Ross “The Boss” Friedman, known for playing guitar in the Dictators and Manowar, has died. He passed away yesterday after a battle with ALS. He was 72.
The post Ross “The Boss” Friedman, Dictators And Manowar Guitarist, Dead At 72 appeared first on Stereogum.
Ross “The Boss” Friedman helped build the foundations of both punk and heavy metal, making his loss far bigger than a single band or era.
Ross “The Boss” Friedman, founding member of Manowar and The Dictators, has died at 72 after battling ALS. His influence spans two entire genres, with a legacy that still shapes how heavy music sounds today.
Strip it down and be honest—most players operate inside a sound.
Ross helped create one.
He wasn’t following a blueprint. He was part of the reason one exists in the first place.
There’s a clear shift happening right now—new bands are circling back to raw punk energy and classic metal identity.
Ross sat at the intersection of both.
That’s why this loss hits harder in 2026 than it would have a decade ago.
Friedman was diagnosed with ALS earlier this year after experiencing weakness in his hands and legs.
For a guitarist, that’s not just illness—it’s identity being stripped away in real time.
He said himself the hardest part was not being able to play.
That tells you everything.
Ross recorded six albums with Manowar, including Battle Hymns, Into Glory Ride, and Hail To England.
Those albums didn’t just succeed—they helped define what epic heavy metal became.
That sound is still being chased.
With The Dictators, Ross was already pushing punk forward before the genre’s biggest names broke through.
Go Girl Crazy! arrived before The Ramones’ debut—and ahead of both The Clash and Sex Pistols.
That’s not influence after the fact.
That’s influence at the starting line.
From Manowar to The Dictators to projects like Death Dealer and his solo work, Ross moved between styles without losing identity.
That range is part of why his impact reaches so far.
Tributes described him as a global ambassador for metal and a deeply respected figure among peers.
That kind of reputation builds over decades.
And it sticks.
You hear Ross every time a band leans into raw punk urgency or full-scale metal power.
That influence didn’t end.
It’s still active.
He died after battling ALS (amyotrophic lateral sclerosis), a progressive neurodegenerative disease.
Ross “The Boss” Friedman was 72 years old.
He was a founding member of Manowar and The Dictators, along with multiple later projects.
He helped shape both punk and heavy metal at their earliest stages, influencing generations of artists.
Ross “The Boss” Friedman was a pioneering guitarist whose work helped define both punk rock and heavy metal. Emerging with The Dictators in the mid-1970s before co-founding Manowar, he contributed to some of the most influential albums in heavy music history. Across decades of projects and collaborations, his playing style and songwriting left a lasting imprint on multiple genres.
The post Ross The Boss Dead At 72 After ALS Battle And The Impact Runs Deeper Than Most Realize appeared first on Loaded Radio.
Sometimes a band name can be on the nose in the best way, and Power Paladin makes no effort to disguise their preferred music class. The mission of these Icelanders is no different than that of many power metal groups—to explore fantasy realms, vanquish foes, and have a blast while doing so. They already acquitted themselves with their debut album, With the Magic of Windfyre Steel, which Eldritch Elitist lauded with praise in the January 2022 filter. While I found it enjoyable at the time, it didn’t stick with me for very long. But now, on sophomore record Beyond the Reach of Enchantment, Power Paladin returns with sharper blades and brighter divine light to safeguard the ears of the innocent.
If you elect to ride with Power Paladin, the first rule of the road is to leave all self-seriousness at home. As with most Europower, Beyond the Reach of Enchantment requires a love (or at least a tolerance) of flamboyant frivolity and imaginative play. Expect big verses, bigger choruses, and lots of guitar shredding. While its predecessor was more devoted to the sleekness of Twilight Force or Rhapsody of Fire, Power Paladin now divides their allegiance more evenly with heavy metal and hard rock in Helloween fashion. This makes Beyond the Reach of Enchantment sound brawnier, further aided by a meaty bass tone that adds welcome crunch to this glorious charcuterie board. These Paladins occasionally succumb to their darker urges, embodied by Óskar Rúnarsson’s1 death growls (“Glade Lords of Athel Loren,” “Valediction”), making them more endearing and relatable.
