Great Metal Albums of 1988: Riot- Thundersteel

In most cases, bands who try to be all things to all people on an album, usually fail on all accounts. People like putting things into nice little pigeon holes and if they can’t then it’s ignored. However, in the case of Riot’s “Thundersteel” album, they did that very thing successfully. The band intentionally took parts of everything metal had to offer in the 1980s, put it all together on one album and the result was a smashing album.

Riot took a long break in the mid 1980s. “Thundersteel” was their first album since the 1983 “Born in America” album and maybe that worked to their advantage when recording the album. The reason for the band’s five year inactivity isn’t known but Riot was one band that always seemed to be one album away from achieving superstardom, which always seemed to allude them. So, it can be speculated that since Riot had no label put on them, there was no pressure on them to sound a certain way.

What Riot did was pay attention to what was going on in the metal world and take all the best pieces of everything and put it on the album. The album kicks off with a very thrash metal sounding title track which definitely gets the blood pumping and lets you know that in no uncertain terms, Riot are back. An example of doing things right on the album comes in the form of the second track, “Fight or Fall.” Unlike some bands who might stick a ballad after the thrash metal, (yes, fools) “Fight or Fall” is a very strong power metal song and I do emphasize the power.

Next comes not only the best song on the album and proof that Riot knew exactly what they were doing, “Sign of the Crimson Storm.” Not only is it the best song on the album, it’s my second favourite Riot song of all time. Number one goes to “Swords and Tequila” from the “Fire Down Under” album. On this track, Riot successfully combine power and progressive metal. You get power chords and melodic parts together and Tony Moore’s soaring vocals add the right kind of spice to it.

You get speed metal on “Flight of the Warrior” only slowing down for the choruses. The rhythm section is spot on here and shows you can have a bit of fantasy with some speed and that speed carries on with “On Wings of Eagles.” The chorus isn’t as melodic as its predecessor but it doesn’t have to be as the drums and guitar riffs totally beat you to death. Then we come to the hidden gem, “Johnny’s Back.” A groovy bass line starts it off and then Riot show why they are considered by many as a power metal band. There’s power galore in this tune from start to finish and a very interesting guitar solo from Mark Reale.

After six songs, one might be wondering if Riot incorporate everything, where’s the token ballad? Well, the closest they come is on the very soft acoustic intro on “Bloodstreets.” However, that intro is short lived as things go into early Judas Priest territory and I think Riot would have made Priest proud on this one. They stick to that formula with penultimate track, “Run For Your Life.” In fact, Tony Moore’s vocals are very similar to Rob Halford’s on this one. “Thundersteel” closes with a very progressive “Buried Alive (Tell Tale Heart)” which is the longest track at over eight minutes. It starts with a funeral and then some more spoken words backed up by a cool lead guitar riff. All right, if I haven’t done so in the past, I will add Mark Reale to my list of great under appreciated guitarists. The song goes way out there in the progressive concept world. It’s a take on Edgar Allen Poe’s “The Tell Tale Heart” and Riot put a good metal spin on it, making it the perfect closer.

Track Listing:

1. Thundersteel
2. Fight or Fall
3. Sign of the Crimson Storm
4. Flight of the Warrior
5. On Wings of Eagles
6. Johnny’s Back
7. Bloodstreets
8. Run For Your Life
9. Buried Alive (Tell Tale Heart)

Riot

Tony Moore- vocals

Mark Reale- guitar

Don Van Stavern- bass

Bobby Jarzombek- drums

And because I didn’t put this one on the post when I posted about the “Fire Down Under” album, I’m including it now.

In Riot’s case, maybe the five year layoff was a good thing because they came back with a blinder of an album in “Thundersteel.” While it still didn’t propel the band to superstardom, it’s still a great album.

Next post: Armoured Saint- Saints Will Conquer

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Great Metal Albums of 1988: Megadeth- So Far, So Good, So What

After a couple of lite metal albums, I thought I would go full on thrash with Megadeth’s “So Far, So Good, So What” album. Just like in 1986, what is now known as ‘The Big 4,” put out cool albums in 1988, although I won’t say they were pivotal in the careers of any of the Big 4 bands. And though it’s not intentional, having covered the albums of the other three bands, Megadeth is the last of the group whose album I’m writing about. I did the same in 1986 and I swear it just happened that way.

