Thundersteel

Riot's Thundersteel is one of the purest distillations of heavy metal I can think of. This album storms out of the gate and doesn't truly let up throughout it's concise 46 minute runtime. I don't feel many albums deserve the 100% (though my review history may differ on that at the time of writing), but this one earns it.

Riot is a band that knew no shortage of turbulence throughout their decades of activity. They went through members faster than I can recite them, but this album represented the band's closest foray to a consistent lineup, as the following album had all the same members. This lineup (with the ever-persistent underdog Mark Reale on guitars leading the way) manages to sound like a well-oiled machine throughout Thundersteel.

I first stumbled upon this album via Angrymetalguy's "Yer Metal Is Olde" article a few years ago, and had not heard much Riot other than the 2 (relative) hits "Fire Down Under" and "Swords and Tequila." I knew the band often had rather hilarious album art, but didn't know much about their music. I gave "On Wings of Eagles" a shot and was stunned. How had I missed this album up until that point?

After tracking down a CD of this album, I began listening to it on repeat, and each playthrough seemed to be better than the last. While not a hard album to get into, this album throws earworm after earworm at you, and it's easy to miss them at first glance. This album often gets classified as power metal, which I think is fair, but for those weary of that subgenre like myself, don't run away at the mention of power metal alone. If you enjoy Iron Maiden's gallop, there's something here for you. Tony Moore's vocals also truly shine here, and are a bit more easygoing than Rob Halford's rather frenentic "Painkiller" performance (which I absolutely adore). I typically stick to the more extreme metal end of the spectrum, but this album, alongside Helloween's first 3 full lengths, Savatage's great run of albums through the '80s and '90s and Cirith Ungol's discography all wave the flag high for heavy metal/power metal.

I want to touch on the production of this album, as it's an oddity in that regard. Roughly half of the songs on this album have Mark Edwards on drums (Fight or Fall, Sign of the Crimson Storm, On Wings of Eagles, and Bloodstreets). I find that these 4 songs sound a bit different. Mark Edwards' drumming is most distinct on "On Wings of Eagles," where he achieves a shuffle-like sound with his double-kick work. The guitar tone on the songs with Edwards on drums is a bit crunchier, and the palm-muted tone has a bit more heft to it. As well, the bass sticks out significantly more on these tracks, and even inserts a number of fills. This makes the stringed instruments much thicker, and the bass tone in particular truly complements the low-end and fills out the sound nicely. This is one of my favourite metal albums for bass tone just off these 4 tracks alone.

On the rest of the songs, Bobby Jarzombek does a great job behind the kit. However, the production on the 5 songs with Jarzombek on drums are different in terms of production. They sound a bit thinner, and the drums have a bit less reverb overall. The bass still sticks out on these tracks (especially Johnny's Back), but the tone isn't quite as thick as the Edwards tracks. The guitars still sound fantastic, but the palm-muted tone in particular is not quite as thick. As a small aside, the vocals sound like they're mixed about the same between the otherwise different sounding instrumental backdrop as far as I can tell.

Now, I think if you truly needed to encapsulate why people love metal, just play "On Wings of Eagles" and "Bloodstreets" off this album. On Wings of Eagles is a raging track with soaring vocals, throbbing bass, and truly grabs the listener from the drum intro. Bloodstreets shows the more dynamic side of both metal and this album. It features acoustic guitars, whistling, and a small touch of synthesizer before picking up to a mid-tempo trot. I think this album expresses the triumph over perpetual underdog status that Mark Reale had struggled with for years. Bloodstreets' lyrics seem quite poignant in the context of the band's history up to this point. Keep in mind, Mark Reale had left New York City by the time he was writing Thundersteel, and had essentially given up on Riot. He formed a new band down in Texas called Narita with a whole new lineup before reconfiguring the band into the new incarnation of Riot.

This is not to dismiss the rest of the album. After all, it's getting the venerable perfect 100%. Each track justifies itself and adds something a bit different. While I have always held side B a bit over Side A, there is no weak spots to be found here. While not an experimental album in the typical sense of the word, the closer "Buried Alive (Tell Tale Heart)" expands on the template set by slower songs like "Johnny's Back" and "Bloodstreets" but adds an extra dose of atmosphere through more extensive use of synthesizer, multi-layered harmonized guitars, and bells. This track hints at the experimentation Mark Reale would go much further with on the next couple of albums.

While Riot would tumble back into tough times after the following album, Thundersteel represents Riot and metal at its best. For a brief moment in 1988, Riot was hungry and firing on all cylinders. This album is an absolute must-listen for anyone and everyone who loves metal.

Sometimes you just need to take a break in order to recharge your creativity. Such was with the case with Riot, as their two post-Speranza albums weren’t exactly hot. Once reformed, the band departed from their early rock-based style and this resulted into a full blown power metal transformation. Interestingly enough, I’ve heard people compare Thundersteel to Painkiller but I don’t really get that. Less clinical and more vibrant sounding, Riot sounds as if they’re having fun. In Judas Priest’s case, I’m reminded of a band that has a mid-life crisis…but that’s neither here or there.

Thundersteel introduces Tony Moore on vocals, but right away I’ll admit that he’s not a favorite. Sure, Moore’s got some range; he can scream and wail with conviction…but that’s basically all that he’s great at. Once he’s not screaming from the top of his lungs, he suddenly becomes less passionate to my ears. It’s those plain average mid-ranged vocal lines of ‘’Sign of the Crimson Storm’’ and ‘’Run for Your Life’’ that makes me wish that Guy Speranza was still part of the band. Oh, these are fine tracks, but vocally they’re not too exciting now, are they? Guy Speranza sounded like he lived for music and while he may have lacked the higher range that Moore possesses, he was definitely a superior singer. Tony Moore sounds like he's just doing his job he’s more of a one-trick pony than anything else.

