The Dungeons Are Calling

Long before Savatage turned into a pretentious rock opera band, they were one of the earliest examples of bands playing power metal in the American way. The Dungeons Are Calling is an obvious step forward for the band and whereas the debut makes me think of living a tough street life and the daily struggles that come with it, this record resembles a world of witches, knights - and of course, dungeons.

Make no mistake; the action remains thanks to the maniacal vocals and cutting guitar work, but not every tune reveals its true colors right from the start. With a variety of moody acoustic guitars and atmospheric synths thrown in between the metallic force that The Dungeons Are Calling has to offer, it's clear that we're dealing with a much more mature and confident band at this point. Coincidentally enough, we’re also dealing with the Oliva brothers at their best. Jon Oliva avoids the overbearing tendencies that would follow in years to come and while he’s never been too technically skilled, he screams and yells as if he’s living these tunes. Likewise, Criss Oliva may not be my first pick of choice of guitarists, but he’s arguably at his most inspired here; as most tunes are built on a foundation of hard-hitting, yet flexible riffs that allow the tunes to head into a variety of sub-sections with ease. The only exceptions would be the speedier tunes, which sound a bit stiff, even if the results are hardly terrible. ‘Visions’ is a bit too restrained for my taste (in fact, speeding up just a bit makes the tune sound more exciting) and ‘The Whip’ has more of an unintentionally comical effect than anything else; try not to laugh once Jon Oliva hits that bizarre lower note during the chorus!

So, while I obviously prefer the mid-paced tunes over the faster ones, The Dungeons Are Calling makes an enjoyable listening experience either way. The title track picks up where ‘Sirens’ from the debut left off, but takes things even further with its mystique atmosphere and ideal stop-go riffs. ‘By the Grace of the Witch’ gets even further down the groove-driven paths, with Criss Oliva’s riffs chugging and demolishing the narrative. ‘Midas Knight’ almost sounds like the predecessor to ‘Devastation’ from Hall of the Mountain King and you can bet that it’s another worthy number that operates in an epic fashion. The guitars gallop into adventure, solos rapidly come crashing down like thunder and Jon Oliva screams like a wild man here. Ending the EP on a high note, ‘City Beneath the Surface’ is an apocalyptic monolith that introduces some progressive synths and a skull-crushing guitar stomp of Sabbath-esque quality, before a series of tense and frightening riffs start to dominate its main course.

As with most of Savatage's 80’s works (Fight for Rock obviously excluded), The Dungeons Are Calling is worth spending your time with. Besides, it’s the band's best effort after all… so what are you waiting for? Explore the dungeons and enjoy its metallic, yet evocative qualities!

This review was originally written for antichristmagazine.com

It's slightly surprising that The Dungeons Are Calling has garnered as much attention as Savatage's Sirens debut, but the link between them runs deep, seeing as they were recorded during the same session. However, there's no feeling that the EP plays second fiddle to the LP, both of which contain a similar mix of songs and styles, have similar distinctive features, and include the same four quality musicians.

I don't know if it's objectively true, but I feel like The Dungeons Are Calling has a more epic feel than Sirens and appears to have subjects more in the way of fantasy than the street-level savagery that characterized some of the band's other material. If you could swap 'Sirens' with 'The Whip', you would have an album full of real life terror and an EP full of fantasy and dark stories. Then there are a few other features that mark the distinction between the two, such as the soft atmospheric keyboards that introduce 'City Beneath the Surface' and cast a finger over one or two other songs as well. The acoustic frame of 'Midas Knight' and the creepy opening of the title track also make this release a bit more detailed and finessed - less brutal, but more encompassing. At times, the songs have a touch less ground-shaking power than those on the debut, but rarely head towards power metal or epic territory, sounding like Scorpions playing energetic rock with Iron Maiden's sense of flair for solos and Metal Church's debut on repeat in the background. Actually, that description should be taken more as a ballpark reference than anything, since I don't think that early Savatage sound much like anyone else, least of all someone as purely "metal" as Iron Maiden.

