Zed Yago - The Invisible Guide (2005)

Yeah, it happens. It happens more often than we'd like to admit to ourselves. Bands scuffle, and due to a number of concerns, they go their separate ways. Thus was the fate of Zed Yago after just two glorious albums in the late 80s. Jutta Weinhold, Lars Ratz and others would form the 'follow-up' project Velvet Viper, releasing two albums and then once away going the route of extinction. But other former members were not so fast on the initiative dice. Jimmy Durand, a good guitar player and writer by all accounts from the old Zed Yago albums, wound up the owner of the Zed Yago properties, and some 16 years after the brilliant Pilgrimage, he decided to continue the band's legacy. But this time there would be no Jutta Weinhold. This time Durand's own wife, Yvonne Durand would be the front woman.

This is probably where it all went wrong. Now, I don't know this guy personally, and if he wants to continue using the band name he legally owns, who am I to stop him? It's really a question of taste. If you're going to release a new Zed Yago album, then you owe it to yourself (and perhaps you owe it to your fans, if you care for them) to release something of equivocal merits. Clearly, The Invisible Guide is a major step down for this band, and a slap in the face of anyone who had any real expectations for a reunion album of quality. Like so many other bands that reunite or try to adapt themselves into modern times, it includes a far more excessive electronic presence ("If I Close My Eyes Forever") and a production that meets contemporary standards. There is a metal shell here which has riffing of the same vein as From Over Yonder or Pilgrimage, but the riffs feel pretty hollow, as now they've been used for decades and this incarnation of Zed Yago is bringing nothing newish to the table, though once they felt pretty fresh. It feels a little like Scanner's mutation Scantropolis, except that album had good melodies and decent songs.

But the truly terrifying elephant in this room, the immovable object that prevents all appreciation of this music, is the vocal presence of Yvonne Durand. I'm sure she's trained her voice, I'm sure she had all the best intention, but she sounds atrocious here! She attempts to give her voice much more 'edge' than Jutta once held, and the result is almost consistently laughable as the poor Zed Yago fan suffers through 42 minutes of nonsense. You know when the backing male vocals of the band are FAR more talented and melodic than the front woman, that you have a SERIOUS problem, and she occasionally sounds more like a bad, heavily accented male singer from some demo level Euro power metal band. She's like a Tim 'The Ripper' Owens. She tries far, far too hard, and it often feels as if the band are just clowning around. Are there exceptions? Well, not really, though I would say "The Invisible Guide" or "Fire" at least match up to her more 'witching' style. But when she starts talking in a more conversational tone, like an Eric Adams on estrogen, it becomes even more embarassing...

Ugh! It might be one thing to accept these vocals if the backing music was worthwhile, but even here the record suffers. Not a single riff on the entire album stands out as something I would want to come back to. The style is not so hugely differentiated from the band's 80s output, and yet there is a certain sheen to the writing of old that is just as invisible here as the guide in the title. I'm used to hearing some pretty weak reunion efforts, since just about every band and their mother that disbanded in the 80s and 90s have pulled something together in the 21st century, and many cannot live up to the earlier lineups or original inspiration. But this album is downright shameful, and I wish I could pray to some Chronological deity to convince Jimmy Durand to change his mind, dial back time, and NOT issue this under the name Zed Yago. The album's existence is painful enough, but the thought that some younger fan might hear this atrocity and then automatically discount any curiosity towards the band's earlier albums is heart breaking.

Verdict: Fail [2.5/10]

http://www.zed-yago.com/

Zed Yago - From Over Yonder (1987)

1987 was the year Helloween broke out in a major way with Michael Kiske and their sophomore album Keeper of the Seven Keys Part 1, but they were not the only German band engaged in flights of fantasy lyrics and impressive, accessible melodic hooks that year. Nor was Running Wild the sole German band to explore 'pirate metal' territory through their excellent Under Jolly Roger in 1987. No, it was also the debut of Zed Yago, the new band to feature the vocals of songstress Jutta Weinhold, who had previously performed in prog rock, blues and even some controversial punk metal. Weinhold joins the 'classic' lineup here of Tatch, Gunnar, Bubi, and Jimmy Durand, and together they would produce a pretty stellar first effort.

That's not to say this is their best, because aside from 3-4 of its better songs, From Over Yonder does not hold up quite so preciously as its follow-up Pilgrimage. Still, the style was pretty original for its day...a female fronted fantasy metal band with both the ballsy, traditional NWOBHM chops and what might have been the better production job of their two albums. This is crunchy and clear metal with some great hooks to it, and resonant, scintillating leads that breeze gracefully across the prow as it crests each rolling, rhythmic wave. The appeal is widespread, as I could envision a fan of anything from Helloween, Warlock, W.A.S.P. or Accept to the Scorpions, Bonfire, Dokken and Saxon appreciating what's offered here.

