Manowar -

Manowar was an American metal band from Auburn, New York, that bassist Joey DeMaio formed in 1980 with singer Eric Adams and guitarist Ross the Boss.

They arrived with the 1982 Liberty release Battle Hymns, then cut a rapid run through Into Glory Ride, Hail to England, Sign of the Hammer, Fighting the World, and Kings of Metal. DeMaio and Adams held the center through those years, while Donnie Hamzik, Scott Columbus, Ross the Boss, and later David Shankle marked the main early lineup phases.

Manowar resumed its studio line with the epic 1992 disc The Triumph of Steel and continued over the next two decades with Louder Than Hell, Warriors of the World, Gods of War, The Lord of Steel, and Kings of Metal MMXIV.

Members: Joey DeMaio (bass, keyboards), Eric Adams (vocals), Karl Kennedy (drums, 1980), Ross the Boss (guitar, 1980-88), Donnie Hamzik (drums, 1982-83, 2010-present), Scott Columbus (drums, 1983-89, 1995-2010), David Shankle (guitar, 1988-94), Rhino (drums, 1989-95), Karl Logan (guitar, keyboards, 1994-present)

Background

Manowar took shape in 1980 after Joey DeMaio met Ross Friedman on Black Sabbath’s Heaven and Hell tour. DeMaio worked as a bass technician and fireworks manager, while Friedman played guitar in support act Shakin’ Street after his earlier stint with the Dictators. The two left the tour with a plan for a new band built around louder volume, martial imagery, and a direct heavy-metal program.

DeMaio then brought in singer Louis Marullo, a school friend who adopted the stage name Eric Adams, and drummer Donnie Hamzik completed the first lineup. The name Manowar came from equipment designer John “Dawk” Stillwell during the band’s early naming talks with DeMaio and Friedman.

Battle Hymns

Manowar released their debut album, Battle Hymns, in June 1982 on Liberty.

Ross the Boss drives the record with hard-picked riffs, concise lead breaks, and keyboards on selected passages, while bassist Joey DeMaio and drummer Donnie Hamzik hold a martial underpin beneath Eric Adams’ high, forceful vocal line.

Battle Hymns opens with “Death Tone,” a fast road-burner built on a simple central riff, a thick bass pulse, and a blues-bent lead break. “Metal Daze” keeps the same hard charge with a louder singalong thrust and a bass line that stays near the front of the mix. “Fast Taker” raises the speed, hardens the vocal attack, and locks its force into a more driving low-end pattern. “Shell Shock” eases the pace, leans on a heavier bass presence, and carries its weight through a steadier, more reflective strain.

“Manowar” starts the second side with a galloping bass figure, a plainspoken verse push, and a chorus built for mass response. “Dark Avenger” begins at mid-pace with solemn weight, opens into Orson Welles narration, then snaps into a fiercer run with Adams at full cry. “William’s Tale” strips the arrangement to a quick piccolo-bass display. “Battle Hymn” closes the record with an eight-string bass prelude, brief guitar replies, a slow march into the main theme, and Adams’ most full-blooded performance on the set.

A1. “Death Tone” (4:52) — Ross Friedman, Joey DeMaio
A2. “Metal Daze” (4:21) — Friedman, DeMaio
A3. “Fast Taker” (3:57) — Friedman, DeMaio
A4. “Shell Shock” (4:08) — Friedman, DeMaio

B1. “Manowar” (3:39) — Friedman, DeMaio
B2. “Dark Avenger” (6:24) — Friedman, DeMaio
B3. “William’s Tale” (1:55) — Gioachino Rossini, arranged by Joey DeMaio
B4. “Battle Hymn” (6:57) — Friedman, DeMaio

Manowar recorded Battle Hymns at Criteria Studios in Miami with producers Ross the Boss and Joey DeMaio. Orson Welles joined the sessions for the “Dark Avenger” narration, and the band used its stage equipment at concert volume during the recordings.

Gary Ruddell painted the cover, which centers on a monumental eagle figure beneath the band logo and title block.

Into Glory Ride

Manowar released their second album, Into Glory Ride, on July 1, 1983, on Megaforce in the US and Music for Nations outside the US.

Glory Ride takes darker turns with slower strides and heavier, ominous flourishes. “Warlord” opens with a rough biker charge and a fast road-born pace. “Secret of Steel” lowers the pulse and lets the bass seize the lead inside a choir-backed march with angular turns. “Gloves of Metal” turns a slow stomp and a plainspoken riff into a battle call, then seals the track with a cutting solo.

