| Musical Style: Metal/Hard Rock | Produced By: Prophecy & Ken Triphan |
| Record Label: No Dust | Country Of Origin: USA |
| Year Released: 2023 | Artist Website: |
| Tracks: 14 | Rating: 80% / 85% |
| Running Time: 76:36 |
Prophecy initially impresses as yet another eighties melodic metal and hard rock band, but go beneath the surface and you will find more than meets the eye to the Tucson, Arizona five piece in the form of the progressive, symphonic and power metal nuances to imbue its sound. Regardless of the designator you place - it proves problematic pigeonholing Prophecy - one cannot deny that the material on the pair of obscure 7-song demos the group recorded in 1989 and 1992, respectively, is exceedingly well written and performed. Obscure being the key word in that Prophecy remains relatively unknown due to falling beneath the radar back in the day, with the main reason being that said demos were never commercially released, at least according to the liner notes to the February of 2023 No Dust Records re-issue of each.
Entitled Kingdoms and released as ‘Volume 10’ as part of the ‘Untouched Series’, the re-issue includes a multi-page mini booklet with eye catching cover art and montage of band photos and concert flyers. A single paragraph band biography might not provide a great amount of detail - missing are titles to the individual demos - but it does note Prophecy won a battle of the bands contest in its first live performance and later headlined local clubs in addition to opening for national acts. Lyrics are not included but otherwise focus on life and relationships from a positive standpoint, although song titles such as “Unjustly Crucified”, “Holy Light” and “The Cross” reveal a faith based standpoint to the group’s songwriting.
That said the track listing frustratingly shuffles the combined 14 demo songs like a deck of cards. As taken from the back of the jewel case:
Tracks 1, 4, 8, 9, 11, 12, 13 - recorded in 1989
Tracks 2, 3, 5, 6, 7, 10, 14 - recorded in 1992
This makes little if any sense. Why not instead open the CD to the first seven songs from the first demo followed by the subsequent seven from the second. At the very least, this takes the guesswork out of things.
Demo 1
The 1989 demo opens to two part song “Intro / Midnight”, with former an instrumental home to opening piano soon joined by darkly tinctured guitars and classical keyboards and latter a well conceived melodic metal cut to see notable hooks to go with prominent keyboards and double kick drum, which helps allow a subtle power metal underpinning. Standing out in the process is the surprisingly clean production (for a late eighties self-financed recording) allowing all instrumentation to separate in the mix.
“Unjustly Crucified” ensues in playing up the Prophecy progressive side. Song takes a plodding mid-paced approach, upholding a climactic rock opera feel in line with the subject allowing it to hold up its seven-minute span as Scott Jeffers exhibits his powerful mid-ranged vocal abilities and Joe Roman reveals a classical edge to his guitar work, particularly for the soaring instrumental moments. Am I out of line to offer comparison to Sin Dizzy cut “Sacred Blood”?
Prophecy reveals its eighties side on “I Need To Fly”, a beautifully conceived power ballad home to grand piano, soaring keyboards and pristine vocal melodies. I detect a dramatic Meatloaf-like allure here. Likewise, “Two Worlds Collide” reflects an eighties touch in play up a Bon Jovi-ish melodic hard rock meets AOR vibe carried by up-tempo energy and all the radio friendly hooks you could ask. I appreciate how the group makes effective use of organ.
“The End Of The World” brings a straight on metal vibe that despite being demos shortest at three minutes is no less able with soaring refrain and pronounced bass work of Dave Koster. “New Horizon” takes a similar heading, with orchestral keyboards to start giving way to the inspired momentum and layered vocal melodies combining to make a symphonic statement. Of note is the fantastic lead guitar work inherent to each.
Lone number not to do it for me is “You Need Me”, which I find to reinforce the commercial AOR leanings to fault. Keyboards end up laid on too thick for my taste, as is the In God We Trust like polish. By no means is the song terrible, but in my opinion it lacks the creativity of the groups better material to allow it to hold up under repeat play.
Final Verdict: Liner notes reference ‘flawed performances and demo mixes’, but rather what I hear is solid production and underrated songwriting adding up to a well deserved 80%.
Demo 2
Second demo improves upon already very good production and songwriting, albeit making adjustments musically. Backed away from are many of the heavier elements to the first demo, replaced by an added commercial slant with a ballad heavy AOR edge.
“Kingdoms” gets things going as one of the groups heaviest. It upholds a doom like form with a progressive edge, noting periodic acoustic guitar and mid-point classical guitar interlude, in moderately maneuvering its span in reinforcing a melody of a notable form. I wish the second demo had a few more cuts along this line.
Further playing up the progressive aspects while retaining the heaviness is seven minute “Holy Light”. Pensive keyboards start the song ahead of metal guitars cutting in, forthrightly leading the way alongside catchy harmonies and periodic acoustic interludes in playing up abounding technical fortitude. Second seven minutes number “Everything” maintains the progressive slant but within a melodic hard rock meets classic rock framework as another consummate melodic prevails (sort of like Shadow Gallery).
Remaining four songs sustain the commercial basis. “Love Can Find Away” is another classy melodic hard rocker, funneling breathing bass and acoustic guitars to project an early nineties Guardian like vibe (killer guitar solo to boot). In similar vein, “Killing Time” elevates magnificent melodies and harmonies pointing to the laid back and reserved with echoing backing vocals and rhythm guitar to taste (bluesy vestiges separate in the process). Of note is how the two are refined but not to fault.
You will also find two very ably done ballads. First “I Need You Tonight” takes a hard rock piano wave your lighter in the air approach with a commercial made for radio feel and second “The Cross” a similar heading in opening to piano and rolling drums before rhythm guitar fades in to help set a dramatic tone along similar lines as “Unjustly Crucified”. Former potentially wears out its welcome at six minutes (I would like to have seen it cut by a minute), and while I cannot complain in terms of latter, it is another commercial piece on a demo it would not be out of line to suggest is a bit top heavy in terms of commercial moments.
Final Verdict: Whereas I wish several additional metal cuts akin to “Kingdoms” had been included, the quality to the Prophecy commercial material speaks for itself. Hence, a final score of 85%.
Summary
Prophecy reveals ability to compose a song with a deft melody on each of its demos. That said its outside the box songwriting mentality (for the era) stands out equally from imbuing its material with an understated - and quite creative - progressive quality. Prophecy was potentially ahead of its time in this regard. It no doubt brings the licks and chops in terms of vocals and musicianship. There is a faith-based element to the Prophecy lyrics, although I hesitate to label it a Christian band. Despite some packaging misgivings, credit No Dust Records for making the Prophecy demo material available for the first time.
Review by Andrew Rockwell
Track Listing (Demo 1): “Intro / Midnight” (5:55), “Unjustly Crucified” (7:33), “I Need To Fly” (5:21), “Two Worlds Collide” (4:57), “You Need Me” (4:11), “The End Of The World” (3:07), “New Horizon” (3:46)
Track Listing (Demo 2): “Kingdoms” (5:40), “Love Can Find A Way” (5:05), “Everything” (6:54), “Killing Time” (5:02), “Holy Light” (7:02), “I Need You Tonight” (6:17), “The Cross” (5:40)
Musicianship
Scott Jeffers - Lead Vocals, Acoustic Guitar & Piano
Joe Roman - Electric & Acoustic Guitar
Manny Rojas - Keyboards & Piano
Dave Koster - Bass, Keyboards & Programming
Marco Zavala - Drums & Keyboards