Fortunately, most of the compositions fit Tony Moore’s limitations and this is an obvious advantage. The title track is all about Moore’s electrifying vocal presence and that lightning-bolt of a main riff. Metal nerds might recognize how similar the latter sounds to the main riff of Hocculta’s ‘’We’ll Play Again’’, but this song sounds clearly superior to me, so what the hell does it matter! Like an explosion of relentless speed metal, it highlights Mark Reale’s trademark style that would become notable on several following albums and you couldn’t ask for a better album opener. Granted, the rest doesn’t sound as forceful, but you still end up with several effective tunes that leave a lasting impression behind. ‘’Fight or Fall’’ is another blistering cut, with some machine gun-like riffing, thundering drum performance and an elaborated chorus. Still, it’s ‘’On Wings of Eagles’’ that features the most prominent power metal chorus between the high-octave riff mastery and if many European power metal bands followed this direction, I bet the style would have been far better off. Of course, you could tell that Riot were an American band, as ‘’Johnny’s Back’’ gets introduced by some plumping bass lines, before turning into a maelstrom of old fashioned American power metal. That Maiden-inspired main riff could have been written by several 80’s power metal bands…but that’d only be a bad thing if this style was never enjoyable to begin with.

Alas, not everything rules so hard and Riot make two mistakes that they shouldn’t have made. First of all, ‘’Bloodstreets’’ is a piss-poor ballad attempt and I’ve never understood the appeal of it. Don’t get me wrong, I appreciate it when metal bands switch gears and write something sentimental, but Riot should stick to fast and heavier cuts…because that’s what they’re best at. This is one of those ‘’let’s write a ballad in case it turns into a hit’’ kind of ballads, so you know what to expect; there’s the soft, dull verses, the heavier chorus that’s just as unimaginative and Tony Moore sounds totally unconvincing. Second of all, ending the album on an epic note is a great idea on paper, but this isn’t where Riot’s strengths lies either. Come on, a nine minute track is supposed to go somewhere, but here you end up with some random sections thrown together for length’s sake. There’s a random acoustic introduction with a cute melodic solo on top to kick things off, but unfortunately it sounds like it goes on forever. Then the track turns into a mid-paced offering with chunky, if quite unexciting riffs and you can also forget about a captivating chorus. Tony Moore gives another unimaginative performance and whines about how no one can hear him...which we unfortunately can. You'd think that Riot would compensate for that boring introduction with some actual action soon after, but unfortunately the track dwells on and on. Should have kept this track buried, boys!

Nitpicking aside, like most of the Riot albums that I've heard, Thundersteel makes a worthy listen, even if I'm convinced that it's a bit overpraised. If you'd ask me, this isn't the band's finest hour either, but we'll cover that some other time.

This review was originally written for antichristmagazine.com

Music can mean drastically different things to different people, but in general it’s safe to say that we tend to attach an emotional connection to the music we listen to. For me, there’s a handful of albums that I find myself leaning on over and over again throughout the years. Whether I’m in a rough patch of life or whether I’m just mindlessly staring at my collection unable to determine what I should listen to, it’s these handful of releases that I rely on for their sense of familiarity, and above all, for their unwavering quality. Over the years I’ve increasingly found myself turning to Riot’s Thundersteel to fill this vital role in my listening.

Thundersteel is everything and anything I could possibly ask for – it is the quintessential US power metal album. Riot blend elements of classic heavy metal, furious speed metal, and beautifully melodic power metal together into forty-six minutes of bliss. The album cycles through a variety of sounds across the nine tracks and not once does the quality dip. However, a fast paced, power metal classic of this caliber was totally unexpected from Riot at the time of its release. Shortly after they put out Born in America in 1984, Riot decided to split-up after failing to make it big. Luckily for us, Riot’s founding member, Mark Reale, decided to give it another go a few years later. Taking cues from their American and German peers, Riot triumphantly burst back onto the scene in 1988 with Thundersteel. Their early efforts like Narita and Fire Down Under were excellent, blues-tinged, hard rock based jams so something stylistically like Thundersteel was unfathomable – it represented a musical renaissance for Riot.

This musical rebirth brought with it riffs, riffs, and even more riffs. Paving the way for Riot’s comeback is Mark Reale’s astounding guitarwork. The tone is immediately set with the record’s self-titled opening track, a breakneck and technical marvel of power-infused speed metal. The following track, “Fight or Fall”, slows down the pace marginally but Reale keeps up the blistering speed to gives us a formidable 1-2 punch of an opener. From there, Riot gradually pump the brakes before the album closes with “Buried Alive (Tell Tale Heart)”, a nine minute, slow paced, lead guitar driven epic. No matter the pacing, Reale brings compelling songwriting complete with some of the best guitar solos around. The guitars are front and center with the rhythm section being de-emphasized overall. Despite this, both the bass guitars and drums are excellent with their fair share of fills and interesting moments all while driving the album forward. However, Thundersteel isn’t the masterpiece it is without the soaring vocals of Tony Moore.

Much like the guitars, the vocals are placed at the forefront of the mix and the song structures are centered around a strong vocal delivery. Tony Moore’s distinct, high-pitched voice is just the right fit for the music here. There’s an inherently uplifting quality about Moore’s singing that brings out the best in Riot’s instrumentation while simultaneously finding a way to brighten the mood. His vocal lines are unbelievably catchy and I can’t help but just find myself singing along with each listen. Stylistically, there are similarities to be drawn with Rob Halford, but a bit less intense. Overall, Moore’s vocals are a key puzzle piece in making Thundersteel such a tightly-knit force to be reckoned with.

Personally, trying to find something wrong with this album is just grasping at straws. There isn’t a single fatal flaw to be found here. The most common complaint I see brought up in regards to Thundersteel is the fact that the title track is the only one to really go at breakneck speed. This doesn’t bother me at all as there’s still more than enough speed metal elements sprinkled throughout the album to satisfy me. Whether Riot is operating at mach speed or whether they slow it down for a more emotional moment, they execute it tastefully. Thundersteel is one of those rare records where every song is both excellent in quality and truly unique while still managing to flow smoothly and contribute to the broader picture. With tracks like “Johnny’s Back” and “Bloodstreets”, there’s definitely no B-side slump here. I’ve been listening to this album regularly since my early teens and I’m still in awe at its sheer consistency. Over the years, it’s grown to fill a very special spot in my heart.

