Awesome Funny Heartwarming Main Music YMMV
Edguy (Prounouced "Ed-gai") is a German
band that was founded in 1992. Their music is heavily influenced by both
, although they tend to have a more symphonic sound with greater use of keyboards.
Tobias Sammet also has a
Members: Tobias Sammet (vocals) Jens Ludwig (guitar) Dirk Sauer (guitar) Tobias Exxel (bass) Felix Bohnke (drums) Albums: 1995 - Savage Poetry 1997 - Kingdom of Madness 1998 - Vain Glory Opera 1999 - Theater of Salvation 2000 - The Savage Poetry (re-recording) 2001 - Mandrake 2004 - Hellfire Club 2006 - Rocket Ride 2008 - Tinnitus Sanctus 2011 - Age of the Joker 2014 - Space Police: Defenders of the Crown Examples All Drummers Are Animals: In this case, a highspeed alien drum bunny. Audience Participation Song: " This is the boring part of the show, the part where you have to sing along to whatever comes to my mind, allright?" makes for midtros or intros for many songs. Also, all of their choruses. Most notably, Tears of a Mandrake and Out of Control. Breakup Song: "Trinidad". And it is ! awe some Cluster F-Bomb: "New Age Messiah" and "Life and Times of a Bonus Track", and of course, "Fucking With Fire". Cover Version: "Hymn," which was originally an Ultravox song, and was turned into something awesome. Creator Backlash: Tobi is not fond of their early material, and thus none of the songs from their albums Kingdom of Madness or The Savage Poetry ever gets performed live. Epic Rocking: "Eyes of the Tyrant," "The Pharaoh," "Theater of Salvation,", "The Piper Never Dies", "Speedhoven" and "Robin Hood". Faust: "The Devil and the Savant" is based on this. Heavy Mithril: Several of their songs, though not as many as some other power metal bands. Hey, It's That Voice!: Hansi Kürsch guested on Vain Glory Opera. Also very common on Avantasia. Intercourse with You: "Lavatory Love Machine" is rather obvious... Large Ham: In a genre practically defined by OTT, Tobias Sammet is unquestionably one of the largest hams in the business, arguably topped only by Fabio Lione. Lighter and Softer: The latest couple of albums have moved from power metal towards a more hard rock sound. Also, their later albums usually have at least one joke song. Loudness War: Tinnitus Sanctus, badly. Might be intentional given the name, the cover, and the fact that the band describes the album as "a penetrating wall of sound." Mile-High Club: Again, "Lavatory Love Machine". Mohs Scale of Rock and Metal Hardness: Recent material is mostly in the 5-6 range, prior albums tended to vary between 6-7. Power Ballad: "Scarlet Rose," "Holy Water," "Forever," "When A Hero Cries," "Save Me," and the incredibly awesome "The Spirit Will Remain." Shout-Out: Given that the structure of the songs are almost identical, "Vain Glory Opera" commonly gets its first verse replaced by the first verse from The Final Countdown when performed live. Sexy Stewardess: In "Lavatory Love Machine". Take That: "Judas At The Opera", while first appearing like a barrage of random lyrics, is actually an attack against the critics who accuse them of being too happy and upbeat with their music. Unsurprisingly, critics then attacked the song for being too cheerful and uptempo. "Catch Of The Century" is a Take That to the record labels that refused to sign the band in their infancy and predicted that they would have no future. Sympathetic P.O.V.: Inverted in "Robin Hood"; as it shows that by taking away the POV from the eponymous character, you can easily turn the Lovable Rogue into The Dreaded. Tuckerization: The name "Edguy" is an affectionate epithet for Mr. Edgar Siedschlag, their math teacher from when they were young. Villain Song: " Robin Hood", as it portrays the eponymous character as The Dreaded... While still set to an incredibly heroic tune! (and some surprisingly humorous lyrics) Ye Olde Butchered English: In "Robin Hood," Tobi tells the audience to "bewareth." Covers
While not necessarily reflected in lyrics...
Monster Clown: On the cover of Age of the Joker (seriously, what would you expect?), and Mandrake Slasher Smile: Also on the cover of Mandrake.