I'll begin this with the creme of the crop, the opening track "The Spell from Over Yonder", which builds a slow, desperate mystique, its primary riff playing out like a melodic metalized alternative to the James Bond theme before the giant, blues balls of the verse riff break forth, and Jutta gives you what was probably your first taste of the best German female front lady of the 80s (at least in traditional metal). I love the way her voice interacts with the chorus riff...such a primal and elegant force, compounded by the subtle surge of the guitars. "Zed Yago" is another of the band's best tracks, with a resounding, simple guitar lick that channels a unique, polished savagery over which a tasteful melodic fill dances like a slave girl at a pirate bazaar. "Rockin' for the Nation" is another showstopper here, reminding me a lot of Saxon, but with firm use of the keyboard player Hansi Kecker, and a lot more depth and appeal than the rather obvious lyrics might suggest. After this trio, I favor "Stay the Course", which feels like a midpoint between AC/DC and Iron Maiden's "Run to the Hills".

The rest of this material does not hold up quite so well for me, but it's solid enough that it doesn't drag down the album if you plan on listening straight through. "The Flying Dutchman" is a bombastic, operatic interlude piece using horns, synthesizers and guitars to introduce the narrative of the band's mythos. "Queen and Priest" had some scorching, slow hard rock rhythms akin t o"Rockin' the Nation", but it isn't as catchy. "Revenge" is a pretty, sparingly climaxing power ballad, but not as powerful as "The Pale Man" from Pilgrimage. "United Pirate Kingdom" is Zed Yago doing what Zed Yago does best, slowly pumping heavy metal with eagle-like soaring vocals, and the addition of cheesy but adequate keyboard 'horn section' presence, but it's not that memorable either. "Rebel Ladies" might have made an impression on Lenny Wolf, because Kingdom Come's "Can't Deny" from the 1991 album Hands of Time sounds very similar to me, at least the big lead-in riff.

All told, From Over Yonder is a solid listening experience, especially if you take into consideration the scarcity of quality traditional metal with female vocals in the mid 80s. It certainly beats out anything Lita Ford would produce in her solo career, and it's the equal to any of Warlock's four albums, but I prefer cutting out the less important songs and playing the rest in a mix with all of the sophomore album Pilgrimage, which is astoundingly good. In fact, on some versions of the Pilgrimage cassette release, a few of the From Over Yonder tracks were included! The album still sounds pretty clear today, and though I don't worship all of its wiles as much as its younger sibling, it remains one of the better efforts in Jutta Weinhold's career, alongside Pilgrimage and the mistreated Breslau record.

Verdict: Win [7.75/10] (remember all those hungry years)

http://www.zed-yago.com/

Zed Yago - Pilgrimage (1989)

Pilgrimage is the second album from the German heavy power metal band Zed Yago, and in my humble opinion the very best work Jutta Weinhold has ever put her stamp on, with an unforgettable, epic vocal performance that absolutely destroys any other female fronted album of its type in the 80s. About the only thing that comes close here would be Leather Leone's years fronting Chastain, but the fact that this act never caught on while the similar, and less impressive Warlock were able to tour much of the world is shocking. Not that Doro's first success was anything to scoff at, but compare any of those records to Pilgrimage and shudder.

In fact, this is one of the best German metal albums of its type, with a wholly consistent set of breathtaking tunes that carry conventional but catchy melodies, strong guitar rhythms, the precise if primitive drumming of Bubi. It's also the best example of 'pirate metal' I can think of outside of the gods Running Wild, as Jutta presents her concept of Zed Yago, the fictional daughter of the Flying Dutchman's captain, who roams a world embroiled in both adventure and folklore. Weinhold had always expressed a desire to translate famous literary works into the metal realm. It was hardly a novel idea by the late 80s (Iron Maiden had been doing it for over a decade at that point, among others), but evidence that Zed Yago were not simply some stupid band screaming METAL THIS METAL THAT from the rafters. These compositions were built to last, long after the band dwindled away, reformed as Velvet Viper, and never again reached this level of excellence.

Pilgrimage is the best Zed Yago album in EVERY category. It was released through RCA, so for once, the band had some actual money to put into its production. You'll notice the cover art here is actually quite stunning here, a painting of the ghostly lead character in their mythos sitting in some galley or tavern, in the presence of the band themselves (proof that Weinhold and Zed are separate entities, whereas some speculated she was trying to project herself into the character). Though its arguably the weakest point to this record, the production itself was still quite nice, with the typical 80s centrism on the vocal lines. Often on some stereos I feel the guitars get a little lost, which is a shame since they are so lovingly articulate at driving her voice through these forgotten tales, but on others I can hear them clearly. In all cases, the drums crash at an acceptable level and you can hear the bass tones as they thicken the storm, like the waves of an angry, stirred sea frothing at the hull of a wayward vessel.

The lyrics are not even remotely retarded. For example, compare this to any of Manowar's 80s efforts, or Helloween, and you'll quickly see how important the literary influence was to Jutta and the band. Granted, English is her second language, and they may not flow as pure poetry, but I reiterate, this was not a band crafting disposable pop metal for arenas. This was made to last, and its timeless craftsmanship has served me well for over 20 years! So close your eyes, drift off to a realm of fantasy, lightning cracked skies, ports of danger and mystery, and some vivid, rousing, passionate metal of the purest strain!