Thundersteel is the tender embrace of a loved one after a long time apart. It’s the warm, home-cooked meal following a tiring day at work. It’s hot chocolate by the fireplace on a cold, winter evening. Thundersteel is comfort, familiarity, and above all – it’s quality. I will never tire of this album. Perfect.

Album Rating: 100/100

Favorite Track: Thundersteel

Originally written for RideIntoGlory.com

Riot, moreso than any other heavy metal band in history, were in need of a comeback. The Rhett Forrester era saw songwriting that could no longer predict the future, but merely retread the past. It saw mystical blues metal martial arts devolve into a drunken barfight. Reale needed to rise up and give the world a polite-but-firm reminder that earlier efforts weren't just flukes, and that his intrepid cult following hadn't started worshipping a golden calf. Now at last we know they're real. The power of their sword we feel. Thundersteel.

A lot of people consider this album a sudden about-face for Riot that forsook their bluesy Deep Purple influence in favor of completely bananas power metal. I don't disagree with this, but I feel an urge to remind you Riot had always been proximal to power metal since the very beginning; listen to 'Warrior' and 'Altar of the King' and you'll see where the bulk of inspiration for Thundersteel came from. On the flip side, there's no getting around the fact Thundersteel is indeed the most "bananas" Riot's ever sounded up to this point. Songwriting is faster and more vibrant than ever before, with commanding riffs, majestic melodies soaring into outer space, and subject matter that stays faithful to the USPM codex of lightning, eagles, mountains, and women.

And who so mind-blowingly delivers these concepts? A powerhouse vocalist named Tony Moore whose main claim to fame is being able to hit notes higher than a Koenigsegg. In addition to one of the most potent falsettos in the history of metal, he also delivers bluesy howls in 'Sign of the Crimson Storm' and almost operatic laments throughout the poignant 'Bloodstreets'. For my money, the mightiest statement Tony Moore makes is throughout a common favorite among Riot fans; 'Johnny's Back'. The haunting anthem is propelled by expertly delivered gallops, an unforgettable chorus laced with mesmerizing harmonies, and a breathtaking solo that sounds straight out of Sad Wings of Destiny.

Hey look, I mentioned a Judas Priest album that isn't Painkiller. In case you were somehow blissfully unaware, lots of folks get off on comparing Thundersteel to Painkiller. And yes, they're both comeback albums, and both spectacular odes to the vanquishing of evil, and both conquerors of land in the outermost boundaries of traditional metal, and both consisting of three syllables. But that's really it. While they may sound similar explanatorily (that's totally a word, look it up), they're night and day musically. Painkiller is so much thrashier and more sinister, for a start. If both albums were women, Painkiller would be a dominatrix and Thundersteel would be a pious nun. With huge tits. And also a dominatrix.

What I'm trying to say is, Thundersteel is its own beast, in its own league, and on its own astral plane. This sound has been emulated over the years by albums like Phantom's Cyberchrist, and even relatively modern affair has taken cues from it, like Crystal Viper's Queen of the Witches, but it's never been truly recaptured. The sounds created here are reminiscent of literal magic, conjuring feelings of triumph and bittersweet nostalgia even throughout your first listen. And goddamn, what I wouldn't do to re-experience my very first listen.

The first thing that came to my mind after listening to this gem was something in line of "I need more, right fucking now". I kept listening to it over and over again, for a few more hours - still not having enough. Once you play it, you will not be able to stop.

Now, to the review part.
The riffage which Riot points straight at you is astonishing and there are no bad songs on this record. Mark Reale (R.I.P.) did a grand job on the guitars here. The opener's riff "Thundersteel" smacks you straight in your face, with a force you have never witnessed in your lifetime. The lead is tight, delivering the ferocious solos and licks in a way that only a few were able to achieve before. From shredding in faster tracks like "Thundersteel", "Fight or Fall" and "Johnny's Back" to superb riffs in "Run For Your Life", "Flight Of The Warrior" and "On Wings of Eagles". Featured atmosphere varies from uplifting and epic, to doom metal like in the song "Buried Alive", which caught my attention for a longer time. The intro harmony solo is one of the most emotional ones you will hear, then to change into a grim, masterfully delivered guitar assault. The diversity is really wide, which makes every riff memorable.

Hopping onto vocals now, Tony Moore's voice was the best thing to happen to this album. The power he delivers in each track can be easily compared to Manowar's early records. From softer tones on "Bloodstreets" acoustic part, to savage screams on the outro track, Tony is able to greatly keep up with the band. After listening to this album for the twentieth time, I am unable to imagine how this record would sound without Moore's vocals.

The rhythm section sounds grand and pairs up ideally. The kick drum pounds loud, getting through the whole mix with force and might, the drum fills and transitions are played wildly, fast and savage - as you would expect from Bobby Jarzombek. The patterns are dynamic, always present and leading each track to it's glorious finish. Then there's the bass. Mean, perfectly balanced and always in time, filling the low end and accompanying the drumkit. It keeps the tension towards the very end, always audible in each track, giving some nasty licks in the most surprising moments.

So to say, "Thundersteel" has opened a new chapter in history of heavy metal. It's a perfect example of how this music should sound like. Fast, dynamic, aggressive, epic and overall tight - this is how I am going to sum it up. And one more thing to add - never judge a book by it's cover, as you are going to love it soon.