Megadeth went through some lineup changes following their previous blockbuster, “Peace Sells But Who’s Buying” album and this one. Drummer Gar Samuelson and guitarist Chris Poland were dismissed from the band for disruptive behaviour. Dave Mustaine claimed that Poland was selling the band’s equipment in order to score drugs. Samuelson was replaced by the band’s drum technician, Chuck Behler, although Slayer drummer Dave Lombardo considered joining the band. Mustaine would go through a few guitarists before sticking with Jeff Young. Apparently, Slash was considered.

“So Far, So Good, So What” begins with a lot of fanfare on the instrumental “Into the Lungs of Hell.” I like this song because it shoots down the Duranie belief that heavy metal musicians can only play three chords. It opens with a medieval sounding intro and goes a bit progressive at some points with the guitar even venturing into Joe Satriani territory. However, it retains the aggression which Megadeth has been known for. That aggression increases on “Set the World Afire.” It begins with a fast and furious intro slowing down to some cool riffs and the always sinister voice of Dave. It’s the first song he wrote after being fired from Metallica.

One song which has been the focus of much debate is the cover of the Sex Pistols classic, “Anarchy in the UK.” Some say that this was evidence that Dave was running out of fresh ideas while others praised the band’s cover of the song. I agree with the latter, it’s a great cover of a classic and bringing in Sex Pistols guitarist, Steve Jones, to play on it was, in my view, a stroke of genius. Megadeth go a bit concept on “Mary Jane,” which is a song about a witch who was killed by her father and cursed so that if anyone disturbs her resting place, they would suffer instant death. There does seem to be a lot happening at once in the song, the lead guitar in the background borders on distracting but that improves when that goes and the band gets down to business.

If you have ever been pulled over by the cops, then you might appreciate the theme of “502.” It’s the California code for drink driving, something Mustane would get busted for in March of the following year. It’s a fast paced speed metal song with some good guitar work. This is one you can play when driving down the highway at 90mph. If you don’t have a car, then it’s also good for a mosh pit. “In My Darkest Hour” was written in response to the death of Cliff Burton. The mood is set with the gloomy acoustic guitar intro followed by some harsh power chords. This song would have fit well on Metallica’s “Black Album” but Dave’s sinister voice puts the Megadeth stamp on it. The rhythm guitar on this song is very catchy, hypnotic even and it gets my vote for song of the album, especially with the guitar solo.

“Liar” is directed specifically at Chris Poland and Dave’s belief that he was selling equipment for drugs. It does have a cool guitar riff trade off at the beginning and the rhythm section really shines on it. I do love the line, “Your girlfriend got herpes” and the guitar solo which follows the line “You fuckin’ liar.” Bassist David Ellefson lays down a great bass line on the closer “Hook in Mouth.” The line is backed up with some cool thrash metal riffs and a guitar solo tradeoff. Pure thrash and the best way to end this album.

Track Listing:

1. Into the Lungs of Hell
2. Set the World Afire
3. Anarchy in the UK
4. Mary Jane
5. 502
6. In the Darkest Hour
7. Liar
8. Hook in Mouth

Megadeth

Dave Mustaine- lead vocals, guitars

David Ellefson- bass, backing vocals

Jeff Young- guitars

Chuck Behler- drums, percussion

Additional Musicians:

Steve Jones- guitar on “Anarchy in the UK”

It has been said that “So Far, So Good, So What” is largely overlooked in regards to other Megadeth albums. I admit that I am guilty of this as well, so I am glad that I went back and had a great thrash out.

Next post: Riot- Thundersteel

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Great Metal Albums of 1988: Europe- Out of This World

If you thought Stryper had toned down their hard rock sound with the “In God We Trust” album, then you might really think Europe had gone even softer with their “Out of This World” album. I do not debate the ‘lite metal’ tag which was placed on them with this album. Then again, Europe were never a metal band as we would think of today. But that was the 1980s for you, where anything with a power chord was branded metal. Sorry if I keep repeating myself on that point.

