| Musical Style: Heavy Metal | Produced By: Terry Taylor |
| Record Label: Intense/Retroactive | Country Of Origin: USA |
| Year Released: 1992/2019 | Artist Website: |
| Tracks: 10 | Rating: 85% |
| Running Time: 45:22 |
The Intense Records 1992 fourth full-length Deliverance album, Stay Of Execution, ushered in a period of change for the group. It began in the aftermath of the melodic speed metal and thrash of its groundbreaking 1989 self-titled debut and every bit acclaimed 1990 follow up effort Weapons Of Our Warfare with the 1991 release of What A Joke (all also Intense), an album to find Deliverance at a crossroads musically. Vocalist, rhythm guitarist and founding member Jimmy P. Brown II, on one hand, was burnt out from having performed speed metal and thrash since the mid-eighties, while lead guitars George Ochoa, on the other, was just getting his feet wet as far as either form was concerned. It led to the two clashing over musical styles and ultimately what ended up an uneven effort in What A Joke.
Ochoa’s departure subsequent to the release of What A Joke opened the door for his replacement Mike Phillips, who joined Deliverance in time to record the musical change of pace that is Stay Of Execution. The album saw the group abandon much its speed metal/thrash ways in favor of a more diverse and varied sound I like to refer to as ‘uniquely Deliverance’. A darker side to Deliverance reveals in the process (albeit not falling within the Gothic or doom genres) but also a propensity for technical metal (in retaining much of the previous ingrained heaviness). Brown also begins to imbue his songwriting with decided progressive facets, which should not surprise in light of how his progressive side began to emerge on lengthier Weapons Of Our Warfare tracks “Flesh And Blood” and “Solitude”.
Stay Of Execution might have gone out of print and turned into a hard to find collectors item, it has been re-issued twice. First traces to 2014 and Roxx Records, whom re-mastered (courtesy of Sid Garcia) and re-released it with three bonus tracks in the form of re-recorded versions to classic Deliverance cuts “Flesh And Blood”, “In U” and “What A Joke”. First two initially appeared on the 2010 Deliverance tribute album Temporary Insanity (also Roxx), while Brown and Ochoa regrouped to re-record the third specifically for the re-issue.
Second attributes to Retroactive Records, whom in the fall of 2019 re-mastered it (courtesy of Rob Colwell of Bombworks Sound) but as a ‘Gold Disc Edition’ limited to 300 CD copies. Further details in the Retroactive press material: ‘The advantage of the gold reflection layer is its increased resistance to corrosion, in contrast to the ordinary aluminum layer found on normal compact discs. Due to concerns over the incidence of CD rot on early CDs, gold CDs were thus seen as a potential solution.’ Packaging upgrades come in the form of a multi-page mini booklet to include vintage band photos, lyrics and detailed liner notes from Brown.
So how do the two re-mastered versions compare? Both pretty much do the same thing in that it is difficult to tell either apart when listened to alongside: increased volume levels, enhanced low end and crisper and cleaner feel overall (drums and guitar leads stand out that much further in the mix).
While Deliverance downplays its speed metal/thrash roots on Stay Of Execution, it is not unreasonable to expect either form to continue to play a role with its songwriting. Consider the albums Herculean title track, fleet and brisk (but not to the point of speed metal) while also yielding the guitar driven muscle to appeal to those embracing the first two albums. The sophisticated soloing from Phillips leaves little doubt as to why many consider him the best guitarist to grace a Deliverance lineup. Later leaving Deliverance after the release of Stay Of Execution, Phillips resurfaced following the turn of the century with the hardcore group Fasedown previous to releasing a solo album (Mirrors Within Mirrors from 2009 also on Roxx Records) and returning to Deliverance for its recent offerings As Above, So Below (2007) and Hear What I Say! (2013).
Likewise, “Words To The…” delivers some driving riffs that highlight an understated thrash quality, albeit without crossing the line of the form (similar heaviness exists regardless). The song otherwise proves keyed up, with the burly freight train momentum and emphatic low end combining for an imposing effect. Vocally, Brown switches gears with a new doom-laced and melancholic style that often has been compared (and accurately I might add) to a combining of Eric Clayton (Saviour Machine) and David Bowie. Previous albums found him singing in a higher register, which lend critics describing Deliverance as having a ‘Metallica meets Queensryche’ sound
The darker but technical Deliverance side reveals on “Windows Of The Soul” from its joining of lighter guitars and mega crunch rhythm guitars with a melody based emphasis (chorus is overriding in its catchiness). Note how the song starts to a scream from Brown that proves he has not lost his ability to go for a high note! “Self-Monger” slams front to back its short (3:28) length with a swarthy bass driven groove in playing up some of the albums heavier moments. An almost industrial tincture manifests as a result. “From Once Was” opens hauntingly to an ethereal joining of bass and acoustic guitar, with the acoustic lacings sustained until implacable guitars take over to shoulder the unflagging verses and impassioned chorus. Another intricate guitar solo from Phillips.
