ALBUM REVIEW: Hail to the Riff – Iron Man
When Alfred Morris III passed away in 2018, there was an outpouring of reflections on his life from across the globe. After his world was blown apart by hearing BLACK SABBATH‘s Paranoid and then seeing them live a few years later, the Maryland native knew all he wanted to do was form a band and, although initially a SABBATH tribute act back in 1988, IRON MAN soon began writing material of their own, with Morris crafting some of doom metal’s finest riffs and passages during the 1990s; such was his prowess, many said he was the best musician in the scene not called Tony Iommi. His death also resulted in IRON MAN‘s disbandment, but on Friday via Argonauta Records comes their final hurrah: Hail to the Riff, recorded in 2014 at the Castle of Doom festival, the band’s one and only show in Italy.
Footage of the performance shows the band on the rise to the main hall of Castello Visconteo di Pagazzano in front of the main courtyard. There’s no backdrop or specially constructed stage, just four guys, with their instruments playing a career-spanning set. The open air setting is reflected in the production; there aren’t any overdubs or polished moments here, it’s raw and untampered, not sounding too far off what a certain Brummie quartet were producing at the turn of the 1970’s.
Yes, comparisons to BLACK SABBATH are always going to be made, but IRON MAN have two big selling points: firstly, their final studio album, South of the Earth, was released in the same year as SABBATH‘s own 13 and the four songs that make this album are far better than anything the grandfathers of metal managed then, in particular the title track which boasts a riff so seismic the castle moat was probably rippling in time with every note. Secondly, the gravelly vocals from Dee Calhoun pushes IRON MAN into slightly more stoner territory than their main inspiration; The Worst and Longest Day has a hefty dose of THE SWORD in terms of overall vibe, for example, as does A Whore In Confession. This isn’t his only strength either; the high notes he hits on the likes of Sodden with Sin are almost Halford-esque in execution and whilst Hail to the Riff is largely about the axeman, it must be said that the singer puts in a memorable performance as well.
Speaking of the axeman, above all Hail to the Riff does exactly what it sets out to – be a fitting tribute to one of doom’s most accomplished guitarists. Despite the stripped back nature, Morris‘ own efforts are rightfully placed ever so slightly higher in the mix so that they are always at the centre of the song. The talent that flows from his fingers is unreal – the wah pedal effects in Hail to the Haze, the pacier tone of Ruler of Ruin and the abundance of fuzz on set closer Black Night are all elements of what made Morris so revered and idolised, but the best is yet to come; Black Morning, a previously unreleased track from the South of the Earth sessions that signifies – for now – the final studio work of Morris that will ever see the light of day. Gloomy and sinister with a luscious solo, it’s straightforward in composition and yet devastating in impact, a wonderful piece of doom to appreciate with good headphones and a trance-like nodding of the head.
For anyone who has even a passing interest in doom metal – particularly those with an affection for CATHEDRAL, ST. VITUS and PENTAGRAM – this is essential listening. It’s a truly fitting bow for one of metal’s most talented sons, and a rubber stamp on the legacy he’s left on the world.
Rating: 8/10
Hail to the Riff is set for release March 5th via Argonauta Records.
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