Surprisingly, Riot's comeback album "Thundersteel" became one of the most memorable releases of the band, and also one of the most symbolic albums in the American power metal scene. Nonetheless, its sound is based on the melodic music of the 80's Judas Priest and Iron Maiden (at some moments, reminiscent of Lizzy Borden). That is, more focused on the European power metal sound rather than in the American. Here, the band tends to play a lot of Maiden and Priest-inspired riffs while recurring a lot to the choruses of European bands like Helloween, something quite noticeable in the title-track, which explosively opens the album through its frenzy speed complemented by its epic chorus and lyrics, once again, in an European way.

And the band did not left the speed for just one song. Other numbers like "On Wings of Eagles" tend to repeat the aforementioned pattern. That is, the epic choruses, the melodic riffs from the European scene, etc. Despite of the similarities held with the European scene, the lyrical concept is somehow different from the one used by the latter. Instead of the fanciful lyrics that predominantly filled said scene, their lyrics are more oriented to the life in the streets, the gangs, etc. But not everything here is about making speedish tracks. The band also includes some mid-paced songs and progressive numbers."Sign on the Crimson Storm" is not as European-oriented as the aforementioned songs. It slows-down the speed of the two previous songs, but its choruses are still catchy, while "Buried Alive (Tell Tale Heart)" closes the album in such an epic way keeping some the Maiden and Priest influences that plagued the entire album.

Although it seems that the album was lately released, Riot did not leave room for filling material. Their ideas seem to perfectly fit the standards of this music, and the American metallers fairly exploited their concept whilst giving themselves a higher projection (mainly in Japan). No single album in their catalogue would ever be close to the high energy projected herein, but this is not exactly the most recommended release for those who want to take a further look in the band's catalogue.

After American heavy metal band Riot went through a bit of turmoil, resulting in the band splitting up, nobody would've expected this. This is the epitome of a hidden gem, this album is already among my favorites of all time; and compared to my other sacred cows, I've known this beauty for a relatively short amount of time. The thunderous heavy metal that Riot had been playing before this was awesome, but this is ridiculously good. This is creative, fast, heavy, energetic, and everything in between. There's only a handful of metal albums that match this, and it is one of the few that are worthy of that sparkly 100%.

Thundersteel's looks are rather deceptive. Upon first glance, you would expect this to be some old NWOBHM album that nobody cared about, but this is not at all the case. In reality, Thundersteel will give any metal album you can think of a run for its money; and unless said album is by a certain band whose initials are JP - it's screwed up against this record. Right when the first screaming licks of the title track pierce your ears, you know you're in for a seriously wicked speed metal assault. This band is firing on all cylinders here, and while we're making engine metaphors - this bad boy has twelve of them. And the whole thing is turbocharged.

Thundersteel features a fearless and furious bout of speed metal that rivals the best of the best. The riffs are creative and heavy, but fast and dexterous. The rhythm section thunders along wonderfully, providing a thick slab of power that allows Mark Reale and Tony Moore to soar above with peerless glory. While everything is heavy and powerful, the music and subject matter never gets too serious (and never corny); and frankly, these songs are all extremely catchy. Tony Moore's vocals are impeccable, every chorus is utterly breathtaking and totally awesome in all of its 80's glory. The solos are in a league all their own, with Mark Reale laying down some of the most badass licks I've ever heard. The solo section of "On Wings of Eagles" is just insane. Well, it's not just a section, there's a whole slew of 'em. The song plows through your face while an endless maelstrom screaming guitar leads electrify your very freakin' soul. Honestly, that can be said about all of these, this album doesn't just have a highlight here and there - the entire record is consistently amazing.

Whether it's straightforward speed metal, mid-paced crushers, or catchy anthems you want - this album has it all. There's even a menacing, nine-minute epic to close things out. My favorite song on here is "Fight or Fall", with its awesome, pounding riffing, unreal verses, and the coolest chorus EVER. "Sign of the Crimson Storm" is way up there too. This one's a mid-paced monster featuring more awe-inspiring vocals, a remarkable set of lyrics, and a heavy yet catchy feel that never gets old. "Flight of the Warrior", "Johnny's Back", and "Bloodstreets" are all super catchy anthems featuring, you guessed it, more untouchable vocals, great riffs, and an unrivaled sense of energy combined with badass heavy metal resolve. Every song on this album is an undoubtedly killer track, nothing gets old.

Thundersteel came out in 1988, but it has a classic sounding production that is gritty and timeless. The guitars have a mean crunch that is pretty much as satisfying as it gets. The bass thunders underneath while the drums hammer along. Tony's vocals soar above everything wonderfully, but he's never too loud; the music blends with his voice excellently, adding to how enjoyable this is. One thing I will add, the guitar work is very detailed and personal sounding. Basically, you can hear the pick striking the strings, his fingers sliding up and down, and all of the guitar articulations in between. This gives the guitar a very in-your-face feel that I personally adore. The production won't hit home with everybody, but as a lover of that classic heavy metal sound - I wouldn't change a thing.

You had best run for your life from the Voldemort tank and his foxy blue companion, but there's no escape. You'll be buried alive in no time. This album is freaking insanely good. I still am losing my mind over this album. I mean, dude, this is top notch! The production, the musicianship, the songwriting, the everything, it's all fantastic. This sits near the very top of my recommendations, and if you like heavy, traditional, power, or speed metal - you won't regret snagging a copy of this. Thundersteel is an absolute masterpiece.

A streak of lightning is shooting through the air
Electric sun lights the sky
His face is frightening, so evil ones beware
Men of disaster hear his cry

And now at last we know he's real
The power of his sword we feel
Thundersteel!!

In the early 80s, Riot was quickly gaining momentum. They were opening for greatly popular acts, such as AC/DC. People who knew the band felt like this would be the next big thing. Then it was announced that the band broke up in 1985. Riot was put into a grave...or so people thought. During 1988, Mark Reale announced that he had revived the Riot name, with a new lineup and that a new album was in the works. That album became the underground phenomenon "ThunderSteel". People were expecting a bit more of the sound that Riot was known for...they were wrong. This album continues the speed metal influences but puts them at the front, along with glorious, mighty-sounding riffs, and power metal is added into the mix as well. It has a bit more of an epic sound, and it works quite well with the happier and more majestic tracks, as well as somewhat darker tracks. A bit more aggressive and dark approaches throughout the album as well. The album is heavier, and darker in some places, but the fans were surely not disappointed, for it still followed the core. The sound is quite unique in what it attempts to do (and succeeds in.)

