Florida is mostly known for its death metal, but it's also the home of Iced Earth, one of the most famous power/thrash metal bands. They formed all the way back in 1984 under the name The Rose. One year later, they changed their name to Purgatory, and three years after that, they changed it to Iced Earth. Saying their history was tumultuous would be putting it lightly. The lineup changed constantly, with Jon Schaffer being the only consistent member. Gene Adam, their original vocalist, departed because he felt insulted by Jon's suggestion to get singing lessons. Their next vocalist, John Greely, was kicked out for being antisemitic. When Matt Barlow joined in 1993, the band entered what many of their fans consider to be their golden age, releasing one stellar album after another. (My personal favorite album from that era is Horror Show.)
And then 9/11 happened. Inspired by the patriotic fervor that swept the nation immediately following that event, Iced Earth began work on their next album, one that celebrated America and its history. During production, Matt Barlow felt that he would better serve his country by becoming a police officer, so he left the band in 2003. Around that exact same time, Tim Owens parted ways with Judas Priest. Seizing the opportunity, Jon recruited him. A few months later, on January 12, 2004, they released The Glorious Burden, the most unapologetically American metal album ever recorded. It also happens to be my favorite Iced Earth album, and because it means so much to me, I felt that it deserves a more detailed analysis.
It begins with a fantastic metal rendition of "The Star-Spangled Banner" before leading into "Declaration Day," a song about the founding of America. It is a mid-paced affair full of powerful melodies and vocals, and some of the lyrics are still relevant today.
"The odds are stacked against us,
But with our resolve relentless,
And arrogance their weakness,
Our cause is just, we won’t be beaten."
Following that is the ballad "When the Eagle Cries," which is about the 9/11 terrorist attacks and the aftermath. Iced Earth includes at least one ballad on every album and this is no exception. Normally, I don't like such songs, but I made an exception here thanks to the stellar vocal performance. This song talks about how Americans will stay free and die free, which is much more depressing in retrospect when you realize that since the release of this album, America has abandoned God, its people have become rootless, atomized individuals, its culture has become an open sewer, its government is controlled by Satanic pedophiles, and the only freedom that people have is the ability to indulge in their hedonistic desires.
After that is the album's most popular song "The Reckoning (Don't Tread on Me)." In stark contrast to the previous two tracks, this one has a fast-paced thrash metal quality to it, full of palm-muted riffs, galloping drums, and a more aggressive vocal performance. "Greenface" pulls back the tempo again to focus on mighty grooves. Since this song is about the U.S. Marines, the songwriting fits the subject matter extremely well. Same goes for "Atilla," whose palm-muted riffs and galloping drums conjure up images of barbarian cavalry hordes. "Red Baron / Blue Max" shows off a more technical edge to the guitars and bass. "Hollow Man" is a ballad about a man who feels empty inside but eventually rises up from his depression. The next song, "Valley Forge," focuses on the famous winter encampment from the Revolutionary War, of a soldier from that time suffering in the cold, and contemplation on how he would feel if he saw what America is like today. After that is "Waterloo," which is about Napoleon's epic final battle before he was defeated and exiled to St. Helena, and the song feels just as grand.
If you bought the limited edition digipack (the recommended version), then you would also be treated to three epic songs devoted to the Battle of Gettysburg, complete with a backing orchestra. "The Devil to Pay" begins with a rendition of "The Star-Spangled Banner" which is then joined by "Dixie's Land." During the slow beginning, Tim Owens sets the scene, giving a quick overview of what happens over the course of three days in a small town called Gettysburg, then the band launches into a mid-paced yet hard-hitting performance symbolizing the fierce combat between the Union and the Confederacy. "Hold at All Costs" begin with a Confederate soldier mourning the death of his brother who joined the Union. The palm-muted riffs and steady beats that follow symbolize the intense and cunning tactics utilized during the second day of the battle. The final song in the trilogy, "High Water Mark," begins with Generals Robert E. Lee and James Longstreet discussing battle plans. The power and grand feeling of the music that follows reflects the immense importance of the events of that final day. The best part is the climax where Tim Owens sings:
"We're almost there, my boys!
