Your name is Doro Pesch. You've clawed your way into the annals of heavy metal, becoming one of the few female vocalists to carve out a niche for yourself amongst the boys. You're respected, you've broken borders, reaching US shores with your music, and you've just played some of the biggest shows of your life at Monsters Of Rock, while also opening for W.A.S.P. and Judas Priest. You are the face of Warlock, one of the greatest heavy metal bands of the 80's. But it's all about to be taken away from you.
In 1986, Doro took her band to the United States, where she immediately fell in love with the country, and the great experiences it brought with it. By 1987, the band fired long time manager, Peter Zimmerman, and instead signed with Alex Grob. This led to the release of their 1987 album, Triumph And Agony. It would be their first to chart in multiple countries, including Germany (23), Switzerland (30), UK (54), and USA (80). It would also become their first, and only album to reach a sales certification of gold (in Germany).
They supported the album by touring with Dio in Europe and opening for Megadeth alongside Sanctuary in the USA. Warlock would also headline several of their own shows. Though this would result in further lineup changes when Michael Eurich and Niko Arvanitis quit after the tour and were replaced by Bobby Rondinelli and Jon Levin. With their departure, Doro would be the only remaining original member, and the only German in the band.
Tommy Bolan would also leave the band, but not of his own volition. Instead, as they were growing more and more in the USA, the label would demand lineup changes, which would see him as the first to be dismissed.
But I am getting a bit too far ahead at this point. Before going any further, let me pop in the album itself, and make my way through it.
The album kicks off with the thunderous drumming anthem, All We Are, and immediately grabs your attention. Unfortunately, it doesn't hold it. At least it didn't hold mine.
By the end of it, I had all but given up, only to be greeted by the final two tracks, Cold, Cold World, and Für Immer ('Forever'). I won't say they salvaged an otherwise lackluster listening session, but at least they were decent tracks to end on.
Overall, Warlock has been pretty hit or miss. While I came out of the gate really impressed with their 1984 debut, Burning The Witches, their 1985 follow-up, Hellbound, pretty much faltered completely. Things turned around with 1986's True As Steel, but then here we are again with another "meh" album in 1987's Triumph And Agony. Though I'll take the pros over the cons, as a whole, the band is deemed relatively inconsistent in my mind. That alone may serve to render them forgettable to me.
While Doro was enjoying her new life in the United States, behind the scenes, Zimmermann was playing a sinister game. He filed suit against Warlock in 1988, winning both their name, and rights to merchandise. In 2011, after 23 years of legal battles, she finally won the rights back to the name of her band.
In the interim of that Doro would pivot releasing albums under her own name. This would begin with 1989's Force Majeure, and continue through her latest, 2023's Conqueress – Forever Strong and Proud.
Since winning her suit, Doro has continued performing under her own name but did reunite with members of Warlock to perform at a festival under the banner, Warlock 1986. In retrospect, it makes me wonder why she would fight so hard for the name of her band back, but then ultimately not use it. Doesn't make sense to me, but I suppose it also doesn't have to.
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