There are still plenty of very meaty riffs for anyone worried that Criss Oliva had run out, while he retains the ability to bulldoze with simple thudding weight one moment and then speed off like a proto-thrasher the next, plus satisfying fully with solos too. The lurching momentum that constitutes the majority of his riffs makes some parts of different songs sound familiar, though it's not something that I get tired of hearing, so not really a problem, especially not on a release as short as this. His brother Jon uses his distinctive voice rather like Metal Church's David Wayne, not singing melodies that often but snarling and shrieking more viscerally; however, his vocals are low in the mix on occasion, mostly when in his lower register, so that he doesn't always sound as powerful and commanding as he did on the confident strut of Sirens. The rhythm players do a good job with a partly muffled sound, meaning that Steve Wacholz's contribution sounds more dated than everybody else's because of the soft drum sound. More aggression from this department could have really set the songs on fire.

Happily for us, none of the songs are bad, rather pointing towards good or great. 'Visions' is the fastest song and 'City Beneath the Surface' is most epic, as one would expect from the song lengths, while only 'The Whip' feels slightly disappointing due to the mismatched subject matter and a minor bummer from some of the vocals. If you happen to come across this EP bundled together with Sirens, don't wait a moment before picking it up; if it's on its own, it's still worth the price, but get the full-length first.

These six songs coming from „The Dungeons Are Calling” Ep are the remainder of the first memorable session (1983) and the last thing recorded under the banner of Par Records. Before releasing this stuff, Savatage signed a deal with Atlantic Recs. The line-up and production is still the same, so if you loved “Sirens”, you will love “The Dungeons”.

Although this is continuation of “Sirens”, there are a few differences I’d like to write about. Firstly, this is definitely better half, no weak song can be found here (contrary to “Sirens” album), and two tracks (the title song and “City Beneath The Surface”) became a timeless classics for the band and heavy metal generally. All compositions seem to be dark and murky, ominous and mysterious, it fits perfectly to the name of this material. I can compare this feeling to the first albums of Mercyful Fate (“Melissa”/”Don’t Break The Oath”) – passion, spontaneousness, strokes of genius, metal spirit. These elements are short characteristics of both bands, but personally I prefer Savatage efforts.

I divided “The Dungeons” into three groups of songs. The first group contains of two immortal classics I wrote above. Both songs have perfect living guitar masterwork of Criss, superb leads, wonderful and blood-curdling vocals, and mysterious prologues. The second group is like a bullet reaching your head. “Visions” and “The Whip” are the fastest songs here, I can compare it with “Rage” because of unmerciful energy, speed and power metal. Both songs have excellent ending, I think they are very good tracks to play it live and to devastate metal fans! The last group has also two tracks, in fact mid-tempo compositions with complex structures. “By The Grace Of The Witch” has a splendid chorus and really long guitar solo. In turn “Midas Knight”: again demonic Jon vocals and chorus full of melody, paralyzing melodious tunes about 2:00 (which I think is the basis for many Running Wild songs), and two excellent guitar leads… No words can describe this great power coming from “Midas Knight”, definitely one of the best Savatage songs. My reissue cd also contains of two bonus tracks: “Fighting For Your Love” and “Sirens” live. The first song is a really killer song, the production is ‘underground’ here, but music is first-class: balladic prologue turning into heavy riffs, great chorus and, as always, perfect Criss! This song I can compare to “The Message” from “Sirens”. It fits to entirety splendidly.

Two first Savatage steps into metal existence are the basis of heavy metal music for me. These titles are the best thing in the first half of the eighties. All songs are composed with touch of genius and I can name it as top-notch metal hymns. For sure music world would be poorer without this band. Savatage didn’t maintain this masterly metal level, they released next two weaker albums and their career seemed to fail. Fortunately they had met Paul O’ Neill and everything changed, but this is completely different story…

Savatage may have gathered recognition through their symphonic flourishes and future connections to the Trans-Siberian Orchestra, but they originally began life as a particularly powerful traditional metal band with a few speed/thrash metal flirtations. This EP was released in between 1983's "Sirens" and 1985's "Power Of The Night" and may be one of their most consistent works ever released.

With many of these songs predating those on "Sirens," it is unsurprising to say that this release has a lot in common with and mostly serves as an extension of the debut. The production is about as raw and the songs may be even more aggressive than before. But while "Sirens" occasionally had a weak track or two, this EP is absolutely devoid of filler and leaves little room for fooling around with its six-song duration. While the short length may be a common excuse for its superiority, many of the songs on here are legitimately better than past highlights and often make the listener wonder why they weren't included on it in the first place. My guess is that it was similar to the "Rocka Rolla"/"Sad Wings Of Destiny" situation in that many of the songs simply weren't included because they were too heavy...