The album starts with the energetic title track. The song has a complex riff, along with thunderous drumming and soaring vocals from Tony Moore. The guitar solo on the track is incredibly catchy, and the rest of the music compliments it. Other tracks follow this same path, such as the power metal epic "On Wings of Eagles", and the thrashy "Flight of the Warrior". But some tracks go for a slower approach, which at times can be darker, such as the gloomy "Johnny's Back", and the closing doom metal track "Buried Alive", but it can also be more uplifting, such as the ballad "Bloodstreets". The slow sound can also just have a casual mood, such as "Sign of the Crimson Storm", or the hard rock track "Run For Your Life". Due to this, the album is a bit inconsistent, but it sounds good, so it doesn't matter too much.

Overall, this album leaves the listener wondering which mood to be in, due to the changing of the sound throughout the album, but it still leaves the listener with the impression that the music is good. It is sad that this album never gained mainstream success, but it has been enjoyed by people who are fans of the underground scene for over 25 years, and it will be for years to come.

After their release of "Born in America" Riot had pretty much vanished off the face of the earth, and many were sure that the band had totally split up. Not so, for five years later, they would return with "Thundersteel", bringing with them a mighty sound that would inspire many power metal bands in the future. There are many reasons as to why many consider this album to be their best, and I can believe them. It is a force of epic power that continues to inspire even to this day and it is an example of how a band can rise from the ashes and create an album better than the ones it had created before.

There's no doubt that songs like "Flight of the Warrior" and "On Wings of Eagles" are majestic songs worthy of the mightiest warrior. Their riffs are fast and chugging and they have a powerful feel to them. In 1988, no one could have expected Mark Reale to come up with such riffs. Before "Thundersteel", Riot was simply a heavy metal band that wrote songs typical of its subgenre. Here, we have epic songs that came as more than a pleasant surprise when it was first released. "Sign of the Crimson Storm" is also a song worthy of mention. It isn't as fast as the others, but its hooks and tempo pack quite a punch and it's the song that makes everyone want to pump their fists in the air.

Rhett Forrester may have left the band for good, but Riot had found an excellent replacement. Tony Moore does an effective job in replicating Forrester's vocals while adding his own element to them, like when he hits the really high notes. "Run for your Life" sounds like a throwback to the days when Riot was a heavy metal band from the late '70s and early '80s and is just as tremendous as "Swords and Tequila". It is a hard and driving song that proved that Riot still had much of its old tricks when making big changes in their sound.

While other bands during the '80s were signing deals to major labels and abandoning their good sound for horrendous '80s pop, Riot decided to make its next album even better than the ones that preceded it. They added faster tempos and mighty-sounding riffs to their songs and creating sounds that not a lot of bands at the time even attempted. This album was truly ahead of its time when it was released and it's deserving of its title of one of the best power metal albums ever made.

I'm not familiar with all of Riot's immense catalog, but if their other albums are even half as good as Thundersteel then I guess I need to check them out because this album rocks. There's a certain feeling, an attitude that it gives off that alot of similar albums lack. The songs are mostly all fast and in your face, the production is good, maybe a bit raw but it fits the album nicely. The musicianship is great, the guitars are frantic but still have a nice touch of melody. The drums are also great, lots of fills and good cymbal work. The bass is inaudible though, as with so many metal albums from the 80s. Vocalist Tony Moore takes a little getting used to, he has a very over the top style, lots of high pitched squeals. But he sounds good when he needs to(especially on "Bloodstreets.")

The album starts off with a good 1-2 punch, "Thundersteel" and "Fight or Fall." Both are high energy, speed metal monsters. Most people seem to praise the title track, but I actually prefer "Fight or Fall" while not as fast, it is incredibly catchy. "Sign of the Crimson Storm" changes things up a bit, well alot really. It's much slower, almost sounds like late 70's hard rock like Deep Purple or something, catchy fucking chorus though. "Flight of the Warrior" picks up where the first 2 tracks left off, it's very fast speed metal, and probably my second favorite song on the album. The verses are great, the chorus is just plain infectious, and the banshee wail near the end is amazing. Skip to 3:52 to see what I mean, "the flight of the warri-aaaahhhhhhhh yeah!!" "Johnnys Back" is another rocker, not as fast as the other tracks, but not as Deep Purple-ish as Sign of the Crimson Storm. Good vocals, aggressive drumming, and another catchy ass chorus.

Then onto the pinnacle of the album, "Bloodstreets." It's a much softer song, even with a little acoustic part at the beginning, but once it gets going it picks up pace a bit. The chorus is absolutely god-like, one of the most catchy things I have ever heard, Tony Moore must have been channeling Bruce Dickinson to pull this off. He can be a little annoying at times but he is perfect on this track. The two solos are fucking epic, everything about the song is awesome. "Buried Alive" is an awesome closer, I'm a fan of Poe so I really enjoyed this one. Using quotes from "The Fall of the House of Usher" and lyrical themes obviously inspired by Poes many tales of being buried alive. The song has a nice slow chug to it, almost Sabbath type riffs, great closer.

Truly one of the great, classic albums of the 80s, and comparable to some of the big names like Priest, Maiden, etc. And even better than alot of the big name releases from the 80s. Can't recommend this one enough, it has a bit of everything, which makes it highly accessible. I have some good memories of driving to work on a sunny summer morning with "Flight of the Warrior" blasting. Anyways, get this album if you don't all ready have it, you won't regret it.

