Musical Style: Melodic Metal	Produced By: CJ Grimmark
Record Label: Nuclear Blast/Independent	Country Of Origin: Sweden
Year Released: 1999/2019	Artist Website: Narnia
Tracks: 10/13	Rating: 85%
Running Time: 56:27

For better part of the past two decades, the business of Stockholm, Sweden’s Narnia has been melodic metal.  In that time, the group has produced eight studio albums with two different vocalists, two live albums and a single compilation release in addition to having disbanded and reformed.  It’s inception traces to the mid-nineties and a partnership between guitarist Carl Johan Grimmark and vocalist Christian Liljegren, releasing its neo-classical influenced debut Awakening in 1998 and more polished tinges of sophomore effort Long Live The King the following year.  Turn of the century found Narnia embracing power and progressive metal for third and fourth albums Desert Land and The Great Fall from 2001 and 2003, respectively, only to return to its melodic metal roots on Enter The Gate from 2006.

A new era for Narnia that started in 2009 for the melodic power metal of sixth album Course Of A Generation as new front man Germán Pascual replaced the departed Liljegren came to an abrupt end when the group disbanded shortly thereafter.  With the return of Liljegren in 2014, however, Narnia regrouped and put out in 2016 its self-titled seventh full length offering only to release three years later what in this reviewer’s opinion is its best album to date in From Darkness To Light.  As reinforced in the 95% Angelic Warlord review, From Darkness To Light found Narnia ‘(drawing) upon neo-classical, melodic, power and even progressive metal to create a work more than reaching (if not exceeding) the standards of its well regarded back catalog.’

Pinpointing a bands best album, obviously, can be subjective and open to debate.  Consider, for instance, how hard music fans often lean towards Long Live The King as Narnia’s flagship offering, identifying with it in the same manner that many identify with Stryper for To Hell With The Devil, Bride for Snakes In The Playground and Deliverance for Weapons Of Our Warfare.  Narnia agrees with this line of thought, particularly in light of how the track listing to both its live albums and compilation release are top heavy with Long Live The King tracks.  The fact the group chose to celebrate the twentieth anniversary of the release to Long Live The King by re-mastering and re-issuing it with three bonus tracks further reinforces the value it has for the album.

As is often the case, re-mastering improves upon the original, which did not found bad to begin with.  Specifically, an added dose of polish allows keyboards and guitar leads to stand out cleaner and rhythm guitar and low end to make better-defined statements.  

“Gates Of Cair Paravel”, a minute and a half symphonic keyboard instrumental opener, gives way to “Living Water”.  Ranking among the all time classic Narnia tracks, it revels at a mirthful upbeat tempo - noting its excited verse sections - but delivers added hooks all the same, revealed in the smooth tinctures to its refrain.  My favorite part is the extended instrumental run to feature ample doses of Grimmark’s neo-classical lead guitar.  Narnia maintains its penchant for faith based lyrics:

I've Been Running All My Life
To Find Some Peace Of Mind
Searching For The Treasure Everywhere
I Met Jesus Christ
He's The Son Of God
He's The One Who Healed My Broken Heart

Living Water From The Father
Fills My Body, Now I'm Moving On
Living Water From The Father
Fills My Body, Now I'm Moving On

“Shelter Through The Name”, another popular Narnia cut, ensues to a slower disposition and greater keyboard proclivity.  Stately and regal in form, the song upholds a forward guitar presence but decelerate at moments notice for stilly done passages in which acoustic guitar holds sway.  Again, Grimmark’s classical guitar playing leads the instrumental way.

“The Mission” maintains the mid-paced heading but in a subtle arena-rock meets melodic hard rock form.  As with the entire album, production shines with an even joining of guitars and keyboards, reinforcing how I always felt the original version gave keyboards too forward a mix but the re-mastering allows them to come across more evenly placed.  Liljegren impresses with his melodic to soulful vocal abilities, particularly for the distinctive refrain to echo of the lofty.  Lyric snippet:

There's So Many People
So Many Souls
Lost Without A Warning
I Can't See Them Go
The Wrong Direction

Your Voice Is Calling
Calling On Me
Lord, Here I Am

The Mission, My Mission
I Wanna Go

The first of several quality deep cuts, “What You Give is What You Get” ups momentum and guitar fortitude to rate among albums heaviest.  It also brings a cool groove driven riff focus (abundant low end in particular stands out) and matches it with equal parts curtly done and pensive.  Grimmark strikes again, as his magical playing carried over Jakob Persson’s animated bass line.