Whatever the reasoning, the songs on this album kick some serious amounts of ass. The title track and the legendary "City Beneath the Surface" are both more complex numbers, "Visions" and "The Whip" are both speedy numbers, "By The Grace Of The Witch" is a mid-tempo tune with a memorable chorus, and "Midas Knight" is a triumphant galloping song. "The Whip" may be the weakest track on here but it still manages to pack a wallop and is actually better than most album's standouts!

The band also manages to show a little more improvement and growth despite (Or perhaps because of) these songs being a little older. While vocalist Jon Oliva's performance isn't as maniacal as that on 1987's "Hall Of The Mountain King," he shows off a great range as well as some infectious energy. Guitarist Criss Oliva manages to shine on several occasions as well with an endless amount of hard hitting riffs and solos. The rhythm section is also pretty solid and stands out especially on the faster songs. There are also some keyboards that pop up every now and then, though they're nothing like those on future efforts and may come off as rather dated...

Speaking of dated, the lyrics on here are also drastically different than those on future efforts and deal with more conventional metal topics. In addition to the Hell/Satan fixation that dominates half of the songs on here, you've got drug addition as the title track's dominating theme and good ol' fashioned BDSM on "The Whip." You know, the modern metal scene would be a very interesting place if the latter topic came up more often...

Despite the rather dated keyboards/lyrics and raw production, this EP is easily the strongest release that has ever been associated with the Savatage name. I highly recommend it to those who dislike the band's Broadway style for this and the two albums sandwiching it may be right up their alley with their heavier riffs and aggressive songs. Of course, the fans already established should find a lot to love as well!

My Current Favorites:
"The Dungeons Are Calling," "By The Grace Of The Witch," "Visions," and "City Beneath The Surface"

Time may not have been kind to Savatage, as numerous tragedies (the loss of amazing axeman Criss Oliva, the temporary absence of songwriter extraordinaire Jon Oliva, and the hiring of the well-meaning but mediocre Zach Stevens) flubbed up the band's impressive body of early work. But there was a time when the name Savatage resounded with glory, in particular the first crop of records up to and including Hall of the Mountain King. Before cutting their teeth on rock operas and concept albums, Florida's best known metal squad were creating rough and ready, old school power metal with Jon Oliva's distinct vocals, and writing to die for.

The Dungeons are Calling EP was a product of the band's Combat Records years, and a followup to the excellent debut album Sirens. The material is quite thoroughly memorable and awe inspiring while almost managing to compete with the heavier bands of the day (Venom, Onslaught, Slayer, etc.) due to its dirty, subterranean atmosphere. Almost of the tracks rule, from the epic "Dungeons are Calling" to the melodic, unforgettable "By the Grace of the Witch", "Visions", and incredible "City Beneath the Surface". The exception would be lame boogie of "The Whip". If you've gotten the more recent release of the EP, it comes with a meh bonus track in "Fighting for Your Love" and a live in Germany version of "Sirens". Obviously this band needs no introduction to the seasoned metalhead, but if like grimy, old school meta dirt then you need to acquire this alongside Sirens, Power of the Night and Hall of the Mountain King.

-autothrall
http://www.fromthedustreturned.com

This is for me Savatage's crowning achievement, never again would they be this "metal". Listening to the songs City Beneath The Surface and The Whip as far back as 1981 was unreal, there was NOTHING as brutal or metal then this was.

Their debut Sirens' only weakness was it featured the more "predictable" heavy metal tracks, whereas there is nothing typical about any song featured here. You never know when a solo is coming or when and if the next verse will be. Each song is unique and shows all the attributes they would be remembered for in later releases: Keyboards, unique guitar leads, unusual tempo changes and deep evading lyrics.

There are only two songs here that feature a slow section and those are the two best songs, not only on the album but of the bands career. The first is the title track, which has a beginning you might hear in some Halloween store, errie atmosphere that sets the tone for the rest of the album. The song soon breaks in with an unbelievable three-note riff, which is brutal and catchy. Jon sings the song in a demonic tone of voice, while unleashing some otherwordly screams, like on the end. The solo here is extremely brilliant, faster than almost everything "Metal" at the time. The solo is very inspired and has a strong sense of phrasing, ending with another great scream by Jon. The end of the song was the perfect closer, which brings me to my only complaint for the whole record.

