Top 5 of 2005!!

So this one ended up coming together much more quickly than I expected.  My Anniversary Article focused a lot on power metal, and things are not much different for my Top 5.  Once again, please keep in mind that this is just my opinion, and that I can't listen to everything I'd like to.  Still, there were plenty of honorable mentions, ranging from Wolfmother's self-titled debut and Presto Ballet's Peace Among the Ruins, to power metal giants like Masterplan, Allen/Lande, and Sabaton.  However, I think the following five albums are the best this year has to offer.

5. Nickelback - All the Right Reasons

Yeah, I know.  Yeah, this is the album with the meme song, I know.  I don't care.  This album just rocks.  Honestly, I think the Nickelback hate is overblown.  Sure, they're not the greatest band in the world, but they're generally good rock song writers, and this one happens to have quite a few of them.  Yes, I like "Photograph," but also songs like "Fight for All the Wrong Reasons," "Side of a Bullet," and even the satirical "Rockstar."  I like my post-grunge crunchy and catchy, and this is one of the best albums with that kind of style.

4. DragonForce - Inhuman Rampage

You probably expected this one to be higher, didn't you?  To be clear, this is definitely the album where their really nailed their sound and got a ton of attention (partially thanks to Guitar Hero III), but it still holds up pretty well over all.  "Through the Fire and the Flames" is practically a power metal classic, now, but I also like "Body Breakdown" and "Cry for Eternity" as well.  Admittedly, I haven't kept up with the band, as they have been riding the same sound since this album, but I do think this remains a pivotal point in the genre's history.

3. Stratovarius - Stratovarius

A bit of a black sheep in their catalog, this album comes from a pretty troubled time in the band's history, and the stripped down style certainly reflects that.  While there may not be as many lush synths or neo-classical noodlings, I still like a lot of the songs on this album, mostly the first three of "Maniac Dance," "Fight!!!", and "Just Carry On."  The album does lose some steam towards the end, but it remains a personal favorite, even if it is the end of an era for the band.

2. HammerFall - Chapter V: Unbent, Unbowed, Unbroken

When I did my retrospective on this band, I noted how this album was the one where the band started stream-lining their sound a little more, focusing on mid-tempo anthems.  However, it does have some pretty dang good ones.  Relisting to this again, I still love "Fury of the Wild" and the rest for their natural epicness and catchy choruses.  While it may not be one of their best albums, it still dominates most of the competition for this year.

1. Kamelot - The Black Halo

However, when I started listening to albums for this year's list, I knew this would be my number one.  After building a unique blend of power metal, symphonic metal, and prog metal over the last few albums, they really nail it here with a masterpiece.  The second half of a pair of concept albums, the story does get pretty melodramatic, but the execution of music and arrangements are incredible, and make for a pretty satisfying ending to the story.  Between Roy Khan's beautiful voice and Thomas Youngblood's epic riffing and solos, this album was the best of the year, not just in power metal, but in any genre.

Retro Reviews - October 2025!

I know it's technically November, but things got a little hairy and this didn't come out until now.  Just understand that I listened to these last month, alright?  So, carrying on my journey of five-year jumps, I'm checking out a handful from 2005 now, and unsurprisingly, it's a lot of power metal.  At this point, the genre was winding down, but plenty of bands were still putting out some interesting music.  However, before we get to that, let's start off in a completely different genre:

Scott Stapp - The Great Divide

When Creed broke up, their singer Scott decided to shift into a solo career built upon the success of his former band.  I remember when it came out back in the day, and I think I heard a song or two, but for whatever reason, I never got around to the album itself until now.  While I certainly love the band Creed quite a bit, I find this album to be a little lifeless compared to those, despite being some decent hard rock.

To say that this sounds like Creed is pretty moot; it was intended to be a continuation of that sound.  The major difference is how the songs lean more into atmosphere and ambiance, giving them an ethereal quality, often making me think of U2.  Stapp himself sounds great, wailing and yarling as usual, though he does get a little harsher on some songs, like "Reach Out."  The songwriting itself feels kinda of basic, though.  Creed might not have been the most complex band, but there were touches here and there that teased more out of the songs, and I don't get that as much here.  Of course, there are a few curious moments that shake things up, like the talky style on the verses of of "Justify," and the back-and-forth between electric and acoustic guitars on the title track, but most of it is some pretty standard post-grunge or alternative rock.

This is by no means a bad album, just underwhelming.  It could also be that, since I have massive nostalgia for Creed's first three albums, it's hard to measure this against that.  Maybe if I'd listened to this over and over back in the day, I'd feel differently about it.  In any case, this is pretty much exactly what one would expect from such an album.  I liked the title track and "Let Me Go," and the rest was fine enough, but overall, I can understand why this one didn't do quite as well, as it does feel like an emulation of a style rather than a continuation of it, resulting in a lukewarm effort.

Black Majesty - Silent Company

When I checked out this band two years ago, I thought their debut album was decent, if rough around the edges.  Their sound was an interesting blend of European and US power metal styles, but in the two years leading up to their sophomore, they've clearly shifted over to the Europeans, particularly the high speed, double-kicking fury of the likes of Edguy and Gamma Ray. 

Right off, the production is a big improvement, as the band sounds much more unified.  John Cavaliere still has his Tate-like wails, but he sounds much more well-rounded here, Pavel Konvalinka continues to pound the tar out of his drum kit, and the rest of the band provide plenty of riffs and melodies.  The energy remains fairly high, kicking off with "Dragon Reborn," and carries on through with tracks like "Firestorm," "New Horizons," and "Never Surrender."  They do shake it up a little, such as the mid-tempo "Darkened Room," and the folky power ballad cover of "Six Ribbons."  The main portion of the album ends with the seven-minute epic "A Better Way to Die," and the bonus track "Chasing Time" has some good energy.

If there is a problem, it's that there really is nothing new here.  By 2005, the competition in the power metal space was getting pretty intense, and this album feels a few years behind everyone else.  Still, this is definitely an improvement over their debut, so I'm hoping things will continue to improve as I work through the discography.  As for the album itself, it's decent power metal, with solid execution, with no bad tracks, really.

Masterplan - Aeronatics

Oh hey, another follow up from that same article!  While the band does pick up a new keyboardist and bassist, things are business as usual with Masterplan carrying on their straight-ahead power metal style.