“Out of This World” opens with one of their most noted hits, “Superstitious.” This melodic almost power ballad hit number one in several countries. If they had never recorded “The Final Countdown” this song would have been the one people would have identified most with the band. They do liven things up with “Let the Good Times Rock.” This track puts the metal in the tag which was placed on them. It shows that Europe could really rock out if they weren’t too caught up in chasing hits. Guitarist Kee Marcello puts his stamp all over the song as he just jams away with some cool solos and riffs. It was released as a single in the UK but only got to #88 in the charts.

With the album opening with all four singles, the next track is “Open Your Heart.” It starts off as a ballad but then rocks out more in the chorus and trades off back and forth throughout the song. I do like Marcello’s guitar work on the ballad parts. It is most noteworthy here. The fourth single, “More Than Meets the Eye” was only released in a few countries. This is an up-tempo rocker but the guitar is turned down too much and the keyboards turned up too much. In some places, it sounds that Europe were trying to attract the synth pop fans but it does rock enough on the rest of the song to not become a danger. Also, only four songs in and I’m getting quite impressed with the guitar work of Kee and rather impressed by the bass work of John Leven.

Getting past the singles, the search for the hidden gem begins. “Coast to Coast,” while a decent power ballad, isn’t it. This one puts the ‘lite’ in the tag given to the band. “Ready or Not” has that potential and it’s great that Europe haven’t forgotten they were a metal band with this one. Some might call it filler but I think it gets the blood pumping again after so many ballads. It also has another cool guitar solo for me to like.

When I hear the piano intro on “Sign of the Times,” my first impression is, “not another power ballad,” but it’s not the case. While not a total metal-fest, it’s a nice melodic rock song. It keeps the blood pumping. “Just the Beginning” proves that you can use keyboards effectively in a good metal song. They compliment the guitar, bass and drums very well. I do like Ian Haugland’s little drum roll.

It only took five songs to get to the hidden gem, “Never Say Die.” Okay, I am the first to admit there’s a bit of a “Rock the Night” vibe to it but that was my favourite track from “The Final Countdown” album. Each member of the band gets to shine on it and I particularly love how the keyboards solo goes straight into the guitar solo. Great work Kee and Mic! The rock-fest carries on with “Lights and Shadows.” This is yet another song which proved that Europe had the tools to rock when they wanted to. Further proof is with penultimate track, “Towers Callin.'” This song has a definite rock swagger to it with a strong bass line and another cool guitar solo. I won’t complain that the album closes out with another ballad because the piano on “Tomorrow” has a haunting effect which makes it a good way to end the album.

Track Listing:

1. Superstitious
2. Let the Good Times Rock
3. Open Your Heart
4. More Than Meets the Eye
5. Coast to Coast
6. Ready or Not
7. Sign of the Times
8. Just the Beginning
9. Never Say Die
10. Lights and Shadows
11. Towers Callin’
12. Tomorrow

Europe

Joey Tempest- lead vocals, rhythm guitar and piano on “Tomorrow”

Kee Marcello- guitar, backing vocals

Mic Michaeli- keyboards, backing vocals

John Leven- bass

Ian Haugland- drums, backing vocals

I honestly believe that if Europe weren’t so busy trying to chase hit singles, then the ‘lite’ to their tag of ‘lite metal’ would not have been applied. While there’s nothing wrong with the singles, I have always liked “Superstitious” and I highly rate “Let the Good Times Rock,” I think they were too singles obsessed because the more metal sounding deeper cuts are quite good.

Next post: Megadeth- So Far, So Good, So What

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Great Metal Albums of 1988: Stryper- In God We Trust

“In God We Trust” is one Stryper album I know the least about. I knew of its existence but I listened to it very little and now that I have had a couple of good listens, I am asking myself., “Why did I ignore this album?” I could probably throw out several semi viable excuses but that would serve no purpose because the album is far better than what I remembered way back in 1988.