Beyond the Reach of Enchantment may be a bit derivative, but what sets Power Paladin apart is their sheer energy and charisma. Their music challenges one’s ability to sit still; not even my distracted five-year-old daughter could resist the urge to headbang the first time she heard the opening notes of “Glade Lords of Athel Loren.” No member of the body can remain limp or listless upon hearing the heavy metal anthem “Sword Vigor” or the stomping and romping of “The Royal Road.” Vocalist Atli Guðlaugsson frequently steals the show, his powerful falsettos weeding out the unsanctified eardrums. That said, it’s impressive how Power Paladin can write songs in such a way that such a commanding frontman doesn’t completely dominate the listener’s attention. Einar Karl Júlíusson is constantly changing up his double bass rhythms, and there are plenty of rapid-fire guitar and keyboard sections to keep the momentum going.
Yet, all this energy on Beyond the Reach of Enchantment can become slightly wearisome. The album art might feature a respite around a campfire, but the music is much closer to a battle scene. Rests tend to be momentary and sometimes sound out of character, like when “The Arcane Tower” abruptly dies down to a whisper midway through. I find myself missing the naturally occurring downtime in “Creatures of the Night” and “There Can Be Only One” from With the Magic of Windfyre Steel. It’s not until the 10-minute conclusion, “Valediction,” that Power Paladin takes a proper breather in the form of soft guitar plucks. The extra time also allows for more compositional experimentation, with smooth keyboard transitions during the extended bridge section, as well as a brief but lively duet with Sara Rut Fannarsdóttir2 (more of her next time, please!). Everything is solidly written and performed, but still somewhat blends together until the end.
If you’re questing for fun with a hefty side of merriment, Power Paladin will happily serve as your guide. They sound even more confident and earnest than before, once again striking a great balance between silliness and substance. Beyond the Reach of Enchantment somehow overclocked the power of its predecessor, the gallant and galloping tunes courageously smiting the unholy. I do wish for a bit more dynamic pacing, but this may just be a “me” problem, and only when listening front to back. Gather your party and grab your dice—the next campaign awaits!
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Reigning Phoenix Music
Websites: powerpaladin.is | facebook.com/powerpaladinice
Releases Worldwide: March 27th, 2026
The post Power Paladin – Beyond the Reach of Enchantment Review appeared first on Angry Metal Guy.
Buy tickets: https://linktr.ee/SaekoLive2026
Japanese power metal vocalist Saeko is set to return to the stage with two exclusive shows in Japan this May, under the banner “SAEKO LIVE IN JAPAN 2026”, while also revealing the upcoming release of her new EP, Back to Life, scheduled for July 18, 2026.
The two special events will take place in Osaka (May 12, Panhead Groove) and Tokyo (May 14, SUNRIZE) and will feature a unique format combining a talk session and an exclusive live showcase, including the performance of two songs from the upcoming EP.
These concerts represent a rare and exciting collaboration between artists from different musical traditions, bringing together European melodic power metal and the rich heritage of Japanese neoclassical metal.
The live line-up for these shows includes: Saeko Kitamae on vocals, Guido Benedetti (Trick or Treat) on guitars, Masashi Okagaki on keyboards (Terra Rosa, Jill’s Project, Aphrodite) and Kaz Nakamura on bass (Kelly Simon’s Blind Faith, Rachel Mother Goose).
The presence of legendary keyboardist Masashi Okagaki, a key figure in Japan’s neoclassical metal scene and leader of Terra Rosa, adds a distinctive and historically significant element to the performances, while bassist Kaz Nakamura brings his experience and technical mastery to complete a powerful and dynamic line-up.
Saeko is widely recognized as a pioneering artist in the international metal scene. Originally from Osaka, she moved to Germany in the early 2000s to pursue her musical career, collaborating with prominent European musicians and releasing her debut album Above Heaven Below Heavenin 2004. That same year, she toured Europe with metal icon Doro Pesch, and in 2005 she made history as the first Asian female artist to perform at Wacken Open Air, the world’s largest heavy metal festival. Following her second album Life (2006), Saeko returned in 2021 with Holy Are We Alone, marking a powerful comeback after a long hiatus and reaffirming her unique artistic identity: Melodic Power Metal with emotional depth and a cross-cultural perspective.
Now, with the upcoming EP Back to Life, Saeko continues to build on her legacy, connecting past and present through a renewed creative vision.
EVENT DETAILS
OSAKA
May 12, 2026
Panhead Groove
Open: 18:30 / Start: 19:00
TOKYO
May 14, 2026
SUNRIZE
Open: 18:30 / Start: 19:00
Buy tickets: https://linktr.ee/SaekoLive2026
SAEKO ON THE WEB:
