[STEVE says]: Majesty is a very interesting bend I find from just the first few seconds of the first song (“Another Won”) on this '86 demo. Their outright influence I would have to say is Rush. They have a keyboardist who does a lot more than Geddy does. Next is "Your Majesty”. This more or less a commercial hard rock song, but the drummer is doing some cool things. The singer’s voice is starting to get on my nerves at this point. Don't get me wrong; this guy is a very good singer: it's just how he sounds [a bit like Helloween's old and new singers mixed-ed.]. At times "A Vision" is a really mellowed out song with clear guitar everywhere. It's really pretty good, but maybe a bit TOO long. The vocalist redeems himself a little with this song by doing some better things than on the prior tune. The drums start "Two Far", then a Yngwiesque guitar riff rips through to build up some momentum. As the verse gets under way, the singer and guitarist use a weird melody, and it produces a strange effect over the verse. The chorus builds dynamically with a cool vocal part over it. "Vital Star" begins quietly with guitar and synth then builds up with drums and bass. It soon returns to the quiet part, then to the verse, and then the chorus again. The tape ends with “March of the Tyrant”. These fellows are trying to do something that is somewhat different. If this sounds like your vein of reality, partake!!

—Steve Murphy

[CHRIS says]: This latest release from Majesty (their rough demo 1987) is absolutely brilliant!! What we have is a band that is doing what Rush would be doing now had they not gone off on that commercial tangent and had they not gone for the mixed audience. Majesty, while drawing inspiration from typical Rush progressions, also seem to possess a similarity to Yngwie M. in the area of guitars. Another good comparison to get across what this band really sounds like is the Austin techno-thrash band, Watchtower. Many similarities exist between Majesty and Watchtower, especially in the long transitions between phrases and in the writing style in general. Unfortunately, no vocals appear on the demo, but, believe it or not, I was quite satisfied with this. There is so much to listen to already, adding a vocalist would probably only be a hinderence if one wants to really focus in on the talent of the other musicians – which on a scale from one to twenty... they all get a nineteen. This demo is a slight change from Majesty's 1986 release in that it contains much less of the subtler material (i.e., mellow stuff), which is fine by me. I would rather hear highly technical, electrifying material from a band who is capable of producing it. Save the Dokken style for Dokken. The first song, "Afterlife” bursts out with a really complex intro, very up-tempo, and with excellent drumming and double bass. The Rush influences are very evident in the drumming and keyboards. Some really excellent and gratifying chord progressions are implemented in the song, and the solos are actually worth listening to. The bass playing is excellent throughout the entire tape as well. “Death of Spock" starts out with some good bass material and soft, background guitar soloing followed by the keyboards which, in effect, bring about the theme suggested in the song title – deep space. Really cool stuff. A King Crimson-like bass part comes in after the deep space feeling subsides. "The Ytse Jam" follows in the now apparent Majesty tradition of technicality with an extremely melodic and technical bass/keyboard line which evolves into a highly motion-inciting, accented riff. All fantastic examples of great writing skill!!! The other three songs "Cry For Freedom”, "The Killing Hand", and "Resurrection of Ernie" were not on my tape, unfortunately, so I have no specific details to give on these. Please spare a stamp, write to this band, and support them. If they haven’t been signed yet I’m a monkey's uncle; this band deserves nothing but a major (label).

—Chris Orloski