My first impression of “In God We Trust,” has me thinking of a recent post by Aphoristical on bands who do really good harmonies. Well, the harmonizing on this album is superb! It could be down to Michael Sweet doing a lot of the backing vocals himself with support from guitarist Oz Fox. Needless to say, we all know what a great singer Michael is. He, along with the rest of Stryper is my main argument against those who claim that Christian rock bands were made up of second rate musicians. As far as singers go, I put Michael Sweet in the top class along with Bruce Dickinson, Ronnie James Dio, do I need to go on? Still, the harmony vocals on this album are just great and if you want a good example of Michael’s vocals, the track I recommend is the power ballad, “I Believe in You.”

Harmonies aside, the real star of this album is Oz Fox. He just rips solos all throughout the album and while many people acknowledge his guitar playing ability, it doesn’t get shouted out as much as it should. Oz Fox is one kick ass guitarist, end of story. I could site just about every track on the album to back up my argument but I think the best track to do that is “The Writings On the Wall.” He just solos his way all throughout the track and even the rhythm guitar breaks on it are mind blowing.

Like with the previous Stryper albums, the Jesus lyrics come through loud and clear. All songs tell the listener to turn to the Lord and be saved or face eternal damnation, although they don’t use those words directly. Those of you who have been following me for awhile, know that lyrics don’t bother me. When I listen to the album, I feel no inclination to burn my Mercyful Fate albums and pour my beer down the drain. BTW, back in the 1980s, I often listened to these two bands together. I called it my ‘Heaven and Hell’ moments. Anyway, the fact that they are singing about Jesus is not important because the music behind it is just fantastic.

Jesus lyrics or not, they must have done something right because three singles were released from the album with two, “I Believe In You” and “Always There For You,” breaking into the top 100. Both of those and the non- charting third single, “Keep the Fire Burning,” are all good songs but for me, the best tracks are the already mentioned “The Writing’s On the Wall” and my vote for hidden gem, “It’s Up 2 U.” They get the nod because they both showcase Oz’s guitar work the best.

Nit picking here but one criticism of “In God We Trust” is the order. In my humble opinion, “Come to the Everlife” should have been the closer. It just has that closer vibe with the melody and certainly the melodic guitar solo ending the track and what better way to end a Christian metal album than to invite everyone to join them in the everlife. The tracks following “Everlife” are good but feel stuck on after. Still, it’s one minor point with an album which is so good in so many other ways.

My other question is why is bassist Tim Gaines absent?

Track Listing:

1. In God We Trust
2. Always There for You
3. Keep the Fire Burning
4. I Believe in You
5. The Writing’s on the Wall
6. It’s Up 2 U
7. The World of You and I
8. Come to the Everlife
9. Lonely
10. The Reign

Stryper

Michael Sweet- lead and backing vocals, guitar

Oz Fox- lead guitar, backing vocals

Robert Sweet- drums

Additional Musicians

Billy Meyers- keyboards

John Van Tongoren- keyboards

Steven Croes- Synclavier programming

Brad Cobb- session bassist

Whatever your views on Christian rock or rock from any religion, one can’t deny that with “In God We Trust,” Stryper deliver their message in cool metal style.

Next post: Europe- Out of This World

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Great Metal Albums of 1988: Briar- Crown of Thorns

With heavy metal bands being a dime a dozen in the late 1980s, it was very easy for bands to come and go unnoticed. In some cases, it was whether you were in the right place at the right time to catch a particular band. That was the case for me with UK metal band, Briar. I discovered them when I saw them open for Styper in London in 1987. Another reason why they might have not gotten true recognition is that while they were pretty good that evening, I wasn’t wowed by them either. Still, it was enough for me to check out their previous album “Take On the World” and their 1988 offering, “Crown of Thorns.”

Here’s another take from the evening, the song I remember the most from their set was “One Foot Back in the Door.” When I got “Take on the World,” I assumed the song was going to be on that album but it wasn’t. However, it does appear on this album. Here’s another idea, because they played that song, I assumed that it was going to be released as a single and it might have been. There was a vague air of familiarity when Briar played the song in London but I don’t remember it as a single. On the other hand, the song that made its way onto MTV in the US was “Frankie.” Both songs were worthy of being released as a single, they have that vibe to it but it’s the deeper cuts which interest me more.