This album has gotten quite a lot of raving reviews in the past months, so it seems as if some people have come to the same conclusion as I, namely that this is indeed one of the finest efforts metal has to offer. But before I discuss its musical content, I’d like to lose a few words about its artwork. In fact, Riot’s sixth studio album is bullet-proof evidence that looks can be deceiving, since on the outside it looks totally hideous. There’s no way to sugarcoat this. The front cover is adorned with a poorly done, if not downright laughable comic drawing that looks like it was rejected by the fine folks at Marvel Comics (who can blame them?!), while the back cover features an incredibly goofy band picture that epitomizes everything that was NOT cool about 80’s heavy metal. Oh, and did I mention it’s set against a pink (!) background? What were they thinking?! Well, at least the artwork is quite unique, you have to give them that!


Alas, on to the music. Once you’ve digested the initial shock that inevitably results from your first encounter with this somewhat idiosyncratic packaging, and you’ve given the record its first spin, you’ll realize very quickly that the music on Thundersteel is as every bit as brilliant as the artwork is horrible. I’m not exaggerating when I say that this is one of the finest moments of American power metal, hell, even of heavy metal in general. Yes, it’s that good. Everything a veritable classic needs is right here: raging speedsters (the title track with its all-out speed metal assault, Fight or Fall, Flight of the Warrior, On Wings of Eagles, Run for Your Life), stomping mid-tempo smashers (Sign of the Crimson Storm, what an anthem!), a little more light-hearted heavy rock tracks (Johnny’s Back), semi-ballads delivering a good portion of that typical 80’s cheese (Bloodstreets – hey, it may be cheesy, but it’s soooo much fun to sing along with) and bold epics (Buried Alive/Tell Tale Heart). Lack of variation certainly isn’t an issue here.


Neither is there any doubt regarding the musical prowess of the band. Everything is executed to perfection, with particularly band leader Mark Reale putting on quite a show and demonstrating he is one hell of a guitarist. His shredding yet delightfully melodic solos are a real(e) highlight. Singer Tony Moore has an awesome voice that fits the music perfectly. His vocals are pretty high for the most part, but he always remains firmly in control, never pushing it too far or even becoming annoying. It’s a shame really the guy only recorded two studio albums with the band, since he was arguably the best frontman Riot ever had.


As to the production, it’s actually very good considering the time this was released. It packs a pretty good punch, even with regard to the bass drums (a weak spot with many 80’s albums), and is very clear without sacrificing a certain raw edge.


Naming any personal favorites is almost futile as this recording contains absolutely no fillers and the songwriting maintains a consistently high level. All songs are so full of energy and memorable passages that you’ll find yourself pumping fists and screaming along in no time. The only song I didn’t enjoy right away was the closer Buried Alive, since it’s not as straightforward as the others and takes some time before it really gets going. However, after a little while it really got stuck in my head and I realized that this intricate epic is in fact the ideal way to finish off this masterpiece of an album.


In the end, all I can say is that if you should happen to stumble upon this gem, don’t get fooled by the silly cover, but do yourself a favor and pick it up. Classic heavy/power metal doesn’t get much better than this!


Choicest cuts: All of them, of course.

Wow. I've had this review sitting and stewing for about 4 months now, and I guess the time has finally come to finish it.

In 1990, Judas Priest released their metal megalith titled Painkiller upon an unsuspecting world, and it blew everybody away. That is indeed a very good album and easily a classic. Yet this album, which is along the same lines, had been there two years before that well known album was put out, and it absolutely slays. Riot are one of, if not the, oldest American metal bands, formed in 1976. This was their 1988 output, and it's the first album I've heard from the band. With the classy, stylish soloing and speed metal riffage courtesy of Mark Reale, the mystical, nostalgic rhythm team of Don Van Stavem and Bobby Jarzombek, and the otherworldly shrieks of the absolutely godly Tony Moore, Riot end up with an aurally pleasing combination of 1 part 70s classic rock, 1 part mid-80s Savatage, 2 parts traditional Judas Priest sound, and a few bushels of complete fucking speed metal insanity! Thundersteel is one of a kind.

The songs here are all insanely creative, catchy, and really damn cool. The vocals are extremely addictive, and will stick in your head even after one or two listens. Tony Moore may be a Halford clone, and he may pale in comparison to Midnight of Crimson Glory, but he's no less than amazing, just a small step below Halford. That's saying something, too. I wonder why we never saw Moore in any other bands. He was a very promising talent. The guitar lines are absolutely spectacular; searing and crystal clear, and they really remind me of the equally cool ones put out by Criss Oliva around the same time period in Savatage's best albums. See "Fight or Fall" and "Run For Your Life" for the best Savatage comparisons, and tell me those couldnt've been on Hall of the Mountain King.

In "Sign of the Crimson Storm", they have some extremely strong semblances to Deep Purple and 70s Judas Priest with the riffs and vocal melodies. When they combine those influences with some breakneck heavy metal (the solo), it makes for an extremely enjoyable sound that I can't get enough of. Fucking great song. The title track rivals anything on Painkiller and it's a high-speed burst of metallic fun and fury that I can't get enough of. And the lyrics of "Johnny's Back" combined with the rebellious 80s metal style of the song make for one of my favorites, too. "I am your maaaaaaan!" "Bloodstreets" is a semi-ballad of sorts, but it still ends up rocking, and "Flight of the Warrior" and "On Wings of Eagles" make for a great duo of power metal virtuosity, with their most redeeming features being the high flying and glorious choruses they boost.

And no heavy/power metal release is truly complete without the obligatory epic, and Riot realized this, thus the existance of "Buried Alive (Tell Tale Heart)." It's a musical adaption of the classic Poe tale The Tell Tale Heart, and I'm just going to cut to the chase and say that Riot did a very acceptable job with the transition. It starts off with a spoken word intro that reminds me of an 80s horror film, and then eases it's way into a midpaced, darker number that was unlike anything else on this album. It takes a while to kick off, with some clear, searing guitar melodies and another spoken intro over some church bells before the pulsating, grooving riffage kicks in, but it's a damn good song once it gets going. The chorus is darker and more somber, not like the happy power metal jaunts of the rest of the album, and "Buried Alive" is generally the most involved and inaccessible song on the disc. Give it some time to grow on you. An epic and dark closing to a fine album.