The "Pilgrim's Choir" inaugurates the record, with some anthem-like German opera metal guitars that are joined by synthesized orchestration. You get the impression curtains are lifting upon some viking or sailor about to lurch into a searing soprano, and as the climax develops into an actual choral section, the guitar feedback rolls into the slowly but surely riffing title track. Graceful, careful melodies carry the day to the savage sounding chorus riff worthy of Rock'n'Rolf himself, while gang shouts erupt from the crows nest around :55. Few bands had this ability to play in such a relaxed pace, and yet still conquer you...the arabesque hymnal of the bridge that precludes the lead section is further evidence. "The Fear of Death" uses this slower pacing once more to superb levels of excellence, a tear jerking, descending melody that Jutta counteracts with a silken, seductive poise. I'm crying right now just listening to it for the millionth time! The things I endure to bring the truth to you folks.

Call the foreign dimension finally to earth
More than we know appears in a dream
Disappears into space a taste of rebirth
Don’t, don’t want to be defeated no...
But we are, but we are in the second we are born...

Meaningful heavy metal in the 80s? Lies! Listen to the solo bridge, with the slowly churning, bad ass blues metal rhythm in the backdrop. Eat your hearts out, Schenker and Jabs! Jimmy and Gunnar were on fire! Following this emotional landscape, the band decides to pick up the pace through the light, digestible speed metal of "Pioneer of the Storm", with riffs just as tasty as anything you'll find on the first few Queensrÿche or Dokken LPs. Once more, the band crafts up a wonderful bridge of sweet leads across a great backing rhythm, and the lower guitar notes wailing off against the final verse is likewise immortal. This is followed by the timeless "Black Bone Song", which pays tribute to the damned crew of the Flying Dutchman from folklore. This is not my favorite track on the album, but it was probably the band's best known title at live performances, with some simple, fist in the air guitars that strut proudly across the bow while Jutta serves up a killer chorus over the slyly inserted, busier axe melodies. She also pulls out some lower, rasping vocals here which show her ability to get down and dirty, and the crew shouts and moans here are pretty cool.

Congratulations, we're still blessed to have over half the album left! "Rose of Martyrdom" is a majestic yet melancholic piece in which the sombering vocals really take the fore, melodic semi-speed metal licks resounding off in the distance. "The Man Who Stole the Holy Fire" has a nice little spin on a Zeppelin meets Def Leppard riff which totally stands out to memory, and "Achilles Heel" is a straight, perfect rocker which will easily appeal to a fan of Warlock, Saxon or other big riff 80s street metal, with an amazing, warlike gang chorus around 1:45. You have just had a sailor's clog stuffed right up your rectum, but the band lets you down easily with a soaring bridge. "The Pale Man" is a slowly escalating power ballad which thankfully engages due to the vocal performance. Had Joey Tempest written this for a Europe record, it probably would have been huge. Alas, Jutta and crew were destined to wallow in obscurity. The remaining songs return to the harder rocking format, though lyrically they depart into other subject matter: the excellent "Omega Child" sounding like it would have fit in on one of Kingdom Come's (highly underrated) early records, and "Fallen Angel" gallops at a similar pace as it tells the parable of some sinful divinity (I like to think it's about Lucifer directly).

Despite all the cards it brought into play, Zed Yago's Pilgrimage was unfortunately lost in a bad shuffle of the deck. 1989 was a busy year, with many bands' careers steamrolling, and the wallets of so many fans already committed to the developing thrash metal titans of the US or the safer melodic power and late NWOBHM fare out of Europe. As such, Jutta Weinhold and her boys were not able to make the same impact as an Accept, Warlock, Helloween or Gamma Ray, and it's a crying shame, since the band would lose their big record deal and she would then disband them. The 'Zed Yago' concept does not end here, of course, because Jutta and Lars would return with some new gentlemen for the very similar band Velvet Viper, but none of that incarnation's output could match the grace and excellence of this sadly neglected slab of memorable mirth and melody. It's not exactly 'perfect', for there are one or two songs slightly less impressive than the remainder (those songs would be "Fallen Angel" and "Rose of Martyrdom"), but it's an enormous improvement over From Over Yonder, and the fact that I still listen to an album so often today that most would consider 'dated' or 'insignificant' only proves its enduring quality.

If it is crushing German power/speed metal that you seek, then seek it on another island. The buried treasure on this will not appeal to you. That's not what Zed Yago were about. They were about dreamy, drifting compositions that resonate far into the ears and imagination, and Pilgrimage conjures such a strong, pale fire of inspiration that its embers still glow today, far brighter than the newer album Jimmy Durand and his wife would put out under the same band moniker in 2005 (Jimmy held on to the legal rights to the name).

Verdict: Epic Win [9.5/10] (try to harness each hour)

http://www.zed-yago.com/