When Briar stick with the melodic metal, which they do for most of the album, things sound really good. The opening title cut and tracks like “Back and Wild,” (my vote for hidden gem) and “Another Day in the Life of a Fool” bear witness to this. All three tracks are straight forward, let’s get down to business songs which are really good. Furthermore, one of their two covers, the one of Thin Lizzy’s classic, “The Boys Are Back in Town,” is done quite well. In fact, I’m going to step into the ring of controversy and declare that I prefer this cover to Bon Jovi’s cover of the same song on the “Make a Difference” compilation album. As for the other cover, Los Lobos’s “La Bamba,” well let’s just say that it’s pretty amusing though metalled out fairly well. I do like the guitar solo on it and Dean Cook has a nice drum fill at the end.

Again, they’re not bad tracks but “Spirit of the Wood” attempts to go a bit progressive at the beginning before going back to Briar basics. Perhaps they realized they shouldn’t veer to far away from their bread and butter. Saying that, the guitar at the intro and between the verses is quite alluring. “Empty Words” is a decent but unspectacular power ballad. Normally, I would say that the album ends with a cool closer and “Everyone’s Going Crazy” is just that. However, officially, it’s not the closer because that is the two second long track, “Fart.” Yes, it’s literally that!

One thing I can say for sure from listening to “Crown of Thorns” is that Briar were a good tight band. Kevin Griffiths has double duties on vocals and bass, just like Lemmy. His vocals are good and I can’t fault his bass playing. The guitar duo of Dave Fletcher and Darren Underwood make a great combination. I like the way they complement each other on the Thin Lizzy cover. Maybe they should have done more, even one guitar solo trade off. Drummer Dean has already been mentioned and what he does on “La Bamba” he does throughout the album. Together, they did make a good band.

Track Listing:

1. Crown of Thorns
2. Frankie
3. Just Another Day in the Life of a Fool
4. Back and Wild
5. La Bamba
6. One Foot Back in Your Door
7. Spirit of the Wood
8. The Boys Are Back in Town
9. Empty Words
10. Everyone’s Going Crazy
11. Fart

Briar

Kevin Griffiths- lead vocals, bass

Dave Fletcher- guitars, backing vocals

Darren Underwood- guitars, backing vocals

Dean Cook- drums

There are probably many reasons why Briar , like so many other bands, never made the big time. It’s basically down to the fact that they were competing in a very saturated market at the time. As “Crown of Thorns” shows, they had the tools. Oh yes, I’ve decided that in the not too distant future, I will write a Cover vs. Cover or even an Original vs. Cover vs. Cover post in reference to “The Boys are Back in Town.”

Next post: Stryper- In God We Trust

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Great Rock/Metal Albums of 1988: Dogs D’Amour- In the Dynamite Jet Saloon

Readers have ask why I will be stopping my tour of rock and metal history after 1989 and there are several reasons for this. One of which was because by 1990, I was becoming more and more aloof musically. I blame that thing called life. However, as I reflect back to that time, that thing was already intruding upon my love for music as early 1988. With a new marriage and a baby on the way, it’s easy to see why. Of course, I had my then wife telling me that I needed to stop being a prat and grow up, which I did. Now, you might be asking what does the album, “In the Dynamite Jet Saloon” by English band, Dogs D’Amour have to with it? The answer is that this album is proof of my oncoming drift away from rock and metal. I never listened to this album until now and I only knew of their big single, “How Come It Never Rains?”

The album explodes another big misconception from that time. Back then, anything with a power chord from a guitar was immediately regards as being heavy metal and with the band’s image, Dogs D’Amour were cast into that pool. Here’s the thing, “ITDJS” is not metal, not by today’s definition for sure. If there is any category they should be put in is melodic hard rock, although the Heavy Harmonies site lists them as ‘sleaze rock.’ I can go with that sentiment.