The production here is obviously not as good as it could be today, but for 1988, this is a damn good recording job. Every instrument is audible and polished, not muddy or muted or raw in the least, and nothing takes precedence over the rest of the mix. There are really no complaints here at all, except that this should definetly be remastered with modern production. Holy fuck, that would kill.

This was my first taste of Riot, and I'll definetly be checking out the rest of their work in due time. Every fan of 80s power/speed metal should hear this album at least once in their life, because it's absolutely essential. If you're a fan of this kind of stuff, then Riot is your best bet. This might bear resemblances to Painkiller, but it's got a unique sound all it's own, and anyone dismissing Riot as a Priest clone might as well just keep their head up their ass, because they're missing some wonderful metal. Highly recommended.

"A streak of lightning is shooting through the air"

How's that for a title? Thought I'd throw that out right away since you really can't go through any of the previous reviews without seeing Judas Priest noted all over them. No, I don't hate Judas Priest, in fact they're among my top favorite bands. But since everyone seems to compare this album to Priest's "Painkiller", I guess I'll just be the first reviewer to simply say: "Thundersteel" defeats it. This unlike "Painkiller" comes out with absolutely nothing holding it back, nothing forcing it into play, no commercialized vibe to be found, this feels completely natural. Its pure class. And as the former reviews noted they must have taken tips from Judas Priest, well look at when Riot started, 1976. These guys are pretty dang old themselves, and I can honestly see more hints leading back to their own stuff such as "Fire Down Below" rather than other bands. But hey! Enough comparisons, this album just simply annihilates everything in sight!

When you look at Riot's genre's here at the archives, you'll see just about everything. "Thundersteel" is when they were pretty much purely speed metal, and probaby had an influence on a lot of power metal as well. The faster songs on here such as the opener and self-titled track "Thundersteel" are blazing fast, and the insane solo's just rip. As most can say, when it comes to technical virtuosity with the guitar work, this is hands down some of Mark Reale's best work. Throughout several songs especially such as "Fight of the Warrior" you'll get some awesome shredding in the background as well, and the leads and solo's themselves are innovative and completely original.

Vocalist Tony Moore is often regarded as one of Riot's finest, if not the best one they ever had. Although his singing style is pretty similar to a lot of other melodic vocalists out there, he has his own texture and vibe to his voice. He comes out so lively and gives so much energy into his singing its nearly incomparable, and there's just not a lot of vocalists who can soar with those high notes as clearly as he does. With the music itself, he fits absolutely perfectly. The lyrics are extremely easy to hear as well. As noted above Mark Reale's guitar work on here is hands down his best, technically, and its extremely unique. Every song has their own distinguished riffs and never tends to sound like something that's been done before. As for the bass, it never really tends to stand out as much as other things here, but its not bad at all. Bobby Jarzombek works the drums perfectly and builds upon the speedy sound that they were going with here. They're fast and as proud as ever. Everyone gives more than 100% here.

The production is probably in the higher B range, or maybe lower A quality. There's a few times where it may be a little hard to hear Tony, or something just doesn't seem right. I've heard a few albums from this time that are better production wise, but really its not that bad at all. No complaints here. Its consistent as well and the quality between songs doesn't jump around thankfully, and each instrument is pretty clear, especially Moore's vocals. It just -could- be perhaps a little better in the end.

There's no argueing there's quite a rock vibe to the music from time to time, something Riot has always been known for. In this case though, its like sped up rock with tracks like "Sign of the Crimson Storm", "On Wings of Eagles" and possibly "Run for your Life". I think the vibe comes off from Mark Reale's writing and guitar playing, but tracks like these are undeniably catchy and Tony Moore's singing is as proud as ever. The more aggressive tracks "Thundersteel", "Fight or Fall" (always been my personal favorite), "Flight of the Warrior" and maybe "Johny's Back" are far more speed metal than the rest, and these tracks are totally destructive in every way. "Bloodstreets" is a slow song that I actually really enjoy, regardless that I can't help but think of the Scorpions when I listen to it, its a sin perhaps. Tony Moore again gives off an incredibly emotional performance with that song and really takes the spot light. The final and longer track "Buried Alive" starts off with one of those generic TV intro's, and then gets into some incredible soft shredding and builds up to quite a monster. A very diverse song and even pretty dark at times. From the beginning and to the end, this album is an unstoppable force. Practically every single track is unforgettable in its own way, with each song being unique and dynamic and jam packed full of power and energy.

In the end, "Thundersteel" is often seen as a speed metal classic, and rightfully so. Its an extremely high calibur album with a natural and effortless feel to it. With no low points at all, you really can't go wrong with this legendary release. Riot's other releases jump around tending to fall into the hard rock genre from time to time, and their newer stuff is way more dynamic than this, but don't turn your back on trying this one out just yet. Its truly something else, and at times a little surprising something like this came from this band. But it did, and man does this album just trample over everything in its path! Recommended to just about any metal fan of any kind.

Riot has always been ahead of the curve, be it their powerful riff machine, or their unapologetic status as pioneers in the speed metal genre. I would like to take an opportunity to differ once again with the common viewpoint here, this is not “almost” Painkiller 2 years before; it is its doppelganger, at least in terms of kick ass aggressiveness and image. It is a more musical and complex answer to the thrash genre that it fathered; its spirit is that of a triumphant warrior cutting down its foes. While the heroic Painkiller soared through the sky putting fear into the hearts of his enemies, Thundersteel’s half-cyborg/half-tank body stood tall to face them on the ground.

