In the universe of Me, two of the most criminally underrated bands in metal are Pretty Maids and Virgin Steele. While Pretty Maids have finally been receiving current recognition, Virgin Steele have always remained a cult band with a loyal fanbase that basically swings from David DeFeis' mighty nuts. The reason we do so is because starting with this album, Mr. DeFeis would go on to have one of the most insane runs of divine inspiration I've seen in metal. This two part Heaven and Hell set, Invictus, both Atreus albums, and tons of reissues and remixes and compilations came out in an eight year time span. And the wildest thing is that during this time span, everything that came out with the Virgin Steele name was of the utmost quality.

Virgin Steele are often called the, "poor man's Manowar," which I don't get. Maybe it's because there are some, ahem, awful keyboard moments in the former that are obviously done on a, uh, budget minded keyboard? Both bands also hail from New York. But in the long run, David DeFeis is quite obviously a vocal extraordinaire and while I just talked shit about his keyboard patches, his PIANO work is miles better sounding and is actually an integral part of the band's sound. You'll often hear piano chords in choruses that accentuate the guitars. Not many bands employ such a technique and this helps give Virgin Steele their unique sound. Another aspect of VS that sets them apart is David's vocal range. He goes from a heartfelt, mid ranged, controlled scream and can transition to an otherworldly falsetto at the drop of a hat. Much like King Diamond, this is a love it or hate it type of thing.

Musically, The Marriage Of Heaven And Hell Part I is mid tempo traditional US metal, with lots and lots of piano! Not everywhere, but moreso than say, Savatage. The first three numbers are classics and I Will Come For You is rightfully on every greatest hits compilation, real and imaginary. It begins the album with the steady drone of heavy guitars before David begins to accompany Ed, the guitar dude, with his voice. Once the drums and bass crash into the scene, David's intensity increases and he delivers a dramatic performance. That's a rather big difference than just being "emotional." If the average asshole has say, ten levels of voice control, David DeFeis has about a thousand. His "normal" singing range has so many varying degrees of delivery. There is but a brief respite in the savagery with the introduction of the "Marriage Of Heaven And Hell" theme. This short little melody is repeated all throughout parts one and two of the Heaven And Hell albums as well as on Invictus. Honestly, I don't know what exactly the full story on this and part II is. Sorta like how Keeper Of The Seven Keys parts I and II are considered legendary, but if you told me you know in detail what the story is I'd call you a liar. Other than the lilting acoustic intro, Weeping Of The Spirits is a rager through and through. This one also brings up a lyrical theme that comes up often, defiance. While still retaining a metal vibe, Blood And Gasoline slows things down just a bit. That whole "piano in the chorus" thing? Blood And Gasoline is a prime example of that technique. Lyrically, this is somewhat complex in all its metaphors. There's themes of running from the loneliness of old age, being caught in its inevitable snare, the sickness of society in pretending otherwise, and the desperate attempt to do something worthwhile. The last verse ends in both defeat yet still, defiance, with "in the scream of the engines / sing your final song / blackened and burned / what was young and strong."

Before this gets into another track by track, I should point out the extreme highlights. I Wake Up Screaming is a rather fast one for the band and has a main riff that reminds me of Spoonman. Life Among The Ruins is very much in line with material like Chains Of Fire mixed with a slightly sped up Burning Of Rome. While not quite nearly as out and out cock rock like the whole of Life Among The Ruins: The Album, Life Among The Ruins: The Song, has that Sunsetty Strip sounding chorus that you can't get out of your head. That type of chorus combined with the epic feel of The Burning Of Rome makes this one an end of album gem tucked way back in the back. There's no real HUGE GIGANTIC epic on part one. There's no Emalaith, Perfect Mansions, Resurrection Day, or Veni, Vedi, Vici found on here. The longest track is Trail Of Tears and it's just shy of seven minutes. So to compensate, the "large epic" feeling is felt throughout the whole length of the album. Most everything is about five minutes in length so each number gets room to stretch out and breathe.

While I think The Marriage Of Heaven And Hell Part II is the better album, this is by no means weak or subpar in any way whatsoever. It's just that because part II is pretty much stacked with hits from top to bottom, many songs get overlooked here. Self Crucifixtion is a personal power ballad that is interesting because of its lyrical depth and pianowork by David. Blood Of The Saints and The Raven's Song are a couple up tempo tracks that could bolster a setlist these days. The Marriage Of Heaven And Hell Part I is the first of two really memorable nineties American metal albums. Right before David would spend three albums cavorting around about Greek Gods and stuff, he had these two releases that are filled to the brim with lyrical ingenuity that is personal and observational.