What you get with this album, is ten, (thirteen if on CD), great melodic rock songs. The songs aren’t power chords galore but the guitar work from Jo Almeida lets you know that this is a rock album. Now Jo doesn’t blow you away with blistering solos but his solos do make the songs sound good. He does play some cool guitar hooks on “Gonna Get It Right.” Furthermore, the rhythm section of Steve James and Bam provide a great foundation on which to build the music on. They especially shine on the track, “Medicine Man.” Plus Steve has a nice little bass line on “Gonna Get It Right.” Lead singer, Tyla, is another reason why Dogs D’Amour can’t be called metal. He doesn’t hit the high notes like a Gillan or a Dickinson but he doesn’t need to.

Two other tracks, “I Don’t Want To Go” and “The Kid From Kensington,” were also released as singles. The thing is, while both are cool songs, it’s the deep cuts which really make this album so enjoyable. Guitar, bass and drums come together to make “Everything I Want,” the hidden gem and that’s after beating off some stiff competition from the already mentioned “Gonna Get it Right” and “Last Bandit.” I haver heard many rock albums which were very easy to listen to but Dogs D’Amour make “ITDJS” a very enjoyable listen.

Track Listing:

1. Debauchery
2. I Don’t Want to Go
3. How Come It Never Rains
4. Last Bandit
5. Medicine Man
6. Gonna Get It Right
7. Everything I Want
8. Heartbreak
9. Billy Two Rivers
10. Wait Until I’m Dead
11. Sometimes
12. The Kid From Kensington
13. The State I’m In

Note: Track 11-13 were only available on the CD version of the album.

Dogs D’Amour

Tyla- lead vocals

Jo ‘Dog’ Almeida- guitar

Steve James- bass

Bam- drums

Dogs D’Amour and the “In The Dynamite Jet Saloon” is a classic case of better late than never with me. I feel I should kick myself for missing out on this cool album when it came out the first time. Note: when I have posted the last album of 1989, I will still be sticking around.

Next post: Briar- Crown of Thorns

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Great Metal Albums of 1988: Wrathchild- The Biz Suxx

What seems like a long time ago, I stated that the band Tigertailz were trying to be the British version of Poison. Perhaps I was a bit hasty there because after listening their album, “The Biz Suxx,” it might be Wrathchild who more deserve that title. Although, Wrathchild came out of the new wave of British heavy metal in the early 1980s, they didn’t achieve the success of other bands from that time. Then there’s their image, while not quite the ‘fillies with willys’ which Poison have been called, Wrathchild do try to go heavy on the make up.

The album is pretty fun, a good one to have at parties but I can also hear why they didn’t achieve the success of let me say, Iron Maiden or Judas Priest or even Saxon. What I can say is that there is a sound similar to Poison with many of the songs. What I do like is some of the spoken parts like at the beginning of the title track which states, “What’s wrong? It’s only rock and roll” and the dialogue with an unknown lady on the track, “Hooked.”

Girl: What are you doing, Rocky?

Rocky: Looks like you, babe

Girl: You’re pretty sure of yourself

Rocky: Well, your mother didn’t seem to mind

I know this isn’t too politically correct these days but a cool guitar solo from Lance Rocket follows immediately. The album also features what is possibly Wrathchild’s best known song, “Na Na Nuklear Rokket.” Yes, I am sure the bad spelling on the song titles is one of the band’s selling points but what I like about the song is the fact that it has a real catchy melody and the band aren’t trying to sound like Poison or anyone else for that matter. But if “Na Na Nuklear Rokket” was the single, then “She’z No Angel” is the hidden gem. You get a good vocal performance, cool guitar solo and a steady rhythm section, all in a song about a bad girl.

My realization from the album is that Wratchild use innuendos, some sleazy some not, in the lyrics to attract listeners and not just on the spoken parts. Further along on the title track, there’s the line: “I look like a star but I’m still on the dole” which is a dig at the fact that the band weren’t getting rich from their record sales.