The main difference I noticed was with that new keyboardist, though.  Axel Mackenrott is much more prominent than Janne Wirman was on their debut, pushing the band in more of a symphonic direction.  Honestly, this feels like the half-way point between classic Helloween and Sonata Artica, but that's not a bad place to be.  The songs seem to focus more on personal relationships and introspective tones than standard empowering topics.  However, this does allow Jorn to really play up the melodrama, as his crooning style is more prominent on this album (and is honestly better for it).

"Crimson Rider" starts things off well as a burst of high speed, and "Wounds" also carry that energy as well.  They also shake it up with some mid-tempo stompers, with "Back for My Life," and "Dark from the Dying" being the highlights.  However, the song that stood out the most is the massive 9-minute closer "Black in the Burn."  With all the tempo shifts, it felt like a Helloween or Gamma Ray style prog epic, and was quite a delight to hear!  Overall, it's a solid album that might not be a massive step forward but a rather a refinement of the kind of band they want to be, making it a pretty satisfying listen.

Excalion - Primal Exhale

While I've been aware of this band, I've never taken the time to give them a serious listen.  Once again, the Top 5 articles give me the opportunity to check out the debut of a new band that I've heard good things about.  Hailing from Finland, they offer some pretty typical, synth-heavy power metal, like Stratovarius and Sonata Arctica.

Right off, the production is a little packed, giving the songs a slight muddy feel, as the wall of sound blends the instruments a little, and singer Jarmo Pääkkönen gets a little buried from time to time.  However, the band clearly has a very lush sound, as band-leader Jarmo Myllyvirta really works his keyboards and synths to give these songs a lot of atmospheric, with some occasional symphonic vibes.  The rest of the band plays their parts well, but I don't know if they've quite gelled as a band yet.  It also doesn't help that some of the lyrics are clunky, as they don't have a natural English flow (which is common when it's not a band's native tongue), but Jarmo delivers them well.  As for the songwriting, I do think they're leaning a little into Sonata Arctica's progginess and atmosphere, but they haven't quite ironed out the kinks.  However, their solo trade-offs and neo-classical noodling is on point, and none of the songs felt like a slog to get through.

Overall, I liked the faster songs better, such as "Reality Bends," "Stage of Lies," and "My Legacy," as their energy was able to get through the muddy production better.  I look forward to see where the band builds from here, as I think they have the right pieces.  It's not a bad debut album, providing some decent power metal, but there's definitely room for growth.

Divebomb Records Mystery Box!!

A lot of record labels and online distros like to offer mystery boxes to help clean up some of their stock and provide some surprises for the receiver.  I had always been interested in them, but most of them are for more extreme types of metal (which I'm much more picky about).  However, I saw Classy Lonnie Metal do one for Divebomb Records, which focuses more on melodic metal styles, and I was intrigued.  I threw it on a wishlist and ended up getting it for my birthday last year!  It's taken me a while to get through them all, but I got to check out a whole bunch of bands I've never heard before!  There are quite a lot of them, though, so these will be pretty short reviews to keep the article from being too long.  Buckle in and let's get into it!

Top 5 of 2000!!

It's at this point we start to drift away from what was big and into what I've mainly listened to, as was the nature for the Anniversary Articles.  For 2000, I primarily focused on power metal, and in the end, it also dominates my Top 5 for the year as well.  However, I did want to give an honorable mention to Rob Halford's return to heavy metal with his solo band Halford.  Quite the Resurrection indeed!  I also made sure to give the stuff I heard last week its chance, but in the end, they didn't make it, mainly because these five are some of my personal favorites!

5. Edguy - The Savage Poetry

After cutting their teeth on a few albums, they decided to record their debut demo, and it's a considerable improvement, as they have their power metal sound worked out by this point.  Kicking off with "Hallowed" and "Misguiding Your Life," their songs crackle with Helloween-like energy, with the epic "Eyes of the Tyrant" being the highlight of the album, in my opinion.  While the band might be MIA these days, they were definitely one of the big stars during the swell of power metal bands growing at this time.

4. Nightwish - Wishmaster

Back before they were doing more progressive, cinematic metal, Nightwish was the premier symphonic metal band at the time.  Seeped in a gothic tone, and powered by Tarja Turunen's operatic voice, they were as epic as a band could get.  While I do think Oceanborn is a slightly better album, this one had plenty of great songs, like the bombastic title track, and the twisted "Kinslayer."  

3. 3 Doors Down - The Better Life

Nostalgia can be a pretty powerful stuff.  I was in high school, and post-grunge was really blowing up, with this album dominating my attention at the time.  While "Kryptonite" was the big hit, the album has so much more, with the somber "Be Like That" and the tense "Duck and Run, to the energetic tracks like "By My Side" and "So I Need You."  This was a contender to take the #1 spot, but after listening to everything, it settles comfortably at #3.

2. HammerFall - Renegade

Back when I did my big retrospective for this band, I considered this one to be caught between two very good albums.  However, classic HammerFall will always have a massive place in my heart, and this album is no exception.  With so many great tracks from beginning to end, from the pounding opener, to the electric title track, to the epic closer, it was going to take something pretty incredible to beat it.

1. Stratovarius - Infinte

Speaking of incredible!  I admit I haven't talked about Stratovarius very much here on my blog, and that's kind of a shame, as their albums were instrumental in getting me into power metal, with their blend of proggy keyboard solos and neo-classical riffing and shredding.  While Visions might be their best, Infinite is probably my second favorite of theirs.  Starting with the catchy "Hunting High and Low," the album just excels above the rest, with tracks like the near thrashy "Phoenix" and the epic "Infinity."  While it's not perfect, I can't deny the majesty of this album, and so it takes the top spot of 2000 for me!

Retro Reviews - September 2025!

Once again, my retro reviews are dominated by my next Top 5 article, and with 2000 coming up, I had plenty of albums to consider.  However, in the end, I decided to review these five, as they are mostly continuations of bands I've been reviewing over the years, which means more power metal!  Instead of breaking these up, I've decided to throw them together, so settle in for a long article!

Helloween - The Dark Ride

After enjoying their latest releases, I figured it was time to try and fill in some of the gaps I had with this band's discography.  I've mentioned before that I've listened up through Better than Raw, and most of it is great power metal.  With this one, the band had retroactively mentioned there was more executive meddling this time, and they went with a bit of a darker, gritter tone.

