Musical Style: Power Metal	Produced By: Caesar Kalinowski
Record Label: Intense / Retroactive	Country Of Origin: USA
Year Released: 1988 / 2019	Artist Website: Sacred Warrior
Tracks: 11	Rating: 95%
Running Time: 42:54

Everything about Sacred Warrior meets our definition of power metal.  A soaring and high end (almost operatic) vocalist in Rey Parra, whom helps invite the groups comparison to contemporaries Queenryche, Fates Warning, Crimson Glory, Recon and others.  A high level of musicianship is also fundamental, inclusive to shredder Bruce Swift and his penchant for demanding guitar solos and technical and at times fast paced riffing in addition to every bit skilled intricate double bass drummer Tony Velasquez.  Keyboardist Rick Macias also fits the bill in accentuating but without coming across unnecessarily ascendant.  As with many bands within the form, the power metal label might be limiting in that you will also find aspects of melodic and speed metal imbuing the Sacred Warrior sound not to mention periodic progressive leanings. 

Sacred Warrior traces its beginnings to the mid-eighties when Parra, Swift and Velasquez were part of a Chicago based mainstream band named Nomad.  With Swift the first to come to the faith and playing an influential role in Parra and Velasquez following suite, the three decided to put together a band reflective of their newfound beliefs.  Initially recruited was bassist Steve Watkins when attending a local Bible study, while Macias came aboard when participating in an impromptu jam session.  The group decided on the Sacred Warrior moniker because it reflects not only that their commitment to Christ is sacred but that as warriors they need to put on the armor of God and prepare themselves for battle on a daily basis.

Sacred Warrior proceeded to sign with Intense Records, with whom it released its full-length debut Rebellion in 1988.  As with many albums from the time, Rebellion went out of print and turned into a highly sought after collector’s item.  Intense Millennium Records entered the picture in 2010 when it re-issued and re-mastered (courtesy of J. Powell at Steinhaus) Rebellion for the first time with new cover art.   

With the Intense Millennium version also out of print, Rebellion was re-issued a second time in the spring of 2019 but on Retroactive Records after having been re-mastered by Rob Colwell of Bombworks Sound.  Upgraded packaging includes a superior scan to the original cover art and detailed mini booklet (noting the work of Scott Waters of No Life Til Metal) to include vintage band photos, lyrics in an easy to read font and write up from Jonathan Swank of Heaven’s Metal magazine.

Rebellion could not get off to a stronger start than with “Black Metal”.  Despite heading in a musical direction that could not be more opposite than its namesake implies, “Black Metal” delivers the ‘power metal’ goods in the form of outstretched galloping riffs, melody in abundance and Parra soaring with the best of them (obviously, no grinding vocals).  A passage at the mid-point slows to a crawl prior to the group exhibiting its teeming instrumental abilities.  Lyric snippet:

Why do you want to follow the leader?
You should set the example
You've gotta want to be like Jesus the Messiah
He is a jealous God, He wants you
To serve Him with your life
Oh He can't take it anymore, more, more

“Mad, Mad World” prospects heavier traditional metal based territory.  With its emphasizing a bottom heavy sound, the song stretches for the bass driven underpinnings to propel its verse sections only to break out for an arresting refrain to see Velasquez unveil his verses timekeeping abilities.  No, this might not be albums catchiest but is persuasive all the same.  Lyric snippet:

But our own righteousness
Is but filthy rags
In the eyes of the Holy one
It's a state of the heart, not the flag

It's a mad, mad world we're living in
Making up our own rules
We make excuses for sin
It's a mad, mad, world we're in

Speaking of catchy, “Stay Away From Evil” delivers some of the albums better forthright hooks.  It is also one of the shortest at just under three minutes, but with its combining of buoyant energy, precise keyboards (noting the work of Macias) and all the crunchy guitars you could ask, it joins with this reviewer’s choice cuts.  A reaching for (and obtaining) an element of the commercial is the gist.  Lyric snippet:

The evil one is the great deciever
He'll steal your soul when you turn around
Ooohhhh, he's just doing evil

But there is one who can lift you up
Take you away from this life of sin
He's the one
He's the God above
He wants to take you into His kingdom

“He Died” represents as fine a power ballad you will find.  Of course, Sacred Warrior leaves its signature imprint on the formula, as adorning keyboards and Parra’s ‘ooh-ooh’ crooning carry the opening seconds until lucid guitars (with a metal bent) arrest in to reassure the worshipful scene.  Emotional lead guitar speaks of the imposing.  Lyric snippet:

He died for you and I on that day
As He hangs on the cross for you and I
He said "Father forgive them for they know not what they do"

And when they hung Him on the cross
His face they did not recognize
And when they saw Him hanging there, oh the pain

Sacred Warrior stretches towards speed metal on “Children Of The Light”.  Opening to a curt drum solo, it scampers its expanse to valiant double bass and headlong guitars in taking the overflowing energy to further heights.  Breakneck soloing proves why Bruce Swift is aptly named.  Lyric snippet:

With righteousness of the Lamb
We do what is good
For the benefit of others
We are children of the light
And we do what is right
We are children of the light
We'll fight the good fight