I've never served with finer!
We must push forward, boys!
And bayonet the Yankee tyrants!
To the copse of trees we charge,
To crush the Union center!
And when they turn and run,
An open road leads us to freedom!"
Production duties were handled by Jim Morris and Tom Morris at Morrisound Studios. Knowing their reputation, it's no surprise that the production quality here is impeccable. Everything sounds bold and clear. The drums are played by Richard Christy, who is most famous for his work on The Sound of Perseverance by Death. Here he plays precise mid-paced rhythms on songs like "Declaration Day" and "Greenface" and vigorous galloping rhythms on songs like "The Reckoning (Don't Tread on Me)" and "Attila." Aside from a few sections on "The Devil to Pay" and "High Water Mark," his performance is nowhere near as complex as it was during his time with Death, but it's still strong and precise. An interesting piece of trivia is that shortly after recording the drums for this album, Richard Christy left Iced Earth and joined the Howard Stern Show.
The bass is played by James MacDonough, who also played on Something Wicked This Way Comes and Tribute to the Gods, two of Iced Earth's previous albums. He mostly follows the guitars, but thanks to the stellar production, he can be heard extremely well. The best display of his skills can be found on "Waterloo," where he plays many intricate riffs, but he is given an especially prominent position in "The Reckoning (Don't Tread on Me)," where he plays a somber riff during the quiet halfway point. Just like Richard Christy, James left the band after the album's release. He then went on to play in bands such as Megadeth, Nevermore, and Strapping Young Lad.
Frontman Jon Schaffer plays the guitars, and the riffs he plays are amazing and diverse. All of his mid-paced passages are infused with melodies that perfectly match the mood of each song, whether it's the determination of "Declaration Day," the elaborate acrobatics of "Red Baron / Blue Max," or the grand majesty of "Waterloo." The same is true of the palm-muted riffs, which express vengeful aggression on "The Reckoning (Don't Tread on Me)" and barbarian wrath on "Attila." All of the solos are played by Ralph Santolla, and his work is outstanding. Sometimes he's melodic like on "When the Eagle Cries" and other times he's more technical like on "Red Baron / Blue Max." His best solo, in my opinion, is the one on "Valley Forge." Two years after contributing to this album, Ralph played guitars on The Stench of Redemption, one of Deicide's best albums.
And now we come to the vocal performance of Tim Owens. He is a polarizing figure in the metal scene, to say the least. As far as I can tell, the reason why he's hated so much is because he was always the replacement for a beloved vocalist. He replaced Rob Halford in Judas Priest and he replaced Matt Barlow in Iced Earth. (Barlow's voice can still be found in the backing vocals on this album.) I believe this hate is unwarranted because he's incredibly talented. His clean singing voice radiates a sense of vitality that is seldom seen in metal. His performance embodies the bold and fiercely independent will of America. Sometimes these vocals take on an aggressive tone, most notably on "Greenface." I was also astounded by the Painkiller style shrieks he performed on "The Reckoning (Don't Tread on Me)." And then there are his high-pitched screams that soar to the heavens, such as those on "Declaration Day" and "Hollow Man." The most incredible of these screams can be found on "Attila," which are the stuff of legends.
I know this opinion will be controversial, but I'm going to state it anyway: not only is The Glorious Burden one of the best metal albums ever made, it's also the strongest contender for the title of The Great American Metal Album, a metal album that perfectly embodies the American spirit, a spirit forged in fire and imbued with unparalleled determination, a spirit that defies the odds and does the impossible. Though my homeland has fallen into decadence and decay, this album serves as a reminder of how great this country once was. It is a call to action, an ideal to strive towards, a key which unlocks latent potential in those who listen to it. The Glorious Burden has a numinous quality that is rarely found in metal, and this quality is the deeper reason why this album is one of my all-time favorites, and is something that I still vividly remember even decades after listening to it.