| Musical Style: Power Metal | Produced By: Jacobs Dream |
| Record Label: Metal Blade / Retroactive | Country Of Origin: USA |
| Year Released: 2001 / 2024 | Artist Website: Jacobs Dream |
| Tracks: 9 | Rating: 85% |
| Running Time: 44:53 |
No matter which of the first two Jacobs Dream albums you choose, the high-end vocals, technically intricate songwriting, double bass drumming and subtle keyboard arrangements, make it a work that defines classic US power metal. The Columbus, Ohio based five piece got its start in the mid-nineties under the Iron Angel moniker, but due to another group going under the same heading, necessitated a name change to Jacobs Dream. Jacobs Dream debuted in 1996 with an eponymously entitled 7-song demo EP, which due to selling an impressive 3000 copies resulted in an underground label bidding war to see Metal Blade Records come out on top.
The Jacobs Dream 2000 Metal Blade self-titled debut saw vocalist David Taylor joining forces with bassist James Evans, drummer Rick May and guitarists John Berry and Gary Holtzman. With exception of Derek Eddleblute replacing Holtzman on guitar and Billy Queen supplanting May on drums, Jacobs Dream maintained the same roster for its 2001 sophomore release Theater Of War (also Metal Blade).
I always felt Theater Of War features not so much the better production compared to Jacobs Dream, but is also the finest produced Jacobs Dream album, noting the group has four additional albums under its belt. That said, the re-mastering to the summer of 2024 Retroactive Records re-issue to Theater Of War takes an already very good product and makes it even better. When placed alongside, I find the Retroactive version brings added layers of refinement, resulting in a cleaner separation of drums and keyboards not to mention heavier hitting guitars and more pronounced low end. Whereas the Metal Blade release sounds find for its time, the Retroactive re-mastering brings the album up to modern standards.
Further value comes in the form of enhanced packaging - courtesy of Scott Waters of No Life Til Metal Graphics - to include a multi page mini booklet with lyrics and liner notes in a much easier to read (compared to the Metal Blade release).
Jacobs Dream warrants well deserved comparison to Queensryche, Fates Warning, Sacred Warrior and Recon. Hence, introductory cut “Sanctuary”, which amalgamates the best elements Jacobs Dream brings to the table: David Taylor’s high-end vocals, guitar harmonies galore, elevated tempo and progressive melody. Albums crystal clear production resonates in the perfectly placed (and quite intense!) guitar leads. Lyric snippet:
Those who attend this will live to tell,
The holy torment of angels that fell.
Those who reject this will live out the lie,
And go to the place where the pain never dies.
Some know the truth and some truly believe
Some will press on and won't stop 'til they're free.
“Theater Of War” separates as one of albums heaviest. Newcomer Billy Queen manifests such in terms of his heavy hitting timekeeping, aligning with impetus of a near thrash like natures to see hulking riffs and plentiful bass coalesce. Darkly tinctured keyboards to start set an ominous tone. Imagine Sacred Warrior combined with touches of old school Deliverance. Lyric snippet:
Cain killed his brother and the blood began to flow.
Gathering momentum into a torrid flood of woe.
War made its entrance into the virgin realm of man.
Steel forged in hatred brought the drama of the damned.
The reaper's standing just inside the backstage door.
Waiting for the players in the theater of war.
“Traces Of Grace” takes a more melodic heading. It begins quietly regal to rolling drums and lucid guitar, awash in glorious harmonies its span in upholding up an emotional persuasion to go alongside an equally forthright tempo. I appreciate how extensive aspects of the song are instrumental, including the gently woven first minute and equally inviting mid-point at times riff driven and others softly done soloing based instrumental run. Lyric snippet:
We live in faithless torment. Like a puppet on a string.
Drowning on the waves of the devil's sea.
There's more to life than riches.
Feeding the lust of the beast.
Chasing the image of a fading dream.
I'm yearning for freedom, from chains of this bondage.
I'm hoping, reaching, searching for traces of grace.
“Wisdom” represents one of those brilliant songs in which lyrics potentially overshadow the music. Not that “Wisdom” is in any way flawed but rather rates with albums finest, referencing the bulky mid-paced tempo in which Taylor’s impassioned delivery plays a lead role alongside symphonic keyboards and in and out of the mix crunch laden guitars. It is lyrics, however, which the song apart in representing a literal musical book of Proverbs:
A lifetime of learning is what I give to you.
When you make a choice in life, be sure to think it trough.
Wisdom holds a treasure of knowledge in her hands.
Take care and love her well.
You'll be a better man.
Pain will come, tears will fall.
Guard your heart, keep your vision clear, rise above it all.
