Warthur Although the production values are a little shakey - only to be expected from a small private release from 1979 - Legend's sole album showcases a band who simultaneously seemed to have their finger on the pulse as far as current rock and metal styles went and at the same time drew on a range of predecessors from the earlier periods of the 1970s, with proto-metal, hard rock and prog sounds creeping their way into the compositions. An interesting little forgotten gem, though I don't think it's such an earth-shaking revelation as to make me want to rewrite the metal history books.

Certif1ed Legend. How very, very apt.

This album has everything.

The right band name, the right status (it is utterly legendary, and for good reason), great musicians, the right artwork, and the right title for starters.

The only thing that's wrong with it is that it's not a British product - it's American - and yet it sounds like it comes from the very heart of the NWoBHM.

It doesn't sound like late 1970s American Rock at all - and to cap it all, it lives up to it's title admirably, sounding, to my ears at least, like it was put together by a band deep in the Norwegian Fjords, many centuries ago, as they sharpened their swords, prepared their axes and the oarsmen and drummers took their position in their longships to go off a-pillaging in the treasure isles of Britain.

Here, of course, the axes are the sort we love best - those with 6 strings and a big, fat Marshall stack attached - and there's just the one drummer, apparently with octopus arms.

The truly awesome thing about this album, the thing that will have you reaching for it again and again, is the intricate and disparate profiencies of the musicians as they each play their quite separate and technically challenging parts, yet draw it all together to make this immensely pleasing whole - a fusion of styles that comes together with an almighty bang in the new heavy metal format.

The opener, "The Destroyer" again lives up to its title, with bludgeoning riffs and drum and bass koshes a-plenty, haunting vocal melodies and threatening lyrics, and, of course, mighty axe-wielding painting striking portraits of angry Norse Gods. Weaving in between that lot are more atmospheric passages of stunning beauty during which you can imagine the majestic Fjords and forests of Norwegian pine in the snow as you race by in husky-drawn sleds.

There is no let-off. You are to be further subsumed by the awesomeness, which may prove to be so overwhelming that, on first listen, you simply cannot take it all in.

The Wizard's Vengeance is a quite terrifying burst of high energy, as a dischordant rhythmic figure slices off the top of your skull and waves of magical fire gush in to envelop your brain.

The haunting epic tale of The Golden Bell follows, in glorious Prog Rock style - maybe a little Wishbone Ash inspired, but completely in a class of its own, with a hugely enjoyable jazz-rock styled section, reminding me a little of a hard-rock flavoured Gong in places - the musicianship is that good.

Next is the blitzing confrontation, a psychotic mish-mash of Black Sabbath, King Crimson, Wishbone Ash and Blue Oyster Cult - but wierder. The energy from the drum kit is simply unbelievable, like Carl Palmer competing with Neil Peart and Cozy Powell, while on the guitar, imagine if you will, Gary Moore sending out guitar firebolts

R.A.R.Z. returns to the roots - a little light blues - before the mayhem kicks in once more. For me, this is the weakest song on the album, despite the high energy, until the improv section around 2:00 into the piece. Here, we have some incendiary lead guitar playing, which seems to predict the likes of Steve Vai in places. There are some nice arrangement touches, but the song returns to spoil things a bit before the lush closing instrumental which is pure rock and roll.

There seems to be a touch of Frank Zappa in the next track, "Against The Gods", which could just be the vocal styling, or the jazzy, rocky arrangement, or something. Again, it's the instrumental which really impresses. I read somewhere about some Opeth album or other having a Camel influence. Here is schooling - this is what it sound like to be influenced by Camel - and Mirage-era Camel at that, rather than Stationary Traveller era Camel.

A six and a half minuter follows, in the extremely jazzy Iron Horse - not a bit like the Motorhead version, it has to be said. The drumming is utterly impossible - although I must admit, I find some of the guitar work to be surprisingly lounge bar. This piece is all about the drumming, though, and the guitars duly drop out to allow the animal with the sticks space to stretch out all 8 of his arms - or is that 10? Be prepared to be battered beyond submission into that "we are not worthy" state, as blast beats rain down on you - MANY years before they wre credited to have been first used - and legends like Buddy Rich are given a real run for their money. It doesn't really matter what I say here - you won't be ready for this, even if I say it's the best drum solo ever played. It's not - I've heard far more entertaining solos, but for what it is, a heavy metal drum solo, it's completely at the top of its class.

The best is saved for last, of course, and we get the 8 plus minute Prog Metal epic of a title track to round off proceedings very nicely indeed. It's hard to imagine anything better - this is about the only time I think I could ever truthfully write that a heavy metal band is clearly influenced by Genesis, King Crimson, Gentle Giant et al - this is the REAL DEAL. Progressive Metal. Modern bands listen, learn, and be well and truly schooled.

If you think that lot's a bit gushy, then it's merely the manner in which the music has inspired me to write and I make no apologies. This is an awesome, legendary album and forever will remain that way.

Masterpiece is the lowest mark I could possibly award this exemplary, progressive heavy metal album.