1005. Iced Earth / Incorruptible. 2017. 3.5/5

I’m probably going to go down that same old street that I usually do when it comes to Iced Earth and their albums. It’s not a deliberate thing I assure you, but as with any band out there, you will have fans who can ignore the obvious, fans who will embrace the obvious, and fans who will be turned away by the obvious. Those factors will promulgate your feelings on this and every album by the band according to which sector you fall in to. So, for me, this is another Iced Earth album that has all of the qualities that can make it a great album, and album that old fans and new fans alike can gather around and love for all the right reasons. In many ways it dials back into the best days of the band. When the songs are motoring along, this is when the album is at its best.

“Great Heathen Army” starts off with the Iced Earth gallop, and Stu Block’s vocals rocket out of the speakers with the double kick accentuating and the hard line riffing of the guitars. “Black Flag” continues in a similar direction, again focusing on the tough rhythm of the song and Stu’ vocals. There is some real old school Iced Earth in the mix. “Raven Wing” is a perfect example of this, because not only does it musically come from the that era, but Stu’s vocals really come in with an amazing similarity to former vocalist Matt Barlow’s vocal tones. This could have been a poor rehash, but the heavy influence of the drums and heavy guitar riff rather than softening it back like Schaeffer often does makes this a beauty of a track, that perfectly references the past in the current band setting. I think it gets better with every listen. I can even forgive the following song “The Veil” because of it. This is where the tempo gets dialled back, accessing those tendencies of a power ballad without actually being one, but it just softens and slows back a notch too far for my liking. These are the kind of songs that I believe sometimes holds Iced Earth back. Too much of a reflective side.
“Seven Headed Whore” rights the ship with immediate impact, the flying double kick and Stu’s faster higher vocals coming to save the show. When he combines those two shades of vocals in a song it sounds amazing. Terrific song. “The Relic (Part 1)” doesn’t quite retain that vitality and seems caught between two vibes that don’t gel too well. The pseudo-instrumental “Ghost Dance (Awaken the Ancestors)” is fine, apart from the fact that it does just sound like any other Iced Earth song waiting for lyrics, with one big long rhythm piece, rather than the music speaking for itself. It’s no “Losfer Words” or “Orion”. “Brothers” too has a similar way about it, and tends towards the boring more than anything else. It lacks the quality listeners are looking for.
“Defiance” returns to the harder and faster tempo of the earlier songs on the album with more power in the vocals as well. Closing out the album is the almost-ten minute epic “Clear the Way (December 13, 1862)”, which winds its way through periods of quiet building to heavy guitar and drums, and is a pertinent way to conclude the album.

And so once again I have come to the end of an Iced Earth album, and once again I find myself sitting on the edge of the precipice. Depending on which way I fall I can love this album or be disappointed by this album, and once again I find that I cannot fall either way. There is much to like about the first half of the album, but there is much to be slightly disappointed in the second half of the album. I would suspect that the huge fans of the band will think this album is a triumph and be spectacularly happy with it. For me, as I hinted at during the start of this review, I find the album enjoyable to listen to without being able to rid myself of that feeling that with just a bit of a spit and polish it could really be terrific.

Rating:  “I am fates magician, I'll strip you of your doubt”.  3.5/5

999. Iced Earth / Night of the Stormrider. 1991. 3/5

While Iced Earth’s debut album Iced Earth whetted the appetite without creating too many waves, there was great hopes that the follow up would be able to eradicate the lesser parts of that album and replace it with more of the good. In essence that meant replacing lead vocalist Gene Adam and bringing in John Greely in his stead, and more of that galloping guitar and drum beat flying through the songs to get it on the right track.