In 1988 metal was mostly known by its image, and if you judge these guys by that alone, they look like the bastard sons of Motley Crue and Judas Priest. But when Tony Moore blasts his high banshee voice into the microphone, he sounds like a crazed Viking Berserker ready to behead an army of frightened Romans. Mark Reale, the only remaining originator of this outfit, wields his guitar like a battle axe and challenges the likes of K.K. Downing, Dave Murray and Ross the Boss. Bobby Jarzombek, who is well known for his work with Rob Halford’s solo project, as well as several other bands, gives the performance of his life on here. Don Van Stavern keeps the bottom end solid and has a wicked bass intro in “Johnny’s Back”.

There is never a dull moment on this album, from start to finish it grabs you by the throat and commands you to praise the Gods of Metal. Be it the fast as hell title track, which rivals anything Judas Priest has ever put out, or the more moderated Deep Purple riff monster “Sign of the Crimson Storm”, it screams metal. You’ve got an anthem of rebellion and non-conformity at warp speed like “Johnny’s Back” in the running, or the Manowar inspired heavy ballad “Bloodstreets”, which gives Heart of Steel a run for its money. “Fight or Fall” and “Flight of the Warrior” have memorable choruses and plenty of amazing lead work, all done by the original speed metal riff man Mark Reale, while “On Wings of Eagles” is a better produced version of something you might find on Kill Em’ All.

We’ve got two highlights on this album, both of which are a good bit different than the lion’s share of speed driven songs on here. “Run for your life” is an upper mid-tempo crusher with tons of great lead guitar work, but it’s true charm is the chorus, which reminds me a bit of the high/low vocal interchanges that you hear on Dio’s early material. “Buried Alive (The Tell Tale Heart)” is actually a bit reminiscent of Crimson Glory’s work on Transcendence, which came out the same year that this did. You’ve got a rather odd spoken intro with a clean and somber guitar line, followed by some brilliant twin guitar soloing (all done by one guy, just the same way Tony Iommi did it). After 3 minutes of mind-blowing, we get a slow and evil sounding groove that grows into a brilliant homage to the NWOBHM, names like Iron Maiden and Angel Witch come to mind.

In conclusion, this is a piece of metal history that demands to be listened to. If you are a power metal fan who lives for speed and melody, get your tight jeans wearing ass to the store right now. If you’re a holdover from the glory days of traditional metal and you don’t have it, get it now or risk having your credentials as a metal head questioned. If you love thrash with attitude, this gives the bands that carry that label a run for their money. Fans of Judas Priest, Manowar, Helloween, Running Wild, and Iron Maiden in particular will love this. There is a new power alive in the distance, carrying a fully charged plasma cannon, followed by an army of true metal warriors, and his name is “Thundersteel”.

Back in 1988, in New York, I received an advanced cassette copy of what was the first Riot album since" Born In America". "Thundersteel" remained in my cassette deck till it literally wore out. This was Riot's first foray into the speed/power metal genre and their efforts were astounding.

Featuring a revamped lineup with the exception of mainstay Mark Reale, the new Riot took heavy metal to new technical heights. The title track is absolute 95 MPH speed with a terribly catchy riff. The solo is long and classically oriented with a familliar Accept "Fast As A Shark" like segment. Tony Moore's voice soars high and clear over everything. The bass work by Don Van Stavern is excellent as is the precision drumming by Bobby "The Zombie" Jarzombek. " Fight Or Fall" continues the frantic pace. "Fight or fall, in the name of the children, fight or fall in the name of us all" screams Moore, and he means it too! "Sign of the Crimson Storm" is a much slower Sabbath type offering that is excellent as well. "Flight of the Warrior" and "On Wings of Eagles" take us on the manic ride again at 85 MPH. How could a metalhead not love lyrics like "Heat seeker flash headed straight for your heart, one finds the mark and a fireball rocks the sky; men and machines sweet and deadly we are, we rule the wind on titanium wings"." Johnny's Back" is next up. It is very catchy and probably could have been a radio hit for Riot. "Tell the boys to step aside, tell the girls to form a line, the king is back to claim the land again". "Bloodstreets" is a fine ballad, slow and yet powerful at the same time, another "should have been" radio hit. "Run for Your Life" is really the only weak song on the album and it seems like the band needed to fill up four minutes of time on the record. "Thundersteel" concludes in creepy fashion with "Buried Alive (The Tell Tale Heart)", a story of a man who awakens in a coffin at his own funeral. You even hear the sounds of the wake going on outside the coffin! While not a great song, it is good and brings to a close a near-great effort by a very fine group of musicians.

This album was not given the promotion it required by CBS and while it charted in Billboard, it died a quick death. The band of course continued battling onward, fighting the good fight and never compromised. Thundersteel is a fine representation of Riot in 1988, or for that matter in 2006. Spend your money on this excellent piece of music."

These guys have definitely heard of Judas Priest. Especially in the vocals department! Riot broke up in 1984, and were reformed in 1986 by sole remaining founding member Mark Reale, who recruited, among others, Harry Conklin. Harry left the band, and in came someone even more screaming and over-the-top: Tony Moore! The vocals here are very close to those of none other than Rob Halford, and when one throws in some blazing guitar work, and the drumming of none other than current Halford stickman Bobby Jarzombek, it's total fucking Judas Priest worship.

The first few songs on here are wicked fucking fast - almost Painkiller 2 years before the fact. They're catchy, and have nice lead and rhythm guitars, especially the main riffs on "Flight of the Warrior". It is on the fifth song where we slow down just a slight bit. "On Wings of Eagles" has almost a Deep Purple-on-crack sound to it (almost, but not quite that of Judas Priest, from "Screaming for Vengeance" era).

Side two begins features "Run for Your Life" (actually the second Riot song by that name, completely unrelated to the first, from the "Fire Down Under" album). This may be the best song on here - fast, furious, and a killer guitar solo. We close with the epic "The Telltale Heart", which is 9 minutes of fun. More midpaced than anything else, and the riffs have almost a thrash intensity to them.

Overall, quite a nice fucking album. I got this on tape once for 49 cents - fucken bargain, huh? Oh and don't let the band picture throw you off... yeah they got the silly big hair, but this album fucking shreds!!