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

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.

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.