Things start off with some pretty typical power metal, as tracks like "Mr. Torture," and "All Over the Nations" would have fit in well with any other Helloween album.  Then we get "Escalation 666" and "Mirror Mirror" with both have a much darker tone and mid-tempo chugging, and their lead single "If I Could Fly" feels almost like an alternative rock song.  The rest of the album bounces bounces around these two styles.  While the power metal tracks are classic in style, they do feel a bit less inspired than usual, while the slower, grittier tracks are a mixed bag, but feature some neat ideas.  However, to the band's credit, the album never feels uneven or jarring, the different sounds making the album feel kind of diverse.

Personally, I find the later material on the album to be stronger.  "Mirror Mirror" is an interesting take on the classic fairy tale, then "The Departed (Sun Is Going Down)" and "I Live For Your Pain" are the best of the slower, grittier songs.  Meanwhile, "We Damn the Night" is the best of the power metal side, the epic closing title track features all of this and more.  While this isn't the band at their best, they've certainly had worse, and I think there's plenty to like here, making this more like a dark horse than a black sheep.

AC/DC - Stiff Upper Lip

After Ballbreaker, these Aussies seemed to settle into a pattern of putting out an album every 5-8 years, as I'm sure their live show was the more profitable side of their band.  As for this album, they definitely drawn upon the blues rock that dominated their sound in the 70s, making this feel like something of a throw back.

Of course, this is a minor shift, as the band's sound is one of the most unchanging things in the history of rock music, and that's just fine.  Things start of well with the rockin' title track, "Meltdown" and "House of Jazz" have the strongest blues elements on the album, and "Hold Me Back" has this near minimal approach before it builds to its anthemic end.  "Safe in New York City" has some interesting energy, and the blues come back for "Satellite Blues" and "Come and Get It."  I do think the album does lose some steam towards the end, but "Give It Up" is a solid closer.  Overall, it's another AC/DC album, designed to get your headbanging from beginning to end.  I will say, though, that I think this one was better than Ballbreaker, and probably on the upper end of their discography.

For what it's worth, this was the last album I needed to hear to complete my listening of their entire studio discography.  It took many years (long before I started the blog), but I can say with confidence that they've been largely consistent over their entire history. I might at some point create a Retrospective Article, filling in the reviews I need to, but that will probably have to wait until next year sometime.  In the meantime, they remain the band we've always enjoyed, and this album is a good example why.

Rhapsody of Fire - Dawn of Victory

This year was definitely one for power metal, with this one being the third in their Emerald Sword Saga.  In the last album, our hero made it to the tower to find the titular weapon and is now on his way back to face the evil that threatens the land.  Naturally, this means another set of bombastic, high speed power metal!

Musically, nothing has changed at all from the last album.  We get more neo-classical orchestrations to go with all of Luca Turilli's shredding guitars, and Fabio Lione does his best to share the story in his soaring voice.  As for that story, the hero brings the armies together into an alliance against the evil Akron, but when his friend's lover (a princess) gets kidnapped, the vile lord wants the Emerald Sword for himself.  The heroes try to anticipate a trap only to get captured, and the sword falls into the hands of evil, and our main hero is the only one to escape with his life.  I bring up the story here, as the album starts rather triumphant, but the songs get darker and more desperate as it goes (at least for power metal, anyway).  Of course, there are still some strange breaks, like "The Village of the Dwarves" with its folky respite, but most of the time, it's pretty melodramatic theatrics, which the music holds together well enough.

This is one of those albums where the great songs are great, but the rest is pretty forgettable.  I liked the title track and "Holy Thunderforce," as they feature some pretty epic melodies and symphonics, and the massive closer "The Mighty Ride of the Firelord" has a little of everything.  However, the rest of the songs, while not necessarily bad (though "The Bloody Rage of the Titans" was another strange one), they aren't as memorable as those three.  In any case, the band is once again spot on with their orchestrations and arrangements, and certainly sell their operatic pretentions pretty well. 

Iron Maiden - Brave New World

After enduring the two Blaze Bayley albums, it was high time I got back into this band and their reunion with Bruce Dickinson and Adrian Smith.  However, they decide to hang on to Janick Gers, making the first album with three guitarists.  In fact, this lineup has remained ever since!  In any case, this album is pretty much a return to form for the band, calling upon their 80s majesty.

I know I haven't reviewed any Dickinson album before now, so let's get the obvious out of the way: this man is a great vocalist and frontman.  He's one of the greats for good reason, and he sounds great here.  The rest of the band is definitely back to normal after stumbling through the 90s.  The rhythms and hooks are tight again, and the guitar work is exemplary as always.  Essentially, it's Maiden doing what they do best, which is writing solid, melodic heavy metal, and after the last two albums, it's nearly a relief to hear the crew still have it where it matters.  The long songs have return as well, as the band leans more into their proggy side like "Rime of the Ancient Mariner" or "Alexander the Great."

Listening to this album is like putting on an old pair of comfortable shoes.  While long-time Maiden fans will already know how good songs like "The Wicker Man" and "Blood Brothers" are, but I also rather liked "Ghost of the Navigator" and "The Fallen Angel."  There are no surprises and you know what to expect, but at the same time, you can't help but feel good about it anyway, simply because it's executed well.  As a consequence, the album might not stand up well against their classics, but it makes for a solid return to form, and a new baseline for what follows.

Gamma Ray - Blast from the Past

Just to round things out, I decided to throw this collection on and give it a listen.  Technically, it's a compilation for the band, but a majority of it was recorded, letting the fans pick the songs on their website.  While the songs themselves weren't changed much, there are a few major differences that make this more than just a typical Greatest Hits album.

First is the production, making the re-recorded versions feel more rich and layered, so they feel more in-line with what the band had been doing at the time.  It also gives them a welcome extra punch of power metal.  The other major difference is that the vocals of Ralf Scheepers (now happily working in Primal Fear at this point) were now provided by Kai Hansen.  While some of the re-recorded songs were clearly written with Ralf's hefty vocals in mind, but Kai does well enough, especially on the faster songs that call for his soaring style.  Overall, I don't know if this is a particularly vital release, but definitely shows how Gamma Ray has finally established their style.  Enjoyable, but probably not vital outside of diehard fans.

New Releases - September 2025!

After spending so much time on older albums, I figured I should shake things up with some new releases.  This is looking to be another great year for power metal, as not only do we have some of the big names putting out some great albums, but I've got a new band that has it where it matters as well.  Figuring out my Top 5 for the year is going to be tough!

