Thundersteel, The Return of Riot
Thundersteel album cover (via Spotify)
Don’t let the cheesy pulp sci-fi cover art fool you—Riot’s sixth full release, Thundersteel, is the greatest album to come out of the mid-eighties American power metal scene. Mark Reale, main songwriter and lead guitarist, used this release to redefine Riot’s sound after multiple failed attempts to reform the band. Following the band’s break-up in 1984, Mark Reale relocated multiple times across America in an attempt to recreate Riot’s previous success. Riot finally hit their stride with their new line-up, adding Tony Moore on vocals, Don Van Stavern on bass, and Bobby Jarzombek on drums. While both Van Stavern and Jarzombek made a significant contribution to Riot’s change in style, Tony Moore’s vocal performance really solidified Riot’s transformation. Arguably one of the most talented vocalists in the industry, Tony Moore pushed Riot musically with his wide vocal range and incredible resounding voice. These line-up changes allowed Riot to transform into a high energy power metal band, graduating from their traditional heavy metal style.
From the start, Thundersteel opens up with fast, technically challenging guitar riffs that sets the stage for the rest of the album. Unlike previous vocalists, Tony Moore’s ability to hit higher notes, accompanied by thrashing guitars and double-kick drums, creates an adrenaline rush on the song “Thundersteel.” This style is carried on through the next couple of tracks, a definitive American power metal sound, blending thrash metal with melodic heavy metal singing. The melodic choruses are most notable on “Flight of the Warrior” and “On Wings of Eagles” where Moore captivates the listener with an energetic vocal performance.
One strength of this album is its approach to slower songs. Riot is able to maintain the same level of energy while slowing the tempo down with “Johnny’s Back.” It is almost poetic how one of the album’s greatest entries was written about the band’s return into the metal scene. With lines like “The king is back to claim the land again,” the song parallels Riot’s resilient comeback following multiple failed attempts to release a hit album. The album concludes on “Buried Alive,” a powerful march that uses heavy palm muted guitars to create a strong percussive effect that helps create a menacing atmosphere.
Art by Trent Davis
The greatest aspect of the album is how they handled their power ballad, “Bloodstreets.” Oftentimes, rock and metal bands make power ballads with the intention of creating a popular radio friendly song. As a consequence, these songs tend to forgo musicality in favor of formulaic song structure, cheesy choruses, and uninspired lyrics about love. A well written power ballad is able to strike a balance between marketability and musical technicality. Riot accomplishes this with catchy harmonized choruses and beautifully performed guitar sections that bridge each section together. Lyrically, it continues thematically from the previous songs with Tony Moore singing about topics like return and resilience. I can confidently say that “Bloodstreets” is the best power ballad ever written.
An aspect of the release that cannot be ignored, however, is the less than stellar artwork. The cover draws upon every pulp sci-fi trope imaginable: a generic wartorn city, a creepily sexualized female cyborg side-kick, and an ugly cyborg warrior sitting atop a monochrome tank. (why does a robot have muscles?) When I saw the art, I was immediately reminded of a Gamestop clearance bin. Good cover art should set the stage thematically, complementing the atmosphere of the music and allowing the listener to visualize the music. Unfortunately, Thundersteel’s cover only creates the image of a rejected sixties comic book, a far cry from extraordinary musical talent. When listening to Thundersteel, one could only imagine how many potential listeners were immediately turned off by the robot Voldemort on the front cover.
Art by Trent Davis
Had the album been released with a better album cover and more of an effort to push the songs onto the radio, Thundersteel would have taken the metal scene by storm. Not a single track feels wasted. Every song manages to out do the previous track either in aggressiveness or in technicality. Mark Reale should just go down in history as the most underrated guitarist of all time with lightning fast guitar riffs and beautiful guitar solos. Van Stavern and Jarzombek keep the energy flowing throughout the entire album with their work on the bass and drums respectively. However, the album wouldn’t be what it is without Tony Moore’s vocal performance. There is not a more fitting vocalist for Riot as Moore managed to launch the band into a new era, and there is not a more fitting way for Riot to have announced their great comeback. Thundersteel is hands down the best power metal album I’ve ever listened to.
Edited by Tatiana Jackson-Saitz, editor of Reviews
Cover art by Trent Davis