds like the prototype of Artillery’s ‘Khomaniac’ with those exotic, yet forceful guitar textures. On a related note, the instrumental speed metal assault of ‘The Ritual’ gets awfully close to the earlier instrumental powerhouse of Blind Guardian’s ‘Beyond the Ice’; you can bet that André Olbrich paid attention to this stuff while writing the aforementioned tune.

But regardless of the associations that one could make with Court in the Act, we’re speaking of an album that obviously stands on its own. Still, like I had mentioned, it took me some time to get used to and it shouldn’t be a surprise why. Just like plenty of NWOBHM vocalists, Brian Ross sounds bit out there; he doesn't attempt to sing melodic vocal lines and regardless of an occasional high note, he sticks to his mid-register for most of the time. Perhaps it's best to think of him as a stoic who accidentally ended up as Satan's singer and yet, I couldn't imagine the band without him.

Otherwise, Court in the Act should be easy to digest. The rhythm guitars sound extremely tight; launching riffs of different tempos and moods after another as if they were coded instead of regularly written, while leads find the ideal balance between soulful shredding and clever melodic phrasing. ‘Blades of Steel’ conjures a bunch of musical ideas and thematically ranges from proto-thrashing noise that cuts through the sung sections and an unexpected break of serene beauty with a smooth guitar solo in between. ‘The Ritual’ shows what the guitarists are capable of when Brian Ross isn’t around and while I'm in general not too enthusiastic about instrumental songs, this one's absolutely fantastic. Not only do the riffs build momentum here, the leads also sing an adventurous story that you surely won't forget. If you’re one of those guitar nerds that loves guitar solos more than their own mother, then you won’t be disappointed; but even ordinary folks like you and me will be carried away by this musical journey.

Obviously this doesn't just count for 'The Ritual'. With plenty of variation between these tunes, clever arrangements and riffs that scream metal as much as Brian Ross occasionally does, Court in the Act is one of those albums that features the most optimal pacing that I could think of. Kicking off with 'Trial by Fire' is a great idea and what's a better way to start the track with those guitars that come crashing down with fury? With a multitude of high flying riffs following up with another, you couldn't ask for a better opener and while most bands would end up sounding pretentious once they’d write something with a foreign twist, Satan's approach feels fresh and exciting. While a band like Blind Guardian (them again; probably no coincidence) would cover this track many years later with a more dominant vocal approach, I’m convinced that Brian Ross’ collected vocal approach makes a great contrast with these tense and busy guitars. Moving on, ‘Break Free’ is easily the most threatening offering that represents the album's intense peak. Like a rollercoaster of marvelous riffs thrashing in the wild with no signs of commercial barriers in sight, it’s hard to think of something this intense, fast and furious for 1983. It's extremely remarkable, absolutely and yet even when Court in the Act refrains from blowing the roofs off, the results remain superb. ‘Alone in the Dock’ is an atmospheric closer of evocative beauty that has it all. From the main riff sequence that keeps resurrecting, to the haunting and foggy verses, to the sinister chorus, it’s a wonderful track that works as an excellent album closer.

If you haven’t noticed already, Court in the Act is a personal favorite of mine. Coincidentally enough, it’s a favorite of many other people, too, so it can’t be just me who has a thing for it. I love this album and so do plenty of others; you will too, soon enough.

colin040


This is one of the very few albums that will receive a 100% score review from me. Back in 1983, most of the albums coming from Britain were either great or excellent, Ebony records released “Chained and desperate“, “Loose and lethal”, and “See you in hell” by such artists as Chateaux, Savage and Grim reaper respectively, and Neat did the same with great offerings from Raven, Jaguar and most notably, Satan.

After Blitzkrieg’s break up, singers were swapped between the newly formed Avenger and Satan, resulting in the arrival of Brian Ross as lead vocalist for the recording of what would become my favourite record of 80’s metal, “Court in the act”.

The association between Ross and Satan would be very short lived but gave us a flawless gem of an album that is perfect from start to finish. After an atmospheric intro that sets up the mood in eerie fashion, we are hit full frontal by what would be the trademark of “Court in the act”, fast paced, powerful, but incredibly melodic songs such as “Trial by fire”, a song about nuclear warfare, a topic often used by bands in those days as we were still with both feet firmly planted in the cold war between the Soviets and the Americans.
The twin guitar attack is reminiscent of Iron maiden of course but it is faster and somewhat heavier than that of Harry’s boys.

The production is rather raw and unpolished like all Neat releases, but in this case, this is what gives “Court in the act” it’s charm, and a cleaner production would have certainly taken away a lot of the energy and magic of this record. It’s underground feel is what attracts me the most towards listening and listening again to this album as much now as I was doing more than twenty years ago.

What stands out the most from that first song is the voice of their lead singer Brian Ross, mid range yet powerful and rather soothing in the tone, that guy has the most beautiful voice in metal, never strained, the guy respects his range and stays inside it giving us the most beautiful vocal melodies with maybe the ones from old Fates warning albums.

We are then treated to two very energetic songs, “Blades of steel”, a song about Vikings conquering the lands and “No turning back”, your usual song about sticking to your guns and believing in yourself, again with great vocal melodies, and very well written lyrics. “Blades of steel” has great beat changes and “No turning back” features an insane guitar solo that is probably the best on the album even though the soloing is awesome throughout the record.

Side one closes with the song about the mistreating of the american Indians in “Broken treaties” starting slowly with an Indian dance beat followed by the guitar melody, another intense song that is the most progressive with the last song on the album “Alone in the docks”.

Side two starts off the same way that side one started, with a fast paced stormer called “Break free” where the drumming and bass work are particularly prevalent as it is in the instrumental “The ritual”, a crazy wordless adventure that takes you through different moods, speeds and where your attention is not divided between the incredible musicianship of guitarists Steve Ramsey and Russ Tippins, bass man Graeme English and drummer Sean Taylor and the magical voice from Ross which we now have a break from in that song.

“Hunt you down” doesn’t leave out the energy and has a very original almost weird riff in the chorus.

After all is said and done none more than myself can recommend this perfect piece of metal art to the unsuspecting treasure hunter, unfortunately this record is hard to find and I was lucky enough to have it in vinyl but it cost me a bundle to have on cd.

Satan would later change it’s name to Blind fury because they didn’t want to be associated with the growing number of satanic bands coming mostly from the newly emerging thrash metal movement, they released an excellent album titled “Out of reach” featuring the same flawless musicianship and strong numbers but without the great Brian Ross and with a cleaner production than on “Court in the act” the magic seemed to have disappeared though “Out of reach” is still recommended.

Hail to that great year 1983 that gave us “Kill ‘em all”, “Show no mercy”, “All for one”, “Melissa”, “Sirens” and countless marvellous albums but most notably “Court in the act” by the great Satan.

metalpesant



..::TRACK-LIST::..

1. Into the Fire 01:46
2. Trial by Fire 04:18
3. Blades of Steel 05:16
4. No Turning Back 04:01
5. Broken Treaties 04:43
6. Hunt You Down 03:30
7. The Ritual 04:40
8. Dark Side of Innocence 00:56
9. Alone in the Dock 06:27
10. Break Free 05:24



..::OBSADA::..

Guitar - Russ Tippins, Steve Ramsey
Lead Vocals - Brian Ross
Bass, Classical Guitar - Graeme English
Drums - Sean Taylor




https://www.youtube.com/watch?v=MBBVzujDxzQ



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