Primal Fear - Domination

When I reviewed their last two albums, I find them to be a little underwhelming compared to earlier releases.  (Though, when I relistened to them recently, I decided Metal Commando was the better album after all.)  Now with new members Thalìa Bellazecca and André Hilgers on guitars and drums respectively, they carry on with their iconic heavy/power metal sound.

Not that I was expecting any kind of major change, of course.  This band really is pretty consistent.  However, I do think this album has stronger melodies and more of an uplifting tone, tapping into a bit more of a Helloween style than usual.  This is very noticeable on their first few tracks, with "Destroyer" and "Far Away" really pushing into a very classic power metal sound.  Things get grittier in a more typical style with songs like "The Hunter," "I Am the Primal Fear," and the weirdly intense "March Boy March."  There's also a few elements of AOR, especially with songs like "Tears of Fire," the instrumental "Hallucinations," "Crossfire," and the seven-minute epic "Eden."  Hearing these makes me think that Magnus Karlsson had a bigger hand in the song-writing this time around, as I'm hearing similar things as the work that he's done with Frontiers Records.  Naturally, the rest of the band hammers out their parts well, with Ralf Scheeper's voice roaring and soaring over everything, getting in some pretty good wails.  Overall, it feels like the band has really gotten their energy and power back.

The main concern I have with it is that the album might be a little too long.  While none of these songs are bad, per se, there are a few that felt like filler, or at least not as strong, such as "Heroes and Gods," and "Scream."  However, these are nitpicks on what is definitely a solid album, probably their best since Apocalypse, and certainly a contender for Top 5 of the year!

Helloween - Giants and Monsters

Speaking of Helloween, these power metal legends finally released a follow up to their great self-titled album from 2021.  When I reviewed that one, I loved it, even if it was a little clunky here and there, and it eventually ended up in my Top 5 for that year at #2!  Now, four years later, the band is still rocking the three vocalists, and we get another great set of power metal tunes!

Naturally, all the staples are here: plenty of noodly riffs and solos, high energy rhythms, and wailing vocals.  If there is one thing that kept coming to mind this time is how much they sound like Gamma Ray.  I know that may seem kind of redundant, as Kai Hansen always has his sound, regardless of what band he's in, but something about these songs have that Queen-like emphasis that Kai likes to use on his Gamma Ray material.  (And it turns out that "Majestic" was a left over Gamma Ray song from 20 years ago that Kai rediscovered when helping to write this album.)  Maybe this is just semantics, but I did notice it multiple times.

Still, there's some great power metal, not that would be a shock, really, as these guys have been doing it well since the 80s.  Thinks start off great with the high-speed tracks "Giants on the Run" and "Savior of the World," but they also get epic with the two eight-minute songs, "Universe (Gravity For Hearts)" and "Majestic."  They do drift into AOR territory with tracks like "A Little Is a Little Too Much," "This Is Tokyo," and "Hand of God," which aren't bad but do bring the energy down a little.  "Under the Moonlight" is probably the weakest track, as it did sound a little strange compared to everything else.  However, what does work here holds the album up well.  I don't know if this is better than their last album (as that was quite good), but this is also a Top 5 album for 2025.  I'm sure I'll have some real trouble deciding between this and Primal Fear's work when it comes to placement!

Dragonknight - Legion

So after listening to two legends of the genre, here's a completely new power metal band from Finland.  While they may not be doing anything new or original, I can't deny that the execution of their work is pretty solid.

For fans of symphonic power metal, there's a lot that's familiar here, with Twilight Force being the most prominent comparison, though fans of Dragonland and Rhapsody of Fire will find plenty to like.  It's hard to know who is responsible for what, as the band relies on stage names, but Metal Archives at least tells me the singer is Mikael Salo, who apparently has been in a number of other power metal bands, and it shows.  He sings with experience, being very theatrical, but he isn't afraid to get a little gritty when it's needed.  While I don't think this is a concept album, it could definitely be interpreted as one, as it flows from song to song pretty well.  The orchestrations are bombastic and well arranged, and the music is tight and powerful, making sure each piece leaves an impact.

It would be very easy to dismiss this band as "more of the same," and I do fear this band might get lost in the cracks, but I can't deny they have something here, as I liked most of the songs.  The ending tracks do get a little weird (especially with the 12/8 rhythm they try on "The Revelation"), but I enjoyed "The Legions of Immortal Dragonlords," "Defender of Dragons," and "Storm Bringer" for having some good energy and epic arrangements, and I rather liked the ballad "Astarte Rise," as it had a strong story that built with the music very well.  Overall, it might not be unique, but there is something to be said for doing things well, and this group might be one to keep an eye on in the future.

Top 5 of 1995!!

Still making progress on these articles, but it's gonna be tight if I want to get through all of them before the end of the year.  As for this one, 1995 was definitely a curious time, as genres were evolving and expanding.  As usual, I should explain that I can't listen to everything, and these lists are pretty subjective to me.  However, after listening to a bunch of albums (including ones I didn't review), I felt these were the five that stood out the most.

5. The Flower Kings - Back in the World of Adventures

I'll admit that third-wave prog rock can be a mixed bag sometimes, as I feel they tend to lean a little too much into jazz fusion for my tastes.  However, Roine Stolt and his buddies really went big for their (kinda) debut album, really capturing the whimsy and mystery of those classic 70s styles.  It's not perfect, but it does establish some decent atmosphere with slick passages and melodies throughout.

4. Paragon - World of Sin

After reviewing it last week, I did wonder if this might not sneak into the Top 5 somewhere.  Compared to the other two I reviewed, this one felt the most complete and consistent, with their wearing their Metal Church influences on their sleeves for their brand of power metal.  While they haven't quite reached their full potential (and the great vocalist Andreas Babuschkin hadn't shown up yet), it's a debut that certainly demands attention.

3. Blind Guardian - Imaginations from the Other Side

At this point, Blind Guardian is firing on all cylinders, nailing their peculiar mix of power, folk, and speed metal.  The title track, "Bright Eyes," and "I'm Alive" are highlights for me, and I know this album has plenty of acclaim in the power metal fandom.  It's only below the others as I think they're stronger and have more of the power metal style I prefer, but that I still think this is a great album in the genre.

2. Gamma Ray - Land of the Free

Losing Ralf Scheepers may seem like a big deal, but Kai Hansen really steps up to the mic and discovers that he has a good voice for this concept album about freedom and oppression.  It's also when the band really embraces their power metal sound, helping to establish the genre along with their contemporaries.  The album does get a little clunky here and there, but honestly, these are nit-picks, and certainly not enough to prevent it from getting such a high placing.