In short, in my opinion, it probably needed to be backed up with better vocals. I’m not exactly sure if vocalist John Greely based his vocal technique on any one singer, as he seems to jump around in style between King Diamond, Rob Halford and Cronos. The energy is there, but averages out all the good that comes from the music in the long run. I’m really couldn’t split Greely and original vocalist Gene Adam as to who annoys more as to downgrading awesome songs. And singling out the vocalist for being the difference is completely unfair I know, but whenever I listen to this album or its predecessor I can’t help but wonder how good it would sound with any of the future vocalists in charge. You only have to hear Matt Barlow’s live versions on Alive in Athens to know I’m right. And as it turned out, I gained a greater respect and understanding of this album from listening to Barlow singing these songs live on that album. Because they all sound better live, and the vocals have so much more power and tone there than they do here.
The opening three songs are great – “Angels’ Holocaust”, “Stormrider” and “The Path I Choose”. I don’t understand “Before the Vision” at all. Okay yes, I know it’s a part of the concept story but it doesn’t fit musically at all. Just another example of the sometimes muddled thinking about where to place songs on an Iced Earth album and how that may affect the run and mood of said album. “Mystical End” I think is only average, but this is followed by “Desert Rain” which lifts the bar again. “Pure Evil” is a song that changes inflection throughout, dependant on the style of guitar and vocals that come with it. I still think this is half genius and half ‘WTF?!’ But seriously, when the gallop comes in this song really goes hard. After more distraction from the acoustic bridge of “Reaching the End” we are treated to the excellent closing track “Travel in Stygian” which, despite its changes in tempo and mood throughout which does annoy me no end, finishes off the album in style.

While I may have overplayed the problems with the vocals that doesn’t eradicate any fault in the song writing. For me (and I may be on my lonesome here) I just don’t like the constant switching between moods in the same song. To me it halts the momentum of the song, and then the album. There is a lot to like here if you are a fan, and it does auger well for future releases, which of course is the good news that eventually came our way.

Rating:  "We paint the sky with blood tonight, setting free the damned to fight".  3/5

835. Iced Earth / The Melancholy E.P. 2001. 3.5/5

This EP was initially only meant to be handed out to radio stations as a promotion. Then at one stage there was a limited number pressed for fans to purchase. Two years later in 2001, it was eventually reissued with two further tracks for the general masses to get their hands on, and it is this version which I possess

Listen to "Melancholy (Holy Martyr)", "Watching Over Me" and "I Died For You" and can you hear the similarities in the tracks? I swear if you switched the lyric sheets on these two songs that you could pretty much make them fit within the framework of each song. That's not having a dig at the songs in question, it just never fails to surprise me as to how similar these songs are, and that I never really noticed it before I got this EP and started listening to it. I have always been a little disappointed in these tracks, as when they reach the parts of the songs where the riffs really cut in they sound great, but there is too much soft and slower parts of them to make them really great songs. A small footnote that I still enjoy the songs, but that slower starts feel unnecessary.
There are three cover songs here on this extended EP. The cover of Bad Company's "Shooting Star" is difficult for me to judge, because I really don't have any feelings for Bad Company's music at all. Thusly, this song may or may not be a great cover of the original, but it sounds boring and uninteresting compared to Iced Earth's normal output, which probably doesn't say much for the material they had to work with. The cover of Black Sabbath's "Electric Funeral" is an interesting take, certainly given the different direction Matt Barlow takes with the vocals from the original which was sung by Ozzy Osbourne. not a bad cover given they gave it a real Iced earth sound rather than the Black Sabbath sound. This the band has done again with their cover of Judas Priest's "The Ripper", which originally appeared on the tribute album A Tribute to Judas Priest: Legends of Metal Vol. II. Barlow again gives it his own interpretation and doesn't try to mimic Rob Halford's vocals, a very sensible option.
The EP concludes with a live version of "Colours" that was recorded during the session for Alive in Athens but didn't make the final cut for the album. It's a cracking version of this song, and is worthy of its position here rather than being lost in the mists.

EP's are generally hit and miss, depending on what content they have. They can be superfluous or they can be essential. The Melancholy E.P. is an essential item for Iced Earth fans, given the rarity of many parts of this album, and the enjoyment you will get from it when you put it on your CD player.