Back to up-tempo, high-energy territory with “The Lost Son”.  Almost of speed metal capacity, the song frolics its distance as guitars distance as guitars drop from the mix at the start of its verse sections only to come roaring back to make a fixed statement upon procurement of the sweeping refrain.  Equally notable is how high end vocalist Sonny Larsson makes his presence felt in backing vocals.  Lyric snippet:

I Am So Alone
I'm Longing Back For Home
When I Hear The Sound In The Air
In The Air

Far Away, Far Away
I Hear The Distant Call
Far Away, Far Away
It Is The Father's Call
Oh Father, Oh Father
Lost Son Is Coming Home
Oh Father, Oh Father
I'm Coming Back To Stay

Albums power metal laced title track follows as one of this reviewer’s choice cuts.  It comes across regal and sublime in mirroring the epic, with drum solo to start and anthem like mentality to ensue as Liljegren almost lends an operatic presence as guitars power in and out of the mix.  Keyboards touch upon the symphonic and lead guitar once more the neo-classical.  Lyric snippet:

I Wanna Live, Wanna Fight
Yeah, Long Live The King
I Wanna Live, Wanna Fight
Cause In The End We Will Win

I Will Serve You My King
With My Heart And Soul
No One Can Stop Me Now
Wanna Sing It Out Loud
With My Flesh And Blood
A New Day's Breaking Through

“Dangerous Game”, also of mercurial quality, starts to a keyboards solo (the work of Martin Harenstam is spot on throughout the album) prior to launching at a breakneck clip.  However, I find it not just fast but also melodic, with catchy hooks not overshadowed by the expeditious qualities overall and another lightning-like stretch of soloing.  Lyric snippet:

Seven minute “Star Over Bethlehem” is another favorite and provides foreshadowing for the progressive nature to follow up efforts Desert Land and The Great Fall.  The song evenly powers forward from the start, resonating of the mid-tempo with its staunch guitar walls and crystalline keyboards but giving prominence to ample doses of melody, as found in the sleekly flowing (and quite engaging) refrain.  Instrumental proclivity also rears its head, manifesting in the mid-point break to feature bristling leads and final minute and a half home to additional shredding.  Lyric snippet:

Angel Voices In The Air
Sing Their Hymn To the King Of Kings

Star Over Bethlehem
The King Is Born
Oh, It Is A Mystery, Mystery

I See The World With Different Eyes
The Son Of God Has Changed My Life
He Brings Salvation

He Is The Light, He Is The Way
He Is The Bridge For Our Lost Mankind
To Every Nation

Closing instrumental “Shadowlands” takes a medieval form with its woodwinds and gently played guitar.

Of the bonus material, “Miracle”, making its initial appearance on the Japanese version to Narnia, is a melodic hard rocker with moments both heavy and calm, while “Can’t Get Enough Of You”, a Japanese bonus track to Long Live The King, takes a similar AOR to melodic hard rock stance but with not quite the same forward tempo.  A reversed version of “Living Water”, also a Narnia bonus track, appears but with guest keyboardist Jen Johansson (Stratovarius).

It was a pleasure to revisit Long Live The King in its re-mastered twentieth anniversary edition form.  No, I might not value it highly as many of my favorite Narnia albums - to include not just the aforementioned From Darkness To Light but also The Great Fall and Enter The Gate - but hold it in high regard all the same with an 85% review.  Grimmark and Liljegren sound fresh and inspired in terms of performance, designations to actually apply to the entire band in that Long Live The King (unlike Awakening) is not a two-man project.  Speaking of which, I would love to see the underrated Awakening also re-mastered and re-released but not without having the programmed drums replaced by a real drummer (in similar fashion as to what Theocracy did with its debut album).  If you missed Long Live The King back in the day or are interested in an upgraded version to include quality bonus material, then make the Twentieth Anniversary Edition a priority purchase.

Review by Andrew Rockwell

Track Listing: "Gates of Cair Paravel" (Introduction) (1:26), "Living Water" (3:54), "Shelter Through the Pain" (5:01), "The Mission" (4:30), "What You Give Is What You Get" (4:40), "The Lost Son" (4:05), "Long Live The King" (4:57), "Dangerous Game" (5:11), "Star Over Bethlehem" (6:47), "Shadowlands" (Outro) (2:32), “Miracle” (3:59), “Can’t Get Enough Of You” (5:29), “Living Water” (3:55)

Musicians
Christian Liljegren - Lead Vocals
Carljohan Grimmark - Guitars, Bass & Keyboards
Martin Claesson - Keyboards
Jakob Persson - Bass
Andreas Johansson - Drums

Guest Musicians:
Mart Hallek - Violin
Sonny Larsson - Backing Vocals