The progressive facet to Deliverance stands out on two of my favorite Stay Of Execution tracks, “Lord Of Dreams” and “Ramming Speed”. Former plays up time changes galore, ranging from lively moments reflecting the mirthful to others in which the groups thrash flavorings rise to the surface, as the boisterous refrains aptly attests. Multiple complex instrumental moments further reinforce said progressiveness. Of equal note is the aggressive drumming of Kevin Lee. Latter, in my opinion the greatest Deliverance song of all time, opens its first two minutes to an ominous merging of ethereal guitar feedback and acoustic guitars. Acerbic rhythm guitars step forward and dominate moving ahead, powering the anthem-like verses and somber but intricately woven refrain. Crucible Divine did a killer cover of “Ramming Speed” for the aforementioned Temporary Insanity.
Speaking of which, Deliverance has a history of recording covers, including songs by Black Sabbath (“After Forever” - What A Joke), David Bowie (“Beauty & The Beast” - Camelot In Smithereens) and Iron Maiden (“Where Eagles Dare” - Hear What I Say!). The group has even covered Daniel Amos, with “Sanctuary” (off Vox Humana from 1984) appearing on the 1993 release Learn and “Horrendous Disc” (from the 1981 album of the same name) re-recorded for Stay Of Execution. The Deliverance rendering presents with a cinematic if not theatrical interpretation of the song (somewhat akin to Brown’s Jupiter VI project) with its use of grand piano, big choir like vocals and orchestral arrangements. Musically, this one is a bit outside the box as far as Deliverance is concerned but is good nonetheless.
For those wondering, Deliverance has not completely forsaken its speed metal past, as indicated by the not so subtle “Entombed”. Hard-hitting, fast and merciless, it hearkens back to the first two albums with its front to back angst (it probably should have been included on either in that it sounds out of place here despite not being a bad song). A remixed version of the Weapons Of Our Warfare title track was added to extend the life of the video receiving play on MTV’s Headbangers Ball. In terms of comparison, I prefer the original with its more forthright guitars, not to mention a minute has been cut from the Stay Of Execution rendering.
Stay Of Execution might not be concept related, but according to Brown from an interview back in the day, the album has an overriding theme of “…death to the flesh. It’s all about humanness. For all these years we’ve been putting people on pedestals and we forget to realize that they’re human beings. They’re prone to fall. They’re prone to be sinful, because our nature is sinful”.
The albums title track best embodies this - Strong is your hold, Oh mortal flesh. And now I've fallen to you again. Mighty's the faith that overcomes. But somehow you always seem to win – as does “Entombed”: Knowing this, that our old man. Was crucified with him. That the body of sin might be done away with. We should no longer be enslaved to sin. We are not to live as the damned. Other topics covered include dealing with the past, such as on “From Once Was” - Faith gathered from once was. Hope gathered from once was. Peace gathered from once was. Love gathered from once was. I dream the past, the burning bridges. Old photographs, discarded pages. Unanswered prayers, the childhood endings. The bitter tears, the new beginnings – and spiritual warfare, embodied on “Ramming Speed”: War against sin with the weapons of our unity. Right on the mark with a love for humanity. Building up to ramming speed. The power of God is ramming speed. The sea is raging, there's the enemy ahead. On fiery waters float the bodies of the dead.
Retroactive Records sets the standard when it comes to re-issues with Stay Of Execution in that no detail has been overlooked in terms of packaging, re-mastering as well as being a Gold Disc Edition. If you have been frustrated due to an inability to obtain the album now is your chance- noting the out of print status to the 2014 Roxx Records re-release. Likewise, if you own the Intense original, then pick up the Retroactive re-issue with improved re-mastering. I always have found Stay Of Execution to hold up quite well in comparison to the Deliverance back catalog in that while I appreciate the aggressive leanings to the early material, the at times darker and others progressive technical metal sounds to Stay Of Execution provides a welcome change of pace.
Review by Andrew Rockwell
Track Listing: “Stay Of Execution” (4:37), “Windows Of The Soul” (5:01), “Words To The…” (4:27), “From Once Was” (3:58), “Self-Monger” (3:28), “Horrendous Disc” (5:28), “Lord Of Dreams” (5:07), “Ramming Speed” (5:48), “Entombed” (3:46), “Weapons Of Our Warfare” (3:41)
Musicians
Jimmy P. Brown II - Lead Vocals, Rhythm & Acoustic Guitars
Mike Phillips - Lead, Rhythm & Acoustic Guitars
Brian Khairullah - Bass
Kevin P. Lee - Drums & Percussion
Additional Musicians
Rob Watson - Keyboards
Gene Eugene - Rhodes
Mike Grato - Bass