“Gates of Valhalla” begins with a slow bass-led invocation and widens into a long heroic arc capped by a last battle cry. “Hatred” sinks into a darker crawl, then breaks for a strange central passage of chiming figures and howling wind before the heavy drive returns. “Revelation (Death’s Angel)” rides in on hoofbeat percussion and shifts tempo several times across an apocalyptic charge. “March for Revenge (By the Soldiers of Death)” opens with the same hoofbeat tension, strikes bells against a murderous chorus, then slows into a grief-struck middle before the vow of vengeance regains the field.

A1. “Warlord” (4:15) — DeMaio
A2. “Secret of Steel” (5:50) — Friedman, DeMaio
A3. “Gloves of Metal” (5:25) — Friedman, DeMaio
A4. “Gates of Valhalla” (7:12) — DeMaio

B1. “Hatred” (7:42) — DeMaio
B2. “Revelation (Death’s Angel)” (6:31) — DeMaio
B3. “March for Revenge (By the Soldiers of Death)” (8:31) — DeMaio

Manowar recorded Into Glory Ride at Music America in Rochester, New York with co-producer Jon Mathias, assistant engineer John Petre, and mastering engineer Joe Brescio.

Geoffrey Hargrave Thomas handled art direction and the cover illustration, Melissa Chatain supervised the art package, and the sleeve carried the band’s “death to false metal” slogan as part of the album’s campaign.

Manowar also cut its first official video for “Gloves of Metal” during the release cycle and performed “Gloves of Metal” and “Revelation (Death’s Angel)” on Nickelodeon’s Livewire in 1983.

Hail to England

Manowar released their third album, Hail to England, in February 1984 on Music for Nations.

Hail opens with “Blood of My Enemies,” a slow-stepping march built on chugging weight, chorus support, and a vocal that shifts from clear proclamations to torn screams. “Each Dawn I Die” lowers the pace further and places the high-riding bass at the front of a sustained war march. “Kill With Power” snaps the album into a faster charge, then halts on full-stop breaks for Adams’ repeated “Die! Die!” cries.

“Hail to England” spreads into a wide ceremonial stride and a throat-first chorus. “Black Arrows” strips the arrangement down to a high, cutting bass solo. “Bridge of Death” begins with a long bare opening, threads in near-operatic phrasing, then tightens through shifting tempos until the last stretch locks bass, drums, and guitar into a controlled crescendo.

A1. “Blood of My Enemies” (4:15) — Joey DeMaio
A2. “Each Dawn I Die” (4:20) — Ross the Boss, Joey DeMaio
A3. “Kill with Power” (3:57) — Joey DeMaio
A4. “Hail to England” (4:24) — Joey DeMaio

B1. “Army of the Immortals” (4:24) — Ross the Boss, Joey DeMaio
B2. “Black Arrows” (3:06) — Joey DeMaio
B3. “Bridge of Death” (8:58) — Joey DeMaio

Manowar recorded Hail to England at Phase One Studios in Toronto during November 1983 with producer Jack Richardson and engineer Robin Brouwers. Joe Primeau and Armand John Petri assisted the sessions, Joe Brescio mastered the album, and St. Mary’s Cathedral Choir entered the title track under choirmaster David Corell.

Ken Landgraf painted the cover, which places a victorious warrior beside the Union Jack and reflects the album’s dedication to the band’s UK and European following.

Hail to England became Manowar’s first charting album and reached No. 83 in the UK.

Sign of the Hammer

Manowar released their fourth album, Sign of the Hammer, on October 15, 1984, on 10 Records and Virgin.

Hammer favors abrupt contrasts between short fast charges and broader, slower set pieces. “All Men Play on 10” opens with an energetic rush and a loud party-floor charge. “Animals” follows with a faster, dirtier blur and a more unruly shove. “Thor (The Powerhead)” locks onto a huge central riff, pushes the bass forward, and crowns the chorus with a long apocalyptic scream. “Mountains” slows the pace, threads wind through the opening, and gives Adams room for a broader, more reflective ascent.

“Sign of the Hammer” fires out of a bass-led intro into a brisk march with choir-backed refrains and rolling tom patterns. “The Oath” builds its verses in rising steps, then breaks into a galloping chorus and a fast drum attack. “Thunderpick” strips the album to a brief bass meditation. “Guyana (Cult of the Damned)” shifts between slower dread and faster surges, then closes on a haunted cry.

A1. “All Men Play on 10” (4:01) — DeMaio
A2. “Animals” (3:33) — DeMaio
A3. “Thor (The Powerhead)” (5:23) — DeMaio
A4. “Mountains” (7:39) — DeMaio

B1. “Sign of the Hammer” (4:18) — DeMaio
B2. “The Oath” (4:54) — Ross Friedman, Joey DeMaio
B3. “Thunderpick” (3:31) — DeMaio
B4. “Guyana (Cult of the Damned)” (7:10) — DeMaio

Manowar recorded Sign of the Hammer at Phase One in Toronto and at The Manor in Oxfordshire with producers Jack Richardson and Tony Platt. Platt also mixed the title track, and Arun Chakraverty mastered the album. Rian Hughes handled the sleeve design.

