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Rusting Diamonds - 3%

Metal_Thrasher90, December 24th, 2014

By the time Fight was released, Doro had already made a bunch of albums, finding a great support in her home country in particular but never reaching significant success beyond the German frontiers. From the debut Force Majeure, she has been eluding the roughness and power of Warlock to follow a more mainstream direction – romanticism and accessible songs were what following records like the homonym one and Angels Never Die were all about. She didn’t develop a sound nor an attitude ever since the old 80’s stuff, though Calling The Wild was surprisingly heavy and aggressive, including some of the most ferocious cuts she recorded in more than a decade, combined with more of her trademark cheesy ballads. The arrival of the new century presented the resurrection of thrash, many of her veteran compatriots would embrace a vintage crude sound but Ms. Pesch would keep making music deprived of pretention and intensity as this Fight album exposes.

There are a few dynamic tracks here, the opening “Fight” for instance, which includes a kinda repetitive groovy riff – the tempo gets quiet on the verse to let Doro get sentimental and whisper her lyrics, then energy reappears, introducing more vocal-based sections deprived of direction and sense. That’s a configuration cuts as “Always Live To Win” and “Salvaje” embrace, adding a more uniform rhythm however and guitar lines that rarely vary to not interfere with the supremacy of vocals, repeating the same dumb chorus exhaustingly – instrumentally reduced to a truly basic form of simplistic hard rock without any sign of complexity. Other tunes deny complication deliberately as well, like “Sister Darkness” which inverts the formula of the opening tune – now the verse is vigorous while the rest of the song is slow and calmed, leading nowhere still and excluding substantial guitar solos or instrumental difficulty. “Descent” is another quiet one, featuring Ms. Pesch’s voice in a lower-range, adding certain obscurity along with those weightier riffs – yet Steele’s distorted vocal accompaniment rather ruins the climax. Although the worst is yet to come: I refer to ballady stuff of course this women loves so much, actually nearly half of the record are cheesy numbers as “Undying” or “Legends Never Die”, which are sung with admirable melancholy and sentiment, occasionally touching and irresistible but showing the usual weak sports: an unfocused perspective, rudimentary execution and lack of direction. “Song For Me” and most sequences of “Wild Heart” too put emphasis on tenderness and melody, more vocal-based music without instrumental presence, insisting on the same chorus again and again. “Fight By Your Side” and “Hoffnung” complete the ballad collection here, incorporating some acoustic arrangements, cheesy synthesizers and electronic rhythms that make the music contemporary, mellow and ideal for chill-out radio stations. Even when Pesch & her team decide it’s time to rock hard, results are still mediocre as the dull riffing and tiring chorus abuse of the infamous “Chained” proves.

Doro surrounded herself by a group of emo kids on this album (check out those “Fight” and “Always Live To Win” promo-videos) to play vain modern rock, whose essence has nothing to do with the magic and charm of Warlock, it’s not even as refreshing as Calling The Wild. This is absolutely minimalist music, deprived of technique, progression and musicianship – certainly, the concept of Ms. Pesch doesn’t intend to give riffs, instrumental passages or solos much attention, her vocals are the main attraction, which by the way, have nothing to say, abusing of the same tedious lyrical themes of love, freedom and rock. All are vocal-based tunes without exception, there ain’t much pickin’ parts or notable solid riffs, the few you might find are completely dumb, simplistic and concise – the emo session musicians don’t have the fire and passion to play rock at all, their performance is lacking motivation, energy and attitude. Doro is the only member who’s trying to offer the best performance as possible, an honest effort with sentiment and emotion, lyrical at times – yet not enough to make this lame music sound good. She has never been a competent composer, neither are her companions, who are simply unable to write consistent songs with adequate continuity and consistency. Well, they lack skills and virtuosism but sometimes that ain’t necessary as long as you got attitude, guts and determination to make music that comes from your heart fluently – and now it’s me who is getting cheesy but this group doesn’t have a specific vision or inspiration to come up with decent cuts, there is not harmony or feel between them so they don’t actually sound like a real united band…that’s the usual problem with session musicians Doro had to deal with ever since Force Majeure and no, those deluxe guests ain’t doing any better. So she’s got passion and sensitivity but no fresh ideas or creativity, therefore her project is headed for disaster and mediocrity – just offering a bunch of silly compositions without innovation, spirit or peculiarity, simply empty AOR pop billed as rock.