Had "By The Grace Of The Witch" started the album, with it's fade-in and this title track ending the album with the dirge-like organ and the slamming of what one would assume had been a dungeon door, it'd fit better. But oh well, this works well on playlists...

The second of the two songs to feature a slow intro was the best on the album, City Beneath The Surface. The only song to ever come close to mastering this, aside from the title track, was I Believe on their debut. This song features more styles than just traditional heavy metal. It all begins with a synthesizer, giving it a somewhat science fiction setting. A drum roll begins with the main riff, which is incredibly brutal, reminescent of early Sabbath. Then Criss comes in with a short but brilliant finger tapping session, when the song suddenly breaks into a headbanging fist-pumping classic, driven by Keith Collins' funky bass line. Mr. Walchoz earns his 'Killdrums' title here, he bangs the drum kit with great speed and precision, while sounding like no one else at the time. The solo is the highest point here and is what should put Criss Oliva(R.I.P.) amongst the best. Living in Florda when and where these guys started, this song was an immediate favourite, right from the beginning. The song ends with a superb conclusion, sounding like a real live performance. The ending is so profound and heavy, before fading into a synthesizer, that it leaves you breathless. Just listen to the incredible notes on the synth afterwards to grasp the power and energy of this piece.

The four other tracks, on the orginal and the three bonus tracks, on the silver anniversary collectors edition are all great, but of these seven remaining tracks The Whip is the fastest and best of them all. Another favourite right from the beginning, while Midas Knight is a great song with excellent screams throughout.

A definite masterpiece often overlooked but never matched again by Savatage, atleast not in "Metal" terms. Sirens and this started something very unique, a whole new style in which many have followed.

Its a fucking mental rape machine of fist pounding, throat stabing, iron mawed triumph in the greatest of hallowed arts, Heavy Metal be thy name. This will splatter brains, and rattle manes whilst the holy symbol of metal, oh horned salute, rises high above a rage of denim, and leather as sweaty, manlyness gathers to proclaim proudly worship to this, hungry for souls, beast. And thats all I gotta say... well maybe a little more:

This is without a doubt one of my favorite albums of all time,... even for an E.P. this just explodes brains like few others have ever been endowed to accomplish,... did you catch that "EVER", if not here it is again, "EVER". If theres "EVER" an attack of zombies, just blast this... they'll be down before "Visions". No. Fucking. Shit.

Now in all seriousness, what you'll find here is something entirely unique. Something not even its creators could live up to after its release. With the first two songs (the second being one of my all time fav's) being probably the greatest acheivement of Savatage, and that really is saying alot considering their first 4 full lengths of theirs ruled harder than how many hundreds of bands? Also, it is worth mentioning this is alittle cheesey in parts, but done so well, and besides its from the fucking 80's when bands could actually do this.

"Why all this praise?", you a know nothing n00b, with snot dribling done his philtrum may assert for reasoning,... well heres my thoughts on just that:

The tone is saturated in 80's awesomeness, truely brandishing an emminant power of ruthless neck snaping rage, almost orgasmic in presence. Comparable to an up front punch to the nuts, while having your eyes stabed with rusty nails straight in the pupils, and your throat riped open widely by a, larger than average, starving, malicious Siberian tiger. Its really one aspect I love so much about this. Very unique, and really just totally a product of an 80's production. And thats just the tone.

The riffs are -stellar master-(unrelated cool song)-pieces of granduer, emulated by none, and equaled by few. The songs are catchy, their heavy as fuck in their aggression, layed out perfectly, melodicly rabid in their possession of ultra accessibility,... their inspiring, their all over the place, and yet held together perfectly by awesome musicianship, their brilliant in their accents,... just fucking True Metal. At essence though, their just Criss Oliva,... need more be said? Blending a Rock influence to create a Thrash-tastic explosion of Heavy Metal, with hints of progressive Rock/Metal, and a much appreciated Speed Metal over tone. Also, gotta praise the utterly killer solo's. Criss(R.I.P.) always had his own style, in riff, and in shred, and it shines so brightly on here, like few other places of his discography. He combines a highly metalic sound with his obvious Blues Rock influence to create what few have ever touched on, and thats no lie. Not quite a virtuoso, but still playing to abilities extent, and utilizing his own characteristics of play so well, he was a one man Metal force.