1. Stratovarius - Fourth Dimension

While they wouldn't have their iconic lineup just yet, it can't be denied that Stratovarius really starts with this album.  I love "Against the Wind," "Distant Skies," and "We Hold the Key," and the rest of the album isn't too shabby.  Timo Kotipelto's soaring vocals and Timo Tolkki's neo-classical guitars really come together to make some solid stuff, and the first of a string of excellent power metal albums!

Retro Reviews - September 2025!

Here's the other article focusing on 1995, this time clearly decided to power metal debut albums.  While a lot of it was clunky, it was also a lot of fun, not only to hear the promise these bands have, but they all did things just a little differently, making for some decent variety.  Here's what I've been headbanging to lately!

Wizard - Son of Darkness

I wasn't able to find much about the origins of this band, other than they started in the late 80s and were finally able to put together this album in 1995.  It's an eclectic blend of various styles of epic metal, making for an interesting mess.

Similarities to bands like Manowar and Running Wild are obvious, especially on songs like the solid opener "Sign of the Wizard," "Son of Darkness," "Masters of the Seas of Gods," and "Lonely Wolfe."  However, they do have a few songs in the style of European power metal, namely "Death or Glory" and "Enemy Die," which really stood out to me.  Then there's "Rain of Death," which had almost a glam metal vibe (which was a little strange, considering the lyrics are very dark), while "Dawn of Evil" feels like a combination of all these things, plus a bit of doom metal as well.  And if that wasn't enough, they try a classic 80s power ballad with "Lovesong" which feels very bland, like it was there to just have it (and the less said about the last track, the better).

So it's definitely a strange album.  I get the impression that the band just gathered their influences into a pile and emulated them (which isn't a bad way to start, really).  I liked "Death or Glory" and "Lonely Wolfe," and they certainly have the right attitude for this kind of music.  However, I can tell their sound needs some more work to polish out all the clunkiness, and I look forward to seeing how they do that with their later albums.

Nocturnal Rites - In a Time of Blood and Fire

Jarring artwork aside, this is another band who's debut came out in 1995.  Interestingly, they started as a death metal band in the early 90s, but after a few lineup changes, switched to power metal.  I've heard a few of their later songs and liked them, so checking them out was on my list and once again, my articles are giving me this chance to squeeze them in.

Right off, they sound very much like Helloween (with little bits of Dream Evil and HammerFall), though with a stronger neo-classical flair and some dark fantasy lyrics to set them apart.  Unfortunately, the production is a little on the thin side, perhaps a consequence of a small budget, as I wished these songs had more punch to them.  Otherwise, they provide a pretty solid set of double-kicking power metal, with Anders Zackrisson's vocal harmonies really standing out well.  "Sword of Steel" is a good, uptempo opener, the title track has some interesting time-signature switching, and both "Winds of Death" and "Rest in Peace" are epic and satisfying.  The song-writing does get a little clunky, but at this point, power metal was still a pretty new genre, and it's not like there are any terrible songs.

Overall, it's an unpolished album while showing a lot of promise.  The band clearly has some good energy and are talented, but I feel like they're held back by the production and some awkward transitions.  Like Wizard, I'm very interested to see where they go from here, as they have the pieces for making some great power metal.

Paragon - World of Sin

After enjoying their last two releases, I decided to go back to the beginning for this band as well.  While this line up would only last for this album, as band-founder and guitarist Martin Christian would be the only one to carry the torch forward, this is a solid enough debut to get Paragon rolling.

While I was expecting to compare their work to Accept as I have done before, this album definitely leans into melodic thrash metal, occasionally giving me Megadeth or Metal Church vibes.  Once again, the riffs are chunky, providing some good head-banging, and Christian's solos feature quality shredding and melodies.  Kay Carstens is a decent singer, having a nice mix of grit and melody, which works with these lyrics, which are pretty apocalyptic and violent.

In all honestly, though, this stuff isn't that much of a surprise, as their recent albums feel like a blend of heavy, power, and thrash metal styles.  The title track and "Into the Black" are solid, uptempo slabs of Accept-inspired metal, while "Beyond the Void" is more somber and doomy, but maintains its brooding energy well.  Finally, the closer "Bring the Hammer Down" is a fun bit of heavy/power metal.  If there is a problem, it's that the music feels not quite as punchy as it could.  The production is fine, but they aren't quite the sledgehammer of sound I've come to expect with their recent albums.  Still, I enjoyed quite a bit of this album, and, once again, look forward to the rest of their discography.

Iron Savior - Condition Red

In between all these power metal debuts, I decided to add this one in my continuing quest to listen through Iron Savior's discography.  This one is notable for being the first without co-founder Kai Hansen, so the crew carry on without him, putting together an excellent album of power metal.

This time the story starts when the Iron Savior's creator wanted to merge with his creation, but was denied.  After being sent into space from the initial war, he spent his time making a new Savior, but his desire for revenge corrupted him and it, turning it into the Protector, and he begins ruling other planets with an iron fist.  He also gains the ability to control others with his mind, but he discovers he can't control those who originally came from Earth.  In his wrath, he goes to war with Earth itself, and so humanity and the Iron Savior have another epic fight on their hands.  Honestly, it's pretty typical and in line with everything they've done so far, but it certainly makes for a decent story to inspire some triumphant tunes.

Musically, this is business as usual, but I'm really starting to hear the band become more of what I'm used to.  Piet's gritty voice is really becoming part of the band's character, and the riffs are deliciously chunky.  The album starts off great with "Titans of Our Time," and "Ironbound" carries that uptempo energy further.  Meanwhile, they channel their influences Judas Priest quite a bit, especially on "Protector," which sounds a lot like "Electric Eye," and I doubt that's on accident.  The album's energy carries on with great tracks like "Walls of Fire," "No Heroes," and "Paradise."  I think this might be their best album so far (not counting the more recent ones I reviewed), as it has plenty of epic melodies, energized double-kicking bass drums, and grandiose atmosphere.

Retro Reviews - August 2025 Part Two!

Finally moving on from 1990, this is the first of two Retro Review articles I plan on dedicating to 1995, as it turns out there's quite a bit I wanted to catch up on.  This one will feature a quartet of rock bands, one of which I haven't really listened to before (sorta)!  Here's what I've been checking out lately!

Candlebox - Lucy

When I reviewed this band's debut album, I found it to be some pretty decent, if standard, grunge rock for the era, but it was enough to break them out.  This album follows up by going for a bit of a harsher, darker feel, and yet they sound more like Pearl Jam than ever!