Find your destiny. Dare to live your dreams.
I identify with “The Warning” as albums most progressive. Open-air guitar soon joined by athletic bass gets things going, a dramatic setting upheld as the song flashes ahead with luminance keyboards lending a darker elements and multiple instrumental excursions allowing a technical flair. Refrain is over the top in terms of its theatrical flair. Great song and one of Jacobs Dream’s finest, but it covers so much territory musically and lyrically the impression is that “The Warning” is condensed and could be potentially twice its span if not greater. For instance, lyrics initially focus on need for a Messiah:
I saw the crimson line all trough history.
The need for a messiah to set the world free.
He was born a common child. He lived a life of poverty.
But He had a hidden plan the people could not see.
He healed the sick, He healed the lame,
He raised the dead from their graves.
A sacrificial lamb on the altar
His precious life he gave.
Then, however, an abrupt transition is made to the Book of Revelation:
The warlords gathered 'round the table to plot their strategy.
Satan and his demons smile in evil glee.
The battle of all the age is about to take place.
Evil seeking to devour the pure and holy race.
I saw the fire come down from God in heaven above.
Evil gone forever by the wrath of holy love.
What happens in between? Again, a fine song, but I feel a bit more detail could have been touched upon to tie any loose ends together.
Lone ballad “Sarah Williams” is a good one. It does a choice job filling out its seven minutes, with acoustic guitar carrying the first four and half and emboldened rhythm guitar taking over the remaining span. An emotional platform establishes in the process and not just musically - noting another moving vocal performance - but also lyrically in reference to how the song is written from standpoint of a drunk driver that tragically took a life:
How many times must I feel this way?
The fool who never learns.
Selfish pleasures override my thoughts.
Give that wheel just one more turn.
Drunken stupidity rules my mind,
And things aren't what they seem.
How many times must I feel this way'
I wish it were all a dream, a dream.
Jacobs Dream is renowned from including an instrumental cut on many of its albums and such is the case with “De Machina Est Deo”. Obviously, this one affords the group opportunity to unveil its repertoire of licks and chops, encompassing catchy front to back guitar riffs, hulking double kick drum, resonating bass, fleet keyboards and lead guitar to taste. All the while, a notable melody rises above the jam-based setting.
“Black Souls” is a customary speed metal cut and a good one at that! It kicks in at once, darkly woven with a portent register and swarthy guitars but alive in terms of presiding hooks and bounteous energy to spare. Evens’ distorted bass solo leads the way instrumentally ahead of a brisk run of soloing (I cannot say enough good things about the work of Berry and Eddleblute). Perhaps it is due to name recognition, but I am somewhat reminded of classic Bloodgood cut “Black Snake” (off Bloodgood from 1986). Lyric snippet:
The nails were pounded, the blood began to flow.
The horde defeated with a single blow.
Behold the potion that broke the dragon's spell.
The one who was dead
Is now alive and well.
The sacred blood, the broken spell.
Lightning crashed through the gates of hell.
Vile pride brought death and fear.
Legacy of the black souls.
Jacobs Dream is at its progressive best on “Critical Mass”. A drum solo to start gives way to plodding riffs of a traditional metal form, as occasional thrash like moments (noting the heavy hitting verse sections) intersperse with periodic touches of apocalyptic melody (as revealed in the sweeping refrain). I can see Barren Cross doing something like this. Again, lyrics help put things over the top in touching upon the Second World War and development of the atomic bomb:
'39
Europe's plains
Blood and fire spill again.
Warring forces set their cause.
The race for fission had begun.
'45
Pacific isle,
A bird flies out before the dawn.
Oppenheimer's legacy is carried by Enola Gay.
I value equally the first two Jacobs Dream albums, referencing how Retroactive Records also re-mastered and re-issued the self-titled debut the summer of 2024. Each proves consistent without a skip button among the combined 21 tracks, while highlighting the wonderful vocals of David Taylor not to mention top notch musicianship. If anything Theater Of War stands apart from the debut with slightly better production. My advice if a power metal fan in any of its forms would be to make both albums a necessary purchase. Thanks to Retroactive Records for making each available in such a highly upgraded re-mastered format.
Review by Andrew Rockwell
Track Listing: “Sanctuary” (4:45), “Theater Of War” (4:46), “Traces Of Grace” (5:25), “Wisdom” (5:34), “The Warning” (4:21), “Sarah Williams” (7:08), “De Machina Est Deo” (3:42), “Black Souls” (3:50), “Critical Mass” (5:20)
Musicians
David Taylor - Lead Vocals
John Berry - Guitars
Derek Eddleblute - Guitars
James Evens – Bass
Billy Queen - Drums