Few albums please me as much, or have done so for so many years, as much as this. Even the druming, which for alot of Heavy Metal really wont stand out, does so here cause face it, Dr. Killdrums ruled with led sticks, and iron fists... always playing with supreme intensity, and thanks to an awesome production is ever audible in all delivery. His rolls, and snare crushing decibel rageing presence, is simply another factor why if you dont own this, you must.

John's vocals are in perfect form,... never leting up a minute. His falcettos are extremely unique (in league with the King (Diamond) as far as uniqueness goes, merely falling slightly short in direct comparison, obviously), and really pierce in a Halfordish manner. His standard voice is properly a tough, deeper to mid range, upfront, melodicly perfect element to all the songs. Also the lyrics give him a great platform to stand on, not to mention the impeccable vocal patterns,... god everything on this is so awesome, I'm getting a chubby just thinking about it.

And the bass, hard to believe, actually stands out. Not in a flashy way, but thanks to a great mix, K. Collins' out put is clearly audible. Seriously Dan (thats a really tough name dont you think?) Johnson, and Jim Morris did an excellent job puting this together, I couldnt ask for a better job. What they were able to shape is so pure, and so Metal... I cant even elaborate on it with mere "words".

Still, you might purpose, "your just a fanboy!"... at which point I slam violently, and forcefully hold, your face in a vat of boiling grease while I proceed to drop my elbow into your kidney's at a frantic pace, all the while mocking you, and laughing at your rues. But seriously, this is the sound of an entire scene, that being the Florida Heavy Metal underground of the early '80s (not a whole lot going on there then, but still a scene was present no doubt). Also, if you saw this live, I need not even praise a thing, as you already know, cause whats on this record was 11 times better live from the crowds/fans point of veiw.

In summary, get this as its a true Metal classic, and defines a style, era, and feel. The cd version is cool, has couple "lost Savatage tracks" (awesome live version of "Sirens" by the way), but the LP is a testament to what made Metal so great back in the mid 80's... so get that first.

I wish Savatage tried to stay more like the sound on this ep and Sirens. They both have that classic early 80's heavy metal feel to them. Not the over the top Manowar style, more like Jag Panzer but a little faster. Its a darker sound with some evil lyrical themes like torcher and dungeons of course. On The Dungeons Are Calling ep the band has some great heavy metal songs, and a few hard rock/heavy metal fusion songs. That is on the fusion songs there will a hard rock singing style to it, maybe a few rock riffs, then the rest will be heavy metal in the style of the metal songs on this ep.

The music on this album has your typical centralization to it of most 80's heavy metal songs, but not so much centralization (for a few songs like The Dungeons Are Calling and The Grace of The Whip) that its: opening riff, vocals, chorus, vocals, solo, vocals, outro riff. For those two songs the band does some unique things like add in some extra riffs and focuses less on chorus.

The Dungeons Are Calling is by far the best song on this ep for the reason is that its the most metal sounding. It is similiar to the rest of the songs, just longer and more metal. The song is full of rhythym and interesting keyboard work about half way through. The keyboards (maybe its a synth) are mostly atmospheric and not at all lame like power metal keyboards (crapsody for example). The vocals are great, the lyrics are dark and evil and Jon Oliva delievers them this way. He changes his voice a few times to make it sound more evil. He sings with attitude and is a bit raspy. He also sings in short bursts kinda like the beginging of Hallowed Be Thy Name by Iron Maiden. This makes the song sound a bit faster and gives it some intensity.

The rest of the songs just think The Dungeons are calling, but not as metal. The vocals are not as memorable either. But they do offer up some good stuff in the same fasion as The Dungeons Are Calling. Another high point of the ep is The Whip. This is a fun song with a memorable and catchy chorus. Kinda hits you the same was as The Dungeons Are Calling.

When I first heard this album I was impressed with The Whip and The Dungeons Are Calling, and I was satisfied with the rest of it, at times more than satisfied. If you get the release with the three bonus songs and the hidden song its like a full length and an enjoyable listen to. The hidden song isn't metal really but its hilarious, so check it out (kinda like spoken word bass groove). This ep gave me alot of enjoyement and impressed me for something from the early 80's. For that I give it a good score.

Note: The firs two tracks are pure heavy metal, the rest are dominatly heavy metal with some hard rock elements/influences.