Once again, this feels like the right album to come out in 1995, where grunge was becoming much more familiar, so bands needed to really push themselves to stand out.  Here, Candlebox aims for something more atmospheric in their alternative angst, like a series of a short, trance-like journeys.  Once the song starts, it generally locks into that groove and doesn't change much other than adding or taking away layers for verses and choruses.  Kevin Martin's wailing is right in the flow, fitting with the grooves and tones very well, and it's easy to get lost in these songs.  Unfortunately, that also means that the album tends to drone on, especially the two "Butterfly" songs.  As it turns out, this one didn't do as well as their first, and I wonder if this is why.

That doesn't mean there aren't some stand outs.  They made singles out of "Simple Lessons," "Best Friend," and "Understanding," and those were probably the best choices.  "Bothered" did have some chunky riffs though, and it was much more aggressive than the rest.  Otherwise, it feels like more standard grunge again, and with the darker tone, perhaps not as strong as their debut.  While the album is decent for what it is, it's certainly hard to recommend unless you have strong nostalgia for this era of rock music.

AC/DC - Ballbreaker

After the massive success that was The Razors Edge (and a quick little single for a Schwarzenegger film), it took them five years to put together another album, bringing back Phil Rudd on drums.  They decided to bring in Rick Rubin as the producer this time, after working with him on "Big Gun," making sure that this album is business as usual for the band.

I know I've mentioned this before, but reviewing AC/DC albums can be rough.  Their style is so distilled and direct that, unless there's some major mistake, their albums end up being generally fine.  While I don't think this is as good as the one that came before, they continue with their bluesy brand of hard rock.  "Hard as a Rock" kicks things off with some solid, mid-tempo rocking, "Boogieman" has a good 6/8 blues groove, and "Hail Caesar" is an interesting piece of social satire.  Many of these songs often have a build-up in intensity toward the end, making them pretty anthemic.  They're also an uptick in the raunchy lyrics, but with an album title like that, I suppose it's not a surprise.

So once again, we have another decent chunk of hard rock from a band who has long since mastered their craft and were (and still are, honestly) content to keep trucking along, album to album.  This album doesn't have the iconic tracks like their others, but at the same time, it sticks to what works, and that isn't a bad thing.

Spock's Beard - The Light

While I've heard a song or two, most of what I know about Spock's Beard is the one Pattern-Seeking Animals album I reviewed.  (Apparently, they have five albums now!  When did that happen?)  Anyways, this legendary third-wave prog rock band started with the Morse brothers, Alan (guitars) and Neal (vocals, keyboards).  It was originally just supposed to be the two of them, but by the time they got recording, they had picked up Dave Meros on bass and Nick D'Virgilio on drums.  The result is some pretty iconic third-wave prog rock, even if it is maybe trying a little too hard.

The album starts with "The Light," which has been the band's signature song since it came out, and I can see why.  It's a very dramatic piece with a lot of changes, including one that's full-on Latin fusion.  Dream Theater's influence is notable, though Spock's Beard is certainly not metal, but the songwriting of shifting between sections does have that feel.  In fact, these sudden transitions is pretty consistent through the album.  As a result, it does make it a rather unpredictable listen, but at the same time, I do wonder if it isn't too much.  They have plenty of neat little ideas, but instead of giving any of them time to expand, it's off to the next section.  I think I would have liked to hear them explore these ideas more, but I suppose this isn't that kind of band, and they do have some neat little callbacks.  The big epic "The Water" is much the same way, going over 23 minutes and several genres and styles.  However, it does come together like a Pink Floyd song, featuring a small choir of female singers to croon and wail along.  "On the Edge" is probably the most consistent song, but it is also only 6 minutes long, the shortest on this four-song album.

It's definitely an interesting collection of music, taking the prog rock that inspires them and making it relevant in a later decade, and I think they sorta make it work.  Again, I am bugged by the constant transitions (I wonder if this is where Haken gets it from), but that could be a matter of taste.  The material is performed well by all members, and establishes a solid baseline to build on from here for more prog rock adventures.

Glass Hammer - Perelandra

I checked out this band's first album a few years ago, and while it may have had some peculiar synths, it had some decent songs about Aragorn's adventures around Middle-Earth.  Two years later, they come back with another album, now about the works of C.S. Lewis (which I admit I am not as familiar with).  This time, they draw upon a wider prog palette, making them more in line with their third-wave peers like Spock's Beard and The Flower Kings.

Right off, the synths are better, and I think the production, while still not perfect, has improved as well, making these songs sound very lush and Yes-like at times.  This is most apparent in their first full song (after the strange intro track) "Time Marches On."  I felt there was a significant increase in Wakeman-like synth runs and Squire-like basslines compared to the previous album.  Of course, their ELP influence is still around, mainly on the instrumental pieces like "Felix the Cat" and the title track.  The rest of the album is a little all-over-the-place, but it all flows pretty well.  "That Hideous Strength" is probably the biggest jump in style, with it's near-industrial vibes, making me think of Pink Floyd at its darkest.  I have to say the keyboard work is probably the highlight, though I have no idea which parts are by Fred Schendel or Steve Babb, as I understand they're both jamming on the synths along with all the other instruments they play.

This is quite the improvement over Journey of the Dunadan, largely because it feels more consistent, though I do think the shorter tracks are a bit odd.  "Time Marches Out" is a great starter, and "Heaven" serves as a solid closer, getting rather triumphant after the defeat of evil in the previous tracks.  While I don't know if they've reached any kind of peak with this album, I can definitely hear them starting to put the pieces together to become their own thing, and look forward to when I can take the time to listen to more of their work.

Top 5 of 1990!!

I admit I'm kind of in catch-up mode, at this point, as I do want to make sure these Top 5 articles stay within their intended year, so I admit I didn't listen to everything I could have for 1990.  And I'm afraid this may be the case for the next few, but we'll have to see.  In any case, 1990 is a curious year, as it was one where rock and metal were in transition, like I mentioned in my Anniversary Article.  A few honorable mentions include that Blue Tears album I just reviewed, and Megadeth's Rust in Peace.  However, with my tastes, there really aren't many surprises here.  Here's my Top 5 of 1990!

5. Blind Guardian - Tales from the Twilight World

While their first two albums are some curious speed metal, this album is the one where they start to forge their iconic power metal sound.  Great tracks like "Welcome to Dying" and "The Last Candle" help this album be a landmark in the genre's history before it would explode later in the decade.

