Blaze
Blood & Belief

From being the singer of a semi-unknown hard 'n' heavy English band, Wolfsbane, to the same role but in the most famous and quintessential heavy metal band on planet Earth, Iron Maiden: in short, an enviable career that any artist would dream of. However, things did not turn out for the best for Bayley Alexander Cooke, known as Blaze Bayley, fronting IM during their darkest period in the mid-90s, immediately after the departure of a certain Bruce Dickinson. His predecessor's figure was too overshadowing, their voices too different in tone and especially in range, and finally, their charisma and stage presence were too distinct: all elements that combined led to the failure of the two Iron Maiden albums with Blaze on vocals, so much so that the poor singer found himself facing the ire of all the fans who saw him as the sole person responsible for the band's downfall. A hard blow for anyone... calling it "from the stars to the stables... and back" would be apt.

Nonetheless, Blaze does not lose heart, determined to reclaim his credibility, his honor, and a place in the heavy metal music scene; thus, shortly after his ousting from Iron Maiden, he gathers four companions and sets up his solo project, simply named Blaze, debuting in 2000 with the excellent "Silicon Messiah," followed two years later by "Tenth Dimension." We then arrive at 2004, the year of release for this "Blood & Belief," the third album by the band and the last under the simple name Blaze, before a 4-year pause and a subsequent return with a new moniker (the full name, Blaze Bayley) and a completely overhauled lineup.

Of the three albums from the first part of his career, "Blood & Belief" is certainly the one that presents the heaviest, rawest, and sharpest music: elements partly reflected in the bare and essential cover artwork, all based on blood-red tones, but which emerge in full clarity once you put the CD into the player and press Play. A heavily distorted riff introduces "Alive," a rocky mid-tempo where Blaze shouts out all his anger; the following "Ten Seconds" is instead opened by a nice guitar phrasing that then flows into a driven, fast, and compelling track. The third track comes, and it's time for the title track; the tempo slows down, the compositional level rises: 6 and a half minutes of continuous alternation between clean arpeggios, distorted riffs, heaviness, and melody, with Blaze's voice now hypnotic in the more atmospheric moments, now angry in the heavier and more sustained parts. Just this initial triptych would be enough to understand the coordinates on which the album will move, based on the continuous alternation between more melodic moments (the melancholic "Life and Death" or the conclusive "Soundtrack of My Life") and others where the hard and sharp sound rules (like in "Hollow Head" or "Will to Win").

In each track, the powerful and stentorian voice of Blaze stands out, certainly unique but perfect for interpreting every single nuance of the lyrics, all offspring of the difficult period following his departure from Iron Maiden and leading to severe issues with depression and alcoholism: anger, sadness, disillusionment are the themes that form the backdrop to tracks with a strong autobiographical flavor like the hypnotic "Tearing Yourself to Pieces" or the already mentioned "Soundtrack...". Excellent work comes from the Steve Wray - John Slater pairing on guitars, effective in both riffing and solos; well supported by the rhythm section consisting of Wayne Banks' pulsing bass and Jason Bowld's powerful and precise drumming. Everything is further enhanced by Andy Sneap's production (already creator of Nevermore's success), giving the album's classic heavy metal backbone a modern, perfectly balanced sound.
A work in which Blaze definitively leaves behind his overshadowing past with Iron Maiden, building around him music that is very different and decidedly more suited to his characteristics; a work that completes Blaze's total redemption, too underrated and unjustly rejected by those who should instead listen without prejudice to what is a mature album, well-played and sung with heart.