Similiar too: Jag Panzer's Ample Destruction

In my opinion this is a step up from their Debut release not only in the riffs but in the bands musicianship and songwriting as a whole. They seemed more capable of writing and structuring better tunes this time around with The Dungeons are Calling. As aforementioned in the previous review this is what you will expect of a Savatage release, that is quality fucking metal from begginning till the bloody end. All of the tracks on here are indescribably amazing in every aspect. They really busted their balls with effort on this one, as you notice they even have some eerie keyboard track on the title track which add to the song nicely.

Being Savatage's second release and an EP to boot, they had alot of weight on their shoulders to top their previous record. I believe they easily beat out Sirens, as this is a much more mature release. Jon Oliva's voice has improved abit, Criss Oliva's playing has REALLY improved, and the riffs are just blistering on this one. Some of his best stuff is on here, and I suggest that every serious guitarist pick this album up, for it's bound to make all of you want to fucking quit! Yes thats right you will probably be so damn ashamed thinking that your a shitty player. The drumming is a step up from Sirens and the bass playing is tigher and more audible this time around.

Not one track should be skipped as they all are classic tracks. The line-up is the same as the Sirens line-up and they continue with the Darker themes on this one as they had created on Sirens. Look at the track names and i'm sure you'll understand what im talking about. Again i highly suggest this album to any classic metal fans who lack Savatage cds. Praising this cd is not enough, worshiping is more like the real way to go about it. I hold nothing but repect for Savatage for creating this masterpeice. Songs like By the Grace of the Witch, Visions and Midas Knight leave your jaw hanging down to your belt buckle. I often wonder what it would have been like to see them live in this period of this illutrious career. I find myself listening to this alot more than most of their 80's albums with the exception of Hall Of the Mountain King, and Gutter Ballet. The Dungeons are Calling is quite catchy, and holds a special place in my black heart.

In Conclution: YOU NEED THIS FUCKING ALBUM!!!!! Musicians (and non-musicians) WILL appreciate this one. It's quite obvious that Savatage was out to kill with this!

Best Tracks: All of Them are equally good!

The Savatage that is now is quite a bit different than the Savatage that was. The one thing that is consistent though, at least in my opinion, is high quality Metal. The Dungeons Are Calling was Savatage’s second release and was their first remarkable release of their long career. Every single song on here is good, with “The Whip” perhaps being the weakest, but more on that later.

While there were some minor progressive elements here and there, mostly in the form of build-up, The Dungeons Are Calling is pretty much a straight Heavy Metal CD, influenced by the likes of Judas Priest and Dio, mixed with a touch of their own sound. The Judas Priest influences really show up in the faster tracks, “Visions” and “The Whip”, which have that early Speed Metal mentality. The other songs are more mid-paced, but very riff heavy- a trade mark of early Savatage, with “Midas Knight” containing faster sections. The guitar work overall is excellent, mostly thanks to the late Criss Oliva. His brother, Jon, of course handles the vocals, and what a performance he gives us. Delivering about 3-4 different styles that seem to always fit the song and mood. The arrangements and riffs are just so damn clever on the title track, “Midas Knight”, and “City Beneath The Surface”; they are instantly memorable and the songs never get boring, and for that matter, the whole CD never gets boring. Each song is also interesting from a lyrical standpoint, with the possible exception of “The Whip” which is more or less a song about S&M. It would be pretty bad if it weren’t for the quick pace and solid guitar work. This is just great US Heavy Metal, plain and simple.

There are a couple of versions floating around. The original only has 6 tracks (my only complaint about this CD, thus making it lose some points), however, mine has 8. I have the ’94 remaster which features a track called “Fight For Your Love” which despite the very raw sounding production is a very catchy, Heavy Power Ballad. The second bonus track is a live version of “Sirens”. “Sirens” is of course the title track from the debut, and much like all Savatage songs, this track sounds even better live… an excellent addition to the CD. I highly recommend you pick up the ’94 remaster, or the newest remaster, which I believe has some live tracks. The only bad thing about the ’94 remaster is the miniscule booklet, which features a R.I.P. tribute to Criss Oliva, but no lyrics, band pics, or recording information. Ultimately, this is one of my favorite early 80’s Metal releases, and should be a must have for fans of 80’s Metal.

Song Highlights: All of them