Rating:  I feel it once again, it's overwhelming me.  3.5/5

621. Iced Earth / Something Wicked This Way Comes. 1998. 3/5

For an album that many believe is the best in the Iced Earth discography, to me it just seems a little two-paced to have that mantle laid upon it.

"Burning Times" is a good opening song, though I must admit it sounds much better live on the Alive in Athens album. Ditto for the second song, "Melancholy (Holy Martyr)" which benefits in a live setting from being faster and more aggressive than it is here.
"Disciples of the Lie" starts off the way an Iced Earth song should, at a cracking pace with the flailing drums and guitars, and Barlow reaching his range with his vocals, but even then in the middle of the song we have the keyboards that become the prominant part of the song - and why? Just get on with it already! Even more mystifying, we then head into "Watching Over Me", a power ballad with acoustic guitars and soft vocals mixed with hints of powered up guitar. As power ballads go it isn't the worst, but it just halts the progress of the album again, and we're only up to song four. It makes it almost impossible to get into the mood of the album because it is in constant flux.
Back into the action, as "Stand Alone" crashes the party and brings us back into the true Iced Earth makeup. Short, sharp and to the point, "Stand Alone" reasserts the album in the right direction. But then, by god, let's chuck in another slow starter with moody vocals and acoustic guitar. "Consequences" is that song, and by now, you have to suspect that this was a delibertae arrangement for the album, because you surely could have this set up by accident. Which then begs the question - WHY did they do it this way?! It must work on some fans level I guess, but all it does is piss me off because there is absolutely no consistency. You get up and jump around and sing at the top of your voice for one song, and the next you are slumped back down in the armschair waiting for something to happen. Anyway...
Yep, you guessed it. "My Own Savior" returns the tempo to that faster double-kick driven guitar sound, before "Reaping Stone" draws on a later Sabbath tempo before picking up towards the end of the song.
"1776" is an instrumental interlude which (bugger me!) moves politely into a(nother) power ballad in "Blessed Are You". Honestly, how is this good balance in an album? (except for the fact that it's one fast, one slow, that is).

The album is closed out by the Something Wicked Trilogy, "Prophecy", "Birth of the Wicked" and "The Coming Curse". "Prophecy" makes a slow start before hitting its form halfway through. "Birth of the Wicked" is a good track, while following the somewhat inexplicable piano beginning for about a minute of "The Coming Curse", it also kicks into gear and delivers the goods.

This is quite a mystifying album. I fail to understand how it was put together in such a fashion. To the listener it just doesn't allow you to get a straight vibe of the album, so changeable is the format. When it is on song, with tracks such as "Burning Times", "Stand Alone", "My Own Savior" and the most part of the trilogy, this is a terrific album. In the other places, bogged down as they are like potholes on a freeway, it stops all cohesion. While the good material is good, the slow material holds the album right back in my opinion.

533. Iced Earth / The Crucible of Man (Something Wicked Part 2). 2008. 1.5/5

Having been a fan of ‘Ripper’ Owens while he was in the band, I admit to being one of the faithful who thought that the return of Matt Barlow to the fold would be the right thing for Iced Earth. I also believed it would make The Crucible Of Man a stronger album than their previous effort. I guess all of this could have been true, except that one thing got forgotten – write some bloody decent songs!

Barlow is back, and his vocals cram themselves out of the speakers at you, but is there any real feeling or power there? Has he lost his touch? It’s difficult to say, but it really isn’t the same man who sang on Iced Earth albums ten years ago. However, he can only sing the material he has in front of him, and here it seems the band has slipped dramatically. Where have the heavy songs gone? Where is the intense riffing that once was so prevalent in their music? Have they left speed for good? This is where all the conflict is. You can’t have a good album without good material, and in trying to tell a story it appears that the music has been dealt a savage blow.

It is possible that this is such a massive disappointment because all of the talk leading up to it was the return of Barlow? Actually, no. The elements of Iced Earth are there, but they just feel watered down. Or are they just outdated? Surely the time has come to just go out and get back to the basics, and bring back what made Iced Earth such a formidable band. Big fans will probably still get enough out of this album. I did not.

