BARNABAS — Feel the Fire (review)

Album · 1984 · Hard Rock

3/5 · 2011-02-11
AtomicCrimsonRush

“Feel The Fire” is the second album I acquired on vinyl from Christian Metal greats Barnabas. It did not live up to the consistent excellence of its predecessor but still provides many highlights. All the lyrics are written by Kris Klingensmith with music provided by Gary Mann or Brian Belew.

‘Prelude’ is a heavy guitar riffing instrumental to kick the album off.

‘The Dream’ has a poppier sound with forceful Nancy Jo Mann’s great vocals. She sounds as good as on previous album but this is a rather less heavy approach. The guitars are not as distorted but there is certainly attitude and the sound is sparkling clean as far as production is concerned. The lyrics are full on “I killed Jesus Christ, and you were with me too.”

After these short tracks it segues immediately into the longer songs beginning with the acoustic peacefulness of ‘Breathless Wonderment (The Dream Becomes Reality)’. The gentle vocals are serene at first, and it builds gradually into a heavy riff and the pounding drums of Kris Klingensmith. The 80s sound of metal is unmistakeable with fast guitar work and some scorching lead solo work from Brian Belew. His speedy hammer ons and squeals are superb. Gary Mann’s keyboards are a key feature as always as well as his work on bass.

‘Hearts’ clocks 7 minutes, the longest song and begins with pleasant keyboard chimes with a fast tempo motif, the sparkling sounds are broken by an ominous low synth buzz. The retro 80s synths and drums lock in and Nancy’s vocals dominant. The melody is infectious but this is one of the poppier songs of the band, very radio friendly and soaked in synths. It works okay but it is not metal, more like AOR, with some insightful lyrics; “Hell has no device against the hearts who feel no fear”.

Side 2 begins with ‘Feel The Fire’ beginning with manic guitar licks, and very fast fret melting work. The vocals are heavier and high register for Nancy. The tempo is fast and driven by chugging distorted guitars. The guitar sound is more lie Motley Crue’s early albums, that distinct 80s sound we all know. The drumming is just straight 4 on the floor hammering. This one is a real belter and the lead break is excellent; Belew shreds and grinds out massive string bends and fast ‘Eruption’ style hammering.

Next is ‘Northern Lights’ that is dominated by synth and sounds similar to ‘Subterfuge’ from the previous album. Nancy’s vocals are echoed and powerful as ever. The melody is strong and the pace is relentless with only a break in the pace in the lead break. The guitar work is always a feature, some very fast speed picking and lengthy tremolo.

‘Follow You Up’ is a very fast heavy track with some speed licks on lead guitar, a similar style to songs on the previous album. He revels in fast hammer ons and pull offs, Van Halen style. Nancy is backed here by some naff male vocals in the chorus which are not that effective. Belew really has a field day on lead though, his shred work is exemplary. The high pitch squeals are great accompanied by manic whammy bar and string slides. The lyrics are encouraging; “judge not lest you be judged, and when you stand before the Father’s throne, you won’t be alone, rock and roll is just the job we do, but when it’s time to go we will be right behind you, we’re gonna follow you up.”

‘Suite for the Souls of our Enemies (Part 1 – Hammer & Sickle)’ closes the album. Part 2 is continued on the following album “Little Foxes”. The mood on Part 1 is both encouraging and dynamic. The keyboards trade off with guitar. Nancy has a passionate vocal performance as always with fast rhythmic phrases in the verses; “Little man my enemy, what makes you so much worse than me.” The lead break is again well executed.

In conclusion it is not as good as the excellent “Approaching Light Speed” but “Feel The Fire” is perhaps the last good album form Barnabas. They were to produce two more but never reached the quality of this era. It is well worth hunting this album down as an example of great 80s metal.