Fight is certainly one of the most uninspired, unoriginal and generic records in the large discography of Doro, exposing critical absence of ideas and inventiveness – nothing new, however, she didn’t develop a sound or attitude I insist ever since Warlock broke up and she no longer had the help and support from Graf particularly and Szigeti on the song-writing process. She might be hot, seductive and charming but that doesn’t equal good music, it seems her whole career has been focused on the looks, the image, the epic fantasy cover paintings and karaoke performances of those Warlock classics all her fans are waiting for in her shows, not about a sound or musical vision of her own as the scandalous fragility of these 13 numbers reveal. Although she will maintain her status of Queen of heavy metal and her loyal compatriot fans will always be there, no matter how lame her solo albums might be – a comfortable position that won’t make Ms. Pesch reconsider or modify her ineffective ways, I’m afraid.

The potential was there but totally wasted. - 37%

Wez, December 31st, 2004

What would promise to be an aggressive and blistering hard rock/metal extravaganza of 50 minutes turns into an uninspired and tedious wreck. Opening in typically "to the point" fashion, carried by its centrepiece main riff, "Fight" quickly gets itself bogged down in a direction with limited sight and becomes repetitive. Doro herself is on form but her intense vocal delivery is lost inside the boring music surrounding it. The disc continues on through punky traditional metal side tracking through some modern rock shortcuts. The same problem drags the album further down towards the middle with one central riff is unable to go the distance in giving the songs the ingredients they need. Meet up with "Descent"'s duet with Type O's Peter Steele and the experimenting with doomy downtuning seems to only succeed in making my eyelids droop.

Most of the rest have the same mediocre "I wanna rock" riffs laid down as the foundations of more forgettable songs but leave out much trace of the old Warlock edge that complemented Doro's voice so effectively, though "Chained" gets very close to this, one of the better tracks. 80s pop rock influences play a part in the shaping of some songs, but while these are some of the better ideas at times, they don't last long. A few ballads crop up here and there, the first of which "Undying" shows the alternate side of Doro's vocals but decides to keep the boring riffs in place and waste the rest on some lifeless acoustic strumming which is also used to open "Legends Never Die". This song mixes in a bombastic stadium rock feel trying to work up a crowd pleaser but unable to escape the hole the rest of the album has dug into, with "Rock Before We Bleed" making a further move in this direction (along with cheesy fake crowd noise). Second ballad, "Fight By Your Side" is almost pop with synths and strings leading, and actually sounds great while the last track ("Hoffnung (Hope)") combines the ideas on the synths with emotionally charged riffs. There’s not much else on here I think particularly stands out or works well for a whole song, with the exceptions of "Sister Darkness" which includes some fresher sounding riffs and "Wild Heart" with an effective use of piano sections.

This album could have been terrible but benefits from a few acceptable songs and another two that actually sound pretty good, which are strangely both ballads! Though if given the choice this should not be bought in the place of any old Warlock and should be left well alone.

Yep, this gets pretty boring - 66%

PowerProg_Adam, March 19th, 2004

Doro Pesch has an amazing trademark voice, but Fight is simply not a metal album. It sounds more like a hard rock album with punk influences. It definately has punk choruses to many of the songs to where the title of the song is repeated several times and a bunch of "yeahs" are thrown any to fill up space.

The title track has a nu-metal feel to it, especially with the distorted and muted riff that is played throughout the entire song. Doro's voice doesn't really sound very special here, and she actually begins to sound more like a man with a dry throat. Believe it or not, this is one of the better songs on the album.

Always Live to Win certainly captures the spirit of punk music, with only using 3 chords and simplistic lyrics. Once again, Doro doesn't seem to sounds much like her normal self here.

Descent, with guest vocals from Peter Steele, is by far the best song on the album, because it is one of the few that is actually metal. This duet is pretty much a doom song, very slow with dark lyrics and trading off vocal duties in between verses. Doro begins to regain her voice on this track. I would probably consider her to be the female equivalent to Dio on most of her songs.

Legends Never Die is similar to Descent, only without Peter Steele, it is still rather doomy, but seems to adapt a ballad format, where there is pretty much no distortion or dissonance in the song and attempts to play on the emotions. This song has the best, most clean vocal work on this album in
my opinion.

The rest of the album begins to taper off without bringing anything new to the table. I would definately recommend checking out Doro or Warlock albums, but I would be sure to stay away from this one unless you are looking for a big disappointment.