4. Gamma Ray - Heading For Tomorrow

Upon relistening to this one, I'm discovering that I'm fond of it more than I expected.  While this may have been Kai Hansen's first album away from Helloween, his iconic riffing and song-writing is all over it, and with Ralf Scheepers on board, it makes for a delightful collection of melodic metal.

3. Dio - Lock Up the Wolves

Looking back at my recent review, you'd think I was relatively unimpressed with it, but upon considering it for this list, I can't deny Dio's consistency.  It may not have any major hits, but I'll take a solid album of B's over one with a few A's and too many D's.  

2. AC/DC - The Razors Edge

The comeback album for these Australian titans of hard rock.  It's not flashy, or particularly fresh, but the production finally captures them at their best, playing iconic, anthemic, fist-pumping tracks.  It's not perfect, but the highlights, like the unforgettable "Thunderstruck," help raise this album to #2.

1. Judas Priest - Painkiller

However, the #1 album was not hard to pick.  It's Judas Priest doing what they do best: rocking faces off and rolling over listeners with powerful, catchy, excellently-played heavy metal.  After a few lackluster releases in the late 80s, the band came back roaring with their new drummer Scott Travis!  While this era wouldn't last very long, it definitely made an impression to anyone that listened to it, ensuring that classic metal can be as timeless as anything else.

Retro Reviews - August 2025!

I admit the schedule I had planned for this year has been falling apart as this summer has been rough for me.  For now, I'm mainly going to get these articles out just when they're done.  At the moment, I'm focusing on 1990 for a Top 5 article, and as a consequence, listened to some stuff that I hadn't heard before now.  Featuring both hard rock and heavy metal, this trio of albums turned out to be pretty decent!

Dio - Lock Up the Wolves

While Dream Evil was by no means a bad album, it wasn't a successful as earlier efforts.  This led to quite the shake up in the lineup.  First, Dio brought in Rowan Robertson on guitars, and the two worked together on the new songs.  Jimmy Bain and Vinny Appice would contribute to the writing, but they left before the band got into the studio, replaced with Teddy Cook and Simon Wright, respectively.  Keyboardist Jens Johansson also joined, coming over from Malmsteen's band.  With all these new pieces, Dio crafts his new set of tales, this time with much more atmosphere.

Things start off well with "Wild One," an uptempo speedster (for Dio, anyway), but then the album settles into a slower pace, even doomy at times, as if Dio wanted to reach back to his proggier 70s Rainbow days.  "Between Two Hearts" in particular focuses on a rather sad love story, and the title track, at a stomping eight minutes, provides a lot of mood, much like Dio's work in Sabbath.  There's also a stronger bluesy element, especially on "Evil on Queen Street," with its menacing 6/8 riff.  The album picks up again with "Walk on Water," then settles into cruise control for the rest.  While these slower songs aren't necessarily bad, their long runtimes make a long album feel longer.

I will say that Robertson has some great solos, though, and the rest of the band does well, with Dio still charismatically wailing away as always.  As an album, I'm not sure if I'd say it's an improvement so much as Dio and company flexing some different muscles to provide another slab of epic metal, one that's easy to leave on in the background and headbang away.  While this lineup would not stick around after the tour, their album represents one last hurrah for the 80s style metal that Dio helped define.

AC/DC - The Razors Edge

After truckin' on through the 80s with some mediocre albums, the band carried on, building on the strength of their live touring.  With new drummer Chris Slade, the Young brothers took control of the songwriting.  This time, they've injected a bit more energy, making for quite the capstone for their growing comeback.

"Thunderstruck" starts the album and has been one of their best songs for a good long time.  From the start with the rapid-fire riff, all the way through to its anthemic end, it's peak AC/DC, without a doubt.  The energy sticks around for "Fire Your Guns," "Rock Your Heart Out," and "Are You Ready."  Meanwhile, "Moneytalks" has a catchy, lilting melody and the title track has some very peculiar riffing and chord progressions that got my attention.  The album loses some of its drive by the middle, content to cruise to the end, but none of it is a dealbreaker, largely because of the great production, courtesy of Bruce Fairbairn.  After all the muddy stuff of their last few albums, this clearly is an improvement, making the songs feel big, no matter how simple they are.

Of course, much of what I've said really are nitpicks.  AC/DC remain largely consistent as ever, and my thoughts on any of their albums seem to reflect the band's energy and drive on each one.  With The Razors Edge, the band is more alive, and while it might be a tad too long, there are some good headbangers and solid energy through its runtime.  It's certainly hard to beat this band when they're on top of their game!

Blue Tears - Blue Tears

While Dio was forging ahead and AC/DC was making their comeback, other bands were just getting started, only to be dropped on their heads due to shifting tides and bad timing.  Blue Tears is one such band.  Despite kicking around through most of the 80s, they didn't get picked up by a label until the end of the decade, with this debut album coming out in 1990, just as glam metal was starting to wear out its welcome.  It's a bit of a shame, as this is some pretty solid stuff.

By this point, most glam metal was getting some very shiny production, and this album is no different.  The guitars are crunchy, and the gated reverb makes that snare drum hit like thunder, and most importantly, the vocal harmonies are tight and lush.  Their inclusion of some synths in the back give the band an AOR vibe, not unlike Night Ranger.  Of course, ballads were big winners by this point, and they provide more than a few, though they're not bad.  "Blue Tears" does get a bit cheesy, but otherwise hits all the right marks.  As for the rockers, the album starts with their iconic track "Rockin' with the Radio," and their other single "Innocent Kiss" has a bit of a cinematic tone.  Other standouts include "Crush," with its massive riff, and the energetic closer "Thunder in the Night."

Naturally, comparisons to other glam metal bands like Europe, Poison, and Def Leppard come to mind, but honestly, this album is about as good as any of theirs.  It's not perfect, as a song or two do drag the album down, but otherwise, I found this to be pretty enjoyable.  Unfortunately, when the band started recording their second album, their label dropped them in the wake of the grunge and alternative rock explosion.  Years later, the band would release those tracks (and many others) in some compilations, and later a reunion album (sorta), and I may have to check them out at some point.  Despite some good, catchy tracks, Blue Tears just ended up getting lost in the cracks.

New Releases - July 2025!

Once again, time and the summer heat have nearly gotten the best of me, but I've been able to squeeze in time for some modern releases!  I've got a bit of everything this time, as I'm trying to catch up with what's come out this year (I'm so far behind!).  In any case, here's what I've been jamming out to lately!