Rating: If going back to the past is their ideal, then they need to go further back. 1.5 / 5

524. Iced Earth / Iced Earth. 1990. 3.5/5

This is the initial foray into the world of Iced Earth, and for a debut it is a pretty fair effort. Improvements were to be made, but the basics are all here from which the building blocks could make their foundation.

I guess it is a common discussion point amongst fans of Iced Earth, but here we go again. While the music itself is terrific, with some great riffs and excellent drum and bass lines, the vocals let it down a little. That’s not to load vocalist Gene Adam with any blame for some shortcomings, but there is little doubt that future vocalists (and I guess here you immediately think of Matt Barlow) were betted suited to the material. This argument becomes almost gospel when you consider that many of these songs were later performed by Matt Barlow on other Iced Earth releases, and there is no argument that he performed them better.

Concentrating on this release however, the vocals are adequate and the music is great. “Iced Earth” and “Colors” rank as my favourite songs on the album, and though it probably does tail off toward the end, it is still a good listen, and worth it if only to see how they started out.

Rating: A better than average debut. 3.5/5

523. Iced Earth / I Walk Among You [Single]. 2008. 3.5/5

First taste of Iced Earth reunited with Matt Barlow as lead vocalist from the forthcoming album The Crucible of Man (Something Wicked Part 2).
The new song sounds good. Barlow’s vocals suit it nicely, and there is some power to the song. If this is an indication of the new album then bring it on.
Also here are two songs from Framing Armageddon (Something Wicked Part 1) which have been redone with Barlow singing instead of Ripper Owens. Probably not the songs I would have chosen, if they were trying to prove anything. I still think Ripper’s versions sound better.

Rating: Is there better to come? 3.5/5

506. Iced Earth / Horror Show. 2001. 3/5

This was the first Iced Earth album I ever bought and listened to, and while there have probably been better albums in their discography, it was a gentle introduction to the band for me.

I enjoy the concept of the album, taking on the monsters of history, both real and fictional, and doing songs on them. In the main, it works quite well.
The album begins strongly, with both “Wolf” and “Damien” showcasing Matt Barlow’s distinctive vocals and the double click drumming of Richard Christy. Like many bands of this generation, their best songs are when the drums are driving the pace, through double-kick and flying on the high-hats. Here the guitars aren’t being forced to go ‘fast’, but the feel is that anyway.

From here on though, the album is a bit mixed, neither one thing nor the other. In the main the songs are fine, but they are not outstanding, and in a funny way they are not memorable, in that they begin to blend into each other and it becomes difficult to differentiate. I can see why trying to set different moods in different songs is necessary to the theme of the album, but I don’t think it works overly well. “Ghost of Freedom” to me just halts the whole momentum of the album, whether you like the song or not.
The cover of Iron Maiden’s “Transylvania” is probably the highlight of the album – a bit of a giveaway really…

Rating: Just rises above average. 3/5.

440. Iced Earth / The Glorious Burden. 2004. 3/5

The demise of Matt Barlow, and the introduction of Tim Owens, was a major talking point at the release of this album. And as much as I enjoy Matt Barlow’s work with Iced Earth, I was looking forward to hearing what Ripper could bring to the band.

What you are immediately confronted with is this – it is still Iced Earth. OK, the lead vocals have changed slightly and been incorporated into the mix, but the music is still the same – the great drumwork of Richard Christy, the rifling guitar work of John Schaffer. “The Reckoning (Don’t Tread On Me)” is the foremost indication of this, just a typical Iced Earth performance. I love “Attila”, where Ripper doesn’t extend so much into his ‘upper reaches’, and perhaps this is where some songs just don’t feel right. These two songs, plus “Declaration Day” and the slower and softer “When The Eagle Cries” are the best for me on the album, along with the wonderful Gettysburg trilogy.