Albums title track reflects upon a light progressiveness.  Consider the bouncing tom-tom driven opening to feature "Oh-woah-oh-woah-oh- woah-woah-woah" vocal harmonizing and the sophisticated guitars to range from brash and assuming to those of a more amiable quality, start and stop and back and forth either way.  Racing instrumental moments give prominence to cool interplay between cowbell and darker guitar vestiges.  Lyric snippet:

But there's an answer in your heart
You know the truth, now play your part
Yes there's an answer and it's waiting for you
Turn back to Jesus, you know what to do
Give it up!!!
Your mind of rage
Rebellion

“Day Of The Lord” opens to an epic keyboards solo that gives way to lower register guitars as Velasquez again leads the way with his composite timekeeping.  It resonates of the loftily mid-paced moving ahead, gradually building form in august fashion only to decelerate upon procuring a grandiose refrain to speak of the worshipful: ‘Oh Lord, in the sky.  Praise Your name, lift Him up so high’.  Swift follows with one of his illuminated guitar solos.  Lyric snippet:

You've led so many astray with you're deceitful lies
And now it's time that you pay
The groom has come for His bride
There'll be no more compromise
The groom has come for His bride

On that day oh Lord in the sky
Praise your name Lift Him up so high
On that day

“The Heavens Are Calling” does not necessarily challenge for albums best cut as it does for finest of its era.  I appreciate its darkly tinctured and foreboding overtures in elevating the stark heaviness, imparting verse sections to speak of the palatial and refrain reveling in the exalted if not outright sublime: ‘Oh, the heavens are calling, So give the glory to the King’.  Progressive lacings give credence in the stilly done passage latent to regal guitars, with another momentous Sacred Warrior style instrumental passage to ensue.  Lyric snippet:

Our God is calling for the time He comes is near
When He will rule throughout the land
Then all the people of the earth shall mourn
Because they'll see that He is the One

Ohh, the heavens are calling
Ohh, so give glory to the King

“Famine” reflects upon the group’s bluesy side but within a metal framework.  In terms of the former, song reveals amiable moments built upon melodic harmonies over eminent bass, but from standpoint of latter, impetus at a moment’s notice recoils to find emphatic guitar take over for the more imperative statement.  Yes, a bit outside the box as rest of albums material concerns, but “Famine” holds up all the same with its reserved imprints.  Lyric snippet:

To have to live in a place without a song
We can make the difference
Just help them along, along

We can help them along
With a little love from God
They can make it all the way

Back to heavier territory with “Master Of Lies”, a bludgeoning three minutes to start slowly in near doom-like fashion but quick to elevate tempo as battering guitars, intricate drum rolls and operatic wails lead the unabashed power metal way.  Impression is akin to “Mad, Mad World” as not necessarily the most melodic but delivering the imposing goods nonetheless.  Lyric snippet:

That evil man won't rest until he's done his evil deed for the day
He'll take away your pride then he laughs as he walks away a-ha!
He's got you thinkin' everything you do is okay and alright
The choice is yours, my friend, beware

Master of lies

Album closes in fine fashion to “Sword Of Victory”.  This one lends elements of the melodic to the power metal form, divulged in the catchy but august refrain and distant symphonic keyboards to illuminate the swarthy backend.  Fitting double bass helps close the distinguished final seconds.  Lyric snippet:

I will give you all of the strength you need and the courage to stand alone
If you fight for Me, there'll be victory, and a crown when you get home"

Then we all will walk in victory
With a sword in our right hand
We will stand for all the world to see
That the truth has set us free

One of my favorite aspects of writing re-issue reviews is the comparison contest- listening to the re-mastered version to a recording alongside the original.  So how does the Colwell re-mastering hold up?  Keeping in mind the Intense Records version sounded fine for its era (in light of a limited production budget), the Retroactive re-issue elevates the album to current standards in terms of volume levels and better brings out the fine details accordingly.  Low end, for instance, comes across bigger with the fuller sound, while keyboards reflect the better-defined feel.  Most importantly, rhythm guitar make the overall more pronounced statement.

The affection we have for Rebellion is obvious, and not just in terms of the 95% grade, but also how the album placed second in an article in which we outline the top 50 albums of the eighties and first in another detailing the top 15 from 1988.  Beyond the obvious high level of talent presented by Sacred Warrior, Rebellion shines in terms of songwriting in that not a single skip button presents among its 11 cuts, this coming in an era when it was not uncommon for metal albums to feature 9 songs and roughly 35 minutes of music but not without a filler track or two.  As for the Retroactive re-issue, re-mastering breathes new life into Rebellion as does the wonderfully detailed packaging, which stands heads and tails above both the original and Intense Millennium re-issue (pull out a magnifying glass to read the lyrics either way).  Power metal fans are encouraged to pick it up before going out of print.

Review by Andrew Rockwell

Track Listing: "Black Metal" (4:40), "Mad, Mad World" (4:16), "Stay Away From Evil" (2:46), "He Died" (3:55), "Children Of The Light" (2:38), "Rebellion" (4:29), "Day Of The Lord" (3:36), "The Heavens Are Calling" (4:32), "Famine" (5:12), "Master Of Lies" (3:13), "Sword Of Victory" (3:30)

Musicians
Rey Parra - Lead Vocals
Bruce Swift - Guitars
Rick Macias - Keyboards
Steve Watkins - Bass
Tony Velazquez - Drums