Songs of love and loss by a trio of early 18th century Spanish composers, showcasing the vocal art of a distinguished early-music soprano.
It’s impossible to have a conversation about the power metal revival of the early millennial era without Freedom Call receiving at least a passing mention. They stood apart from the pack of German speed metal informed acts by taking the lighter elements of Helloween’s Keepers Of The Seven Keys sound to their logical conclusion, almost to the point of coming off as AOR with an occasional Gospel flavor played at a faster tempo. The magic that made their unique take on the style so auspicious laid mostly in guitarist/vocalist Chris Bay’s prowess as a studio engineer (he simultaneously gave Saxon’s 1999 smash album Metalhead an upgrade with his capability on the keyboards) and his uniquely light and airy voice, though the driving fury of Dan Zimmerman’s kit work and his then ongoing stints with Gamma Ray and Iron Savior definitely helped to promote the Freedom Call brand from the get go…