With all that said, the band can play some. Lance puts down a couple of good guitar solos, one on “Hooked” and another on “Ring My Bell.” Furthermore, his opening riffs on “Hooligunz” is quite impressive and a decent guitar solo to boot. Credit where due must be given to the rhythm section as well. While not mind blowing, Marc Angel and Eddie Starr lay down a consistent beat all throughout the album. While I won’t call lead singer Rocky Shades a weak link, he’s not the greatest singer in metal but makes up for it with plenty of charisma.

Track Listing:

1. The Biz Suxx
2. ££ Millionaire $$
3. Hooked
4. Na Na Nuklear Rokket
5. Wild Wild Honey
6. Ring My Bell
7. Hooligunz
8. She’z No Angel
9. OK. UK
10. Noo Sensation
11. Sticky Fingerz

Wrathchild

Rocky Shades- vocals

Lance Rocket- guitar

Marc Angel- bass

Eddie Starr- drums

They say that in 1988, glam and hair metal bands were coming out of the woodwork and I can see truth in that. It could be why Wrathchild never got any real traction. However, this album is a fun listen and oh yes, that’s Bruce Dickinson in the video for “Na Na Nuklear Rokket.”

Next post: Dogs D’Amour- In the Dynamite Jet Saloon

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Great Metal Albums of 1988: Virgin Steele- Age of Consent

Not sure if I said this in a previous Virgin Steele post but I was introduced to this band in 1983 by the ultimate metal sister, the late Stacy Kroger. While I got into their previous three albums, the fact that this 1988 album, “Age of Consent,” received little promotion and therefore fewer sales combined with the fact I was living in the UK, this album totally passed me by. To be honest, it’s a pretty good album but it does sound like they compromised their sound a little in order to gain more commercial success. Maybe they should have stuck with what they knew.

Tribute to a Metal Sister- Stacy Kroger

“Age of Consent” starts off well enough with a good opener in “On the Wings of the Night.” The theatric keyboard intro draws you in and then the power of the guitars comes in with a powerful but catchy vibe. Exactly what a good album opener is supposed to do. I won’t call the next few songs a let down as they keep the album ticking along satisfactorily but none of them really grab my attention either. I also get the feeling that “Tragedy” was meant to be the single from the album. It ticks all the boxes for a single but for me, there are better songs on the album.

Things change somewhat when you get to the fourth song, a cover of Uriah Heep’s “Stay on Top.” This is a rock song with a bit of 70s swagger and it does generate a renewed vigor to the album. Furthermore, it sparks life into the middle of the album. “Chains of Fire” remind you that Virgin Steele are still a metal band. Then we get to my favourite song of the album, “The Burning of Rome (Cry for Pompeii).” True, there is a bit of history in the lyrics but if more history was taught with music like this in the background, a lot of metalheads would have gotten A’s in history, especially with that guitar solo from Ed Pursino.

Two songs after comes the other standout track from the album, “Lion in the Winter.” While not as theatrical as “The Burning of Rome,” it’s a great straight ahead power metal tune with a catchy melodic chorus. It’s probably singer David De Feis’s best vocal effort. Then the album goes out, first with the power ballad, “Cry Forever,” which is decent but unmemorable and I can say the same about closing track, “We Are Eternal.”

Another reason behind the album’s lack of success was the turmoil going on behind the scenes. During the recording of the album, the band was besieged by financial and legal setbacks. On top of that, bassist Joe O’Reilly was ghosted by Pursion and lead singer David DeFeis. That explains why Pursino is listed in the credits for playing bass on the album.

Track Listing:

1. On the Wings of the Night
2. Seventeen
3. Tragedy
4. Stay on Top
5. Chains of Fire
6. The Burning of Rome (Cry for Pompeii)
7. Let it Roar
8. Lion in the Winter
9. Cry Forever
10. We Are Eternal

Virgin Steele

David DeFeis- lead vocals, keyboards

Ed Pursino- guitar, bass

Joe O’Reilly- bass

Joey Ayvazian- drums

The end result for “Age of Consent” is that it with all the issues surrounding the band, it would lead to its unofficial break up. Virgin Steele wouldn’t record another album for five years. The tragic aspect is that this album, while I’m not bowled over by it, it’s not bad either. In fact, it’s pretty good.

Next post: Wratchild- The Biz Suxx

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