10 Records issued “All Men Play on 10” (b/w “Mountains”) as a UK 12-inch single in September 1984. Sign of the Hammer reached No. 73 in the UK and No. 34 in Sweden.

Fighting the World

Manowar released their fifth album, Fighting the World, on February 17, 1987, on ATCO.

Fighting trades in shorter bursts, cleaner surfaces, and a harder push toward immediate impact. “Fighting the World” opens with a powerful guitar figure, a forceful vocal rise, and a chorus built for a full-throated shout. “Blow Your Speakers” follows with another blunt charge and peaks on Adams’ piercing final scream.

“Carry On” begins on acoustic guitar, then widens into a more open, uplifting refrain. “Violence and Bloodshed” starts with sirens, blasts, and helicopter noise, then drives forward until a long hard solo. “Defender” enters on anxious orchestral weight and spoken command, then answers that gravity with a solemn vocal pledge, a central solo, and a bass-heavy march.

“Drums of Doom” passes through trumpet calls, hoofbeats, tolling signals, and dark percussion. “Holy War” shifts from slow dread into a faster summons and carries that rise with a bright chorus and a flashing solo. “Master of Revenge” turns the mood inward through a howling guitar, thunderous drums, a cavern-deep voice, and a burst of cruel laughter. “Black Wind, Fire and Steel” closes the album with a bass-led assault, galloping riffs, repeated battle cries, and a last stretch of screams over a sustained guitar wail.

A1. “Fighting the World” (3:50)
A2. “Blow Your Speakers” (3:39)
A3. “Carry On” (4:12)
A4. “Violence and Bloodshed” (4:00)

B1. “Defender” (6:02)
B2. “Drums of Doom” (1:15)
B3. “Holy War” (4:44)
B4. “Master of Revenge” (1:34)
B5. “Black Wind, Fire and Steel” (5:15)

Manowar recorded Fighting the World at Universal Recording in Chicago during 1986 and 1987. Richard Breen engineered and mixed the album, Vince Gutman supervised the digital recording and mixing system, Howie Weinberg mastered the release at Masterdisk in New York, and Jason Flom took executive production. The album also became one of the earliest metal releases cut and mixed entirely on digital equipment.

Ken Kelly painted the cover, the first of his long run with the band. Manowar also dedicated the album to Orson Welles, whose voice appears on “Defender.”

ATCO issued “Blow Your Speakers” (b/w “Violence and Bloodshed”) as the album’s single. The release campaign began before the LP reached stores, with the single dated November 30, 1986. Fighting the World reached No. 15 in Finland and No. 27 in Sweden.

Kings of Metal

Manowar released their sixth album, Kings of Metal, on November 18, 1988, on Atlantic.

Kings of Metal pushes speed, ceremony, and grandstand force across nearly every turn. “Wheels of Fire” tears out of the gate with a revving start, a frantic pace, vicious vocal attacks, and a blazing lead break. “Kings of Metal” follows with a broad chant, massed voices, and a swaggering central drive. “Heart of Steel” opens on piano, draws in strings and pipe organ, then rises into a slower, weightier climb.

“Sting of the Bumblebee” strips the arrangement to a high-speed bass showcase full of darting runs. “The Crown and the Ring” drops the guitars entirely and builds its weight from organ, strings, bells, and a huge male choir. “Kingdom Come” returns to a lighter mid-pace with a smoother stride and a strong vocal crest.

“Pleasure Slave” drags a heavy slow riff through a long stomp. “Hail and Kill” begins in a hushed acoustic space, then bursts into a furious charge with piercing screams and surging leads. “The Warrior’s Prayer” sets out narration, combat noise, and scene-setting percussion as a prelude. “Blood of the Kings” closes with a bass-heavy opening, an aggressive chorus, tolling bells, organ color, and a long guitar farewell.