While I don’t think it is Iced Earth’s best work, that certainly isn’t the fault of any particular person. Ripper is great, and while his vocals mightn’t work in every song, when they do they are just fantastic. Perhaps the arrangement could be better, I don’t know. It is a difficult thing to marry up a different set of vocal chords to an established writing style. On The Glorious Burden there just feels like there are too many places where the two are out of synch.

Rating: Not all that it could be, but not bad by any stretch of the imagination. 3/5

407. Iced Earth / Framing Armageddon (Something Wicked Part 1). 2007. 2/5

OK, so we are going to make a concept album (or in this case albums) based on the story from an earlier album we have already recorded. Interesting ploy. It does raise a number of questions.
1) Will the storyline be interesting within the framework of the lyrical content?
2) Will the musical content capture the mood of the lyrical content?
3) Will all the strings pull together to produce a good album?

I must say I still think the beginning of the album – “Something Wicked Part One” and “Setian Massacre” – is catchy, and I still sing along to it. I also enjoy “Ten Thousand Strong”. All good songs, sung wonderfully well.
But what is it that, for me at least, turns me off the whole album? I guess there are a few things. There a number of musical ‘interludes’ between songs – mood setters, I guess you could call them – and I think there are far too many to retain interest in. Also, as much as I am a fan of Tim Owens, sometimes he just doesn’t come off, and on some of the songs here he just doesn’t come off. Whether that is in the writing or the performance is open to question.

So in the long run, I think this missed its mark. I don’t know what the answer is. Will Matt Barlow make a difference? Are his vocals what were required here? I don’t think so. I just think the guys had a reasonable concept for an album, but just didn’t quite grab me with their interpretation. No doubt millions think differently.

Rating: On a different plane from what I expected. 2/5.

279. Iced Earth / Enter The Realm. 1989. 3.5/5

This is a pretty impressive first-up effort from the lads – a demo, no less. Is it any wonder they were signed up after the world heard this?
Well worth a listen in regards to the roots of this group.

Rating: Demo? Damn! 3.5/5

164. Iced Earth / Burnt Offerings. 1995. 3/5.

After a three year layoff, Iced Earth came back with this, their third album Along with the third album came a third singer and third drummer. In order to match the unique music, all Iced Earth vocalists have had the ability to growl, scream, and sing. Matt Barlow throws in something else to boot – an incredible power and emotion into the mix.

This is probably Iced Earth's heaviest album, but it still retains powerful symphonic sounds and great acoustic passages. Iced Earth had some long songs on the previous albums, but on this one they show their ability to create a full-fledged epic. Dante's Inferno takes you through the Nine Planes of Hell for sixteen minutes, each plane something new and demonic.

This is probably the point at which Iced Earth really became the band it is today. The acquisition of Matt Barlow in particular added a new dimension to what the band had been doing.

Rating : The start of a wonderful partnership. 3/5.

57. Iced Earth / Alive In Athens. 1999. 4/5.

It must be unusual (it is within my knowledge of the subject) to release a live album over three discs. Not only is it a lot of work, you have to have played three hours worth of music live in order to do it!

This is just a great live album. It covers the entire span of Iced Earth's career to this point, and does it live. From this you learn that :

1. Iced Earth's back catalogue contains a truckload of great material.
2. It sounds better live
3. Iced Earth can play.

As an introduction to Iced Earth, if you haven't heard them before, this is your best bet. If you know their stuff, then this is just as necessary, to hear how much better the songs sound in a live environment. If you have it all, you already know what I'm talking about.

Memories : Standing in Utopia in 2001, looking through the Iced Earth section, trying to decide on the first album of theirs that I should buy, having never heard any of their music before. I pick up Alive In Athens, and remark to Kearo that, with three CDs, this should be value for money ($44.95 I believe it was). He agreed, and remarked that it would certainly give a good overview of the band. In the end, I baulked at the price, and went for the newly released Horror Show instead.

Rating : An excellent live 'history' of the band. 4/5.