Robin McAuley - Soulbound

This guy certainly has something going with Frontiers Records, this being his third album in five years.  (And that doesn't include all the other projects he's doing, like Black Swan!)  I enjoyed the first one a lot, but was underwhelmed with the second album, and this new one seems to fall in between.

The album starts off pretty rough, as the first few tracks feel oddly stiff.  There's some interesting riffs, but nothing feels particularly alive.  Then, in the middle, there's suddenly a shift and they pick up some Whitesnake-style energy with "Crazy," "Let It Go," and "Wonder of the World."  At that point, it's like the album loosens up, and they start having fun.  The rest of the tracks are some decent AOR, but not as strong as those songs in the middle.  "Wonder of the World" is easily the highlight of the album.  Still, it was an interesting journey, and maybe this album will grow on me with more listens, but overall, it's a bit off-kilter.  It's always hard to know how these label-driven projects can turn out after a couple of albums, but at least Robin has a place to really let his voice soar, as it's aging pretty dang well.

Brainstorm - Plague of Rats

After enjoying their last album so much that it squeezed into my Top 5 for that year, I figured I should keep my eye on them for what they do next after the solid Wall of Skulls.  While they do have a new bassist for this one, it's pretty much business as usual as they pound out another enjoyable slab of heavy/power metal.

Based on the album cover, one would expect songs based on the Hindu religion and its lore, and there are a few songs that do that, but this is not a concept album.  As things go on, the songs shift to other themes, like darkness, redemption, and memories.  Still, the handful of songs that do have that Indian theme are interesting, featuring some folky instruments and melodies.  Otherwise, the band sticks to what they do best, which is crunchy riffs from Milan Loncaric and Torsten Ihlenfeld, pounding rhythms from Dieter Bernert, and the gritty, soaring vocals of Andy B. Franck.  

Overall, it's another pretty solid album, though I do think the standout tracks are the faster ones, like "Beyond Enemy Lines," "False Memories," and "Masquerade Conspiracy."  The Indian themes provide a bit of an interesting twist, but it feels underused, as the band gets back to business as usual as the album progresses.  I don't know if this is quite as good as Wall of Skulls, but the consistent quality of Plague of Rats might help it squeeze into my Top 5 once again.  We'll see when I get to that at the end of the year.

IQ - Dominion

After enjoying a handful of their albums, I figured I should check out their latest in melancholic prog.  With the same lineup they've had for the past 14 years, IQ have provided another introspective suite of synth-heavy rock with tons of spacey ambience.

Things start off big with a 22-minute epic titled "The Unknown Door."  It starts off rather somber, with some symphonic elements that add a cinematic tone to things.  However, once the song reaches Part 2, the band really gets going with some interesting transitions between the somber and upbeat sections.  After that, the rest of the album generally maintains the synth-driven sound.  "One of Us" is really the only track without any dynamics, probably because it's so short (relatively speaking).  It's a nice piece of folky introspection before the rest of the album carries the listener on a journey.  While I don't think this is a concept album, the lyrics generally focus on abstract concepts, like dreams, fate, ambition, companionship, choices, and consequences.  I admit the lyrics were a little harder to follow on this one, but they never felt out of place with the music, which the band plays with confidence.

This one is going to take a few listens before I can decide how I really feel about it.  There isn't as much rock as I've heard on previous albums, focusing instead on a lot of synthy atmosphere, and such albums need time to really soak into them.  While I like most of what I heard, with "Far From Here" being the standout, I did wonder if the synths dominated the mix a little too much, giving the songs a bit of a post-rock vibe.  Still, it's definitely more IQ, and their iconic introspective sound continues to drift between low and high energy with ease, perhaps with a softer touch this time around.

Top 5 of 1985!!

Well, this took a lot longer than it should have!  Turns out that there's a lot of rock and metal for this year, most of which was decent, but not amazing, so it took quite a few listens to figure out where to rank things.  While I do have an obvious winner (or two; I'll explain), the rest of the list was not easy, but eventually I decided I couldn't listen to everything and had to cut things off and choose.  I'm not as confident in this list as I am about the previous ones, but I have to move on.  So, for now anyway, here is my Top 5 for this quirky year.

5. Dio - Sacred Heart

It was tough to decide fifth place, as I was considering everything from Ratt and Accept, to Rush, but Dio's grandiosity won out.  It's not as strong as his first two solo efforts, as the band was starting to fall apart at this time, but you wouldn't really know it from the music.  Perhaps cheesy at times, but still a good amount of fun.

4. Asia - Astra

Once again, it's a drop off compared to this band's first two, as the inclusion of Mandy Mayer of Krokus pushed the band in more of an AOR style, but I think they make it work.  It's not as rich or proggy as the earlier albums, but there's enough of the classic Asia sound for me to put it up here.

3. Helloween - Walls of Jericho

As far as I'm concerned, European power metal started here.  Yes, it's a very rough album, mainly in classic speed metal territory, but careful listening shows the first steps of epicness, between the neo-classical riffing and Kai Hansen's wailing vocals.  While the band would definitely do better from here, picking up Michael Kiske, but I still find plenty of this iconic band's charm on their debut.

2. Dire Straits - Brothers in Arms

If there was an album that really defined 1985, it's this one.  Pushing their roots rock sound toward more commerciality, only to land on MTV's most sarcastic hit with "Money for Nothing," the band was thrown to the forefront of music listeners around the world.  Fortunately, the rest of the album is solid as well, with the somber title track, the easy-going "So Far Away," and my favorite from the album, the nostalgic "Walk of Life."  While the band had succeeded before, this album made them superstars.

1. The Alan Parsons Project - Vulture Culture/Stereotomy

Okay, so maybe I'm cheating here, putting two albums at number 1, but when they're both by one of my favorite bands, I was left with a hard choice?  Do let them take up two slots on a top 5?  Do I drop one in favor of the other?  Or maybe I just insist that it's my list and so I can make my own rules!  Seriously, though, this is some solid songwriting from a talented core of people.  The first carries on the formula of the previous two albums while the second sees them experimenting again a little.  While I do think Vulture Culture is the better of the two, Stereotomy is no slouch and has plenty of catchy melodic rock to enjoy.  Again, nostalgia plays a major role in putting these two albums at number 1, as I grew up on this band, but I can't think of any other album that can overtake either of these two for 1985!