A1. “Wheels of Fire” (4:10) — DeMaio
A2. “Kings of Metal” (3:43) — Ross Friedman, DeMaio
A3. “Heart of Steel” (5:10) — DeMaio
A4. “Sting of the Bumblebee” (2:49) — Nikolai Rimsky-Korsakov, adapted by Joey DeMaio
A5. “The Crown and the Ring (Lament of the Kings)” (4:46) — DeMaio

B1. “Kingdom Come” (3:56) — DeMaio
B2. “Pleasure Slave” (5:37) — DeMaio
B3. “Hail and Kill” (5:57) — Friedman, DeMaio
B4. “The Warriors Prayer” (4:20) — DeMaio
B5. “Blood of the Kings” (7:29) — DeMaio

Manowar recorded Kings of Metal at Universal Recording in Chicago with producers Manowar and Jason Flom. Richard Breen engineered and mixed the album, handled Synclavier programming, Vince Gutman supervised the digital recording and mixing system, and Howie Weinberg mastered the release at Masterdisk in New York. The Canoldir Male Choir, directed by Clive Griffiths, entered “The Crown and the Ring,” and Arthur Whilshire and Grant Williams voiced “The Warriors Prayer.”

Ken Kelly painted the cover. The album also closed the Ross the Boss and Scott Columbus phase of the band’s first Atlantic run.

Atlantic issued “Kings of Metal” in Germany with the exclusive flip side “Herz aus Stahl,” a German-language version of “Heart of Steel.”

The release also pushed “Heart of Steel” as one of the album’s key focal tracks, and Manowar later carried that title deep into the band’s live repertory. Kings of Metal reached No. 20 in Finland, No. 37 in Germany, and No. 45 in Sweden.

The Triumph of Steel

Manowar released their seventh album, The Triumph of Steel, on September 29, 1992, on Atlantic. This was their first album made for the expanded CD format (69:14), which allowed for an uninterrupted half-hour suite in eight parts.

“Achilles, Agony and Ecstasy in Eight Parts” starts with tolling choral weight in “Prelude” and a repeated harmonic climb in “Hector Storms the Wall,” then drops into the mournful tread of “The Death of Patroclus” and “Funeral March.” “Armor of the Gods” breaks the narrative for an extended drum solo, and “Hector’s Final Hour” answers with flute-backed recitation over a sparse backdrop. “Death Hector’s Reward” delivers the suite’s hardest charge through a galloping riff, chest-high bass force, rapid-fire drums, and Adams’ fierce switch between high cries and lower snarls. “The Desecration of Hector’s Body” turns inward for a long bass-led passage before “The Glory of Achilles” drives the piece to its close with another fast gallop and a long guitar duel.

“Metal Warriors” follows with a mid-paced charge built for a ring-walk entrance and a blunt rallying refrain. “Ride the Dragon” snaps into a faster attack and keeps the pressure high through a leaner, more focused drive. “Spirit Horse of the Cherokee” slows the pulse to a pounding stride and opens a strong bridge for Adams over a steadier rhythmic pattern. “Burning” drifts through a darker, more psychedelic haze and keeps the motion slow.

“The Power of Thy Sword” stretches into a broader, more grandiose span around a drawn blade sample and a hard central surge. “The Demon’s Whip” holds back part of its force, then breaks loose in a final rush of double-kick speed. “Master of the Wind” closes the album with a clear-voiced ballad that trades force for a calmer ascent.

1. “Achilles, Agony and Ecstasy in Eight Parts” (28:37) — Joey DeMaio
— Prelude
i. Hector Storms the Wall
ii. The Death of Patroclus
iii. Funeral March
iv. Armor of the Gods
v. Hector’s Final Hour
vi. Death Hector’s Reward
vii. The Desecration of Hector’s Body
— Part 1
— Part 2
viii. The Glory of Achilles
2. “Metal Warriors” (3:54) — DeMaio
3. “Ride the Dragon” (4:29) — David Shankle, DeMaio
4. “Spirit Horse of the Cherokee” (6:00) — DeMaio
5. “Burning” (5:08) — Shankle, DeMaio
6. “The Power of Thy Sword” (7:50) — DeMaio
7. “The Demon’s Whip” (7:45) — Shankle, DeMaio
8. “Master of the Wind” (5:26) — Shankle, DeMaio

Manowar recorded The Triumph of Steel at Haus Wahnfried in New York with associate producer John Pettigrass and engineer Rich Breen. Dave Kresl, Doug McBride, Hank Neuberger, Dan Stout, Stefon Taylor, Bruce Breckenfeld, and Andrew Rubin handled mixing at Air Waves Studio in Chicago, John McCortney, Paul Grigonis, and Ehab Haddad handled digital editing and transfers at C.R.C. in Chicago, and Howie Weinberg mastered the album at Masterdisk in New York. Ken Kelly painted the cover.

Atlantic issued “Metal Warriors” in 1992 with “Herz Aus Stahl” and a live “Fighting the World.” The Triumph of Steel reached No. 8 in Germany, No. 20 in Switzerland, No. 22 in Finland, and No. 68 in Japan, and it later earned gold certification in Germany and Spain.

Discography: