Retro Reviews - May 2026 Part One!!

Here is the first of a very long stretch of retro reviews for 1986.  Turns out, there's a lot I want to review!  This article will be all about German metal, as I guess the metal scene there really picked up through the middle of the decade.  I will also be following up on albums that I checked out last year, so expect a few links to previous articles.  At the very least, it makes for a solid slab of thick, crunchy metal!

Warlock - True As Steel

Let's kick things off with the Queen of Metal herself!  While their first album got them some fans and their second pushed into some heavier territory, True As Steel definitely leans more toward a bigger, more commercial sound.  With new guitarist Niko Arvanitis, they forge another slab of metal that tries to go big, and sort of succeeds.

Right off, the production is thicker, going for this massive wall of sound meant to fill arenas.  Unfortunately, it kind of buries Doro's voice.  There are times where there is so much reverb on it, it sounds like she's singing in a cave.  However, this bigger production makes their songs feel more cinematic in style, as they are often telling stories with the lyrics.  The performances are certainly tight, especially when they play the faster songs, and there are some neat ideas, but I think the production gets in the way more than it should, making it hard to really enjoy the songs on their own.

That being said, once you get used to it, there really is a lot to enjoy.  "Fight for Rock" and the title track are solid anthems, "Love in the Danger Zone" and "Love Song" are decent ballads, and I rather liked "Vorwärts, All Right!" for having good energy.  Having the closer "T.O.L." be instrumental is a curious choice, but over all the album is not bad.  

Rage - Reign of Fear

This is another band I've often seen get grouped with Grave Digger and Running Wild over the years.  They started off as Avenger, releasing an album and an EP.  I listened to them last year, but ended up not reviewing them as I felt I didn't have much to say about them.  They're not bad, just some pretty average German heavy metal.  After a name change, they decided to pick up quite a bit of thrash metal energy.

It really is quite the shift, right from the get go.  The first handful of tracks definitely sound like very early Slayer and Megadeth, eager to go fast and play some very aggressive riffs!  The opener "Scared to Death" starts off with this ominous, symphonic swell, but then blasts right into high speed fury.  "Deceiver" gets even thrashier, while the title track and "Hand of Glory" ease up things a little, but retain a very thrashy attitude.  It's not until "Raw Energy" that the band slows down to something more typical of Judas Priest, but it's right back to speed metal for "Echoes of Evil."  Overall, the album remains pretty fast and aggressive, with few exceptions.  The biggest deviation was the CD-only bonus track "The Scaffold," which starts with some nice acoustic guitar playing before getting into a more doom metal sound as it plods along pretty well.

It's hard to know how much I like this album.  I'm not a big Slayer or Megadeth fan, but there is more melody here than on Hell Awaits or Killing Is My Business.  "Scared to Death" and "Hand of Glory" in particular lean a little into Metal Church territory, so I liked those the most.  At the very least, it's not a boring album as they play with incredible energy and precision.  While the Avenger material wasn't bad, those songs definitely feel like a different band compared to what they've done here, so perhaps the name change was justified.

Grave Digger - War Games

Speaking of Grave Digger, I enjoyed their sophomore effort, though it was pretty rough stuff, overall.  Bassist C.F. Brank joins the band, but it's the same recipe as before as they blast through another chunk of 80s heavy metal.

While much of what worked on Witch Hunter sticks around, with plenty of chunky riffs and shreddy solos, I feel like this album is less experimental and more interested in settling into a conventional metal style.  However, I think they're comfortable with what they've created, making for a more consistent album overall.  Once again, they channel Judas Priest and Accept, and I found I liked the ones that leaned more Accept, like "Heaven Can Wait" and "Paradise."  "Fallout" even has a dark atmosphere as they discuss the destruction of nuclear bombs.  The strange instrumental "The End" that closes the album is really the only piece that seems different, going for a more cinematic little song than anything resembling rock or metal.

However, some tracks do feel kinda paint-by-numbers.  "Let Your Heads Roll" is a pretty standard song about rock 'n' roll, and "Love Is Breaking My Heart" is a very typical power ballad that any other band could have written.  While I don't know whether or not it's better than Witch Hunter, I would say that this one is more accessible.  Whether or not that's intentional, I don't know, but I do know that they would push for more accessibility with their next album.

Digger - Stronger Than Ever

Simplifying their name to just Digger, and replacing Peter Masson with Uwe Luwis on guitars, Grave Digger were certainly courting a more mainstream audience (if the robot duck flexing his arm on the cover art wasn't a clue itself).  I wasn't able to find out if this was something the band wanted to, or if they were pressured by their label/manager/etc.  In any case, the result is a very curious mixed bag of songs.

It's a weird album where their efforts for a more poppy sound are only on a few tracks, while others retain their furious speed-metal sound, making for a very clunky listen.  Things start with "Wanna Get Close," which sounds like a very typical 80s glam metal rocker for MTV, as does "Stay Till the Morning," and the title track wanders into AOR territory.  But then you have songs like "Lay It Own" and "Shadows of the Past" that are full of high-tempo energy, making me think of their messy first album.  Even the mid-tempo songs like "Moonriders" and "Stand Up and Rock" feel more like typical Grave Digger than anything radio friendly.  Chris Boltendahl switches his singing style based on the song, trying to be clean for the more accessible ones, but roaring as usual for the others.  While there have been a few keyboards in the past, the synths are quite prominent here.  They're cheesy, but not out of place.  I did like "Don't Leave Me Lonely," as the uptempo parts made me think of Walls of Jericho-era Helloween, but overall, this album is an awkward listen.  Part of the problem is that the band doesn't seem to be as into things unless they're doing the fast songs, leaving some rather uneven performances (though the production is quite nice).

I can see why fans would be frustrated with this album.  While it does have some of the Grave Digger they know and love, it feels compromised in its efforts to find a bigger audience, which it never did.  After this album, the band broke up, and Chris and Luwis focused on a new project called Hawaii.  That group only ever recorded a demo, but as they carried on, they decided to pick the Grave Digger name again and reboot themselves in the 90s.  I'll probably get to those at some point, as I am curious, but it may take some time before I get back around to this band.

Accept - Russian Roulette

Let's finish this article off with these German legends.  While Metal Heart was successful, it certainly leaned towards a more commercial sound, which ended up being a mixed bag in terms of quality.  Accept decided they weren't completely satisfied with that and decided to go back to their gritty roots with their next one.  They also decided to focus on a strong, anti-war theme, considering it a stupid game, like Russian Roulette.

Not that all the songs talk about war, as they cover other topics typical for them: monsters, empowerment, and masculinity.  They definitely get right to it with the opening track "T.V. War," a solid speed metal track to get things going.  However, songs like "Monsterman," "It's Hard to Find a Way," "Walking in the Shadow," and "Man Enough to Cry" lean into some very typical 80s metal.  They're not MTV fodder, but there certainly is a strong AC/DC vibe on these songs.  The title track gets rather somber, as does the 7 minute "Heaven Is Hell," showing the band's range.  One thing they did keep around was the emphasis on gang vocals, appearing on most of these songs, giving them a more anthemic touch.

While I do think this is an improvement over most of what was on their last album, I also find there is isn't a whole lot that stands out.  It's a good pick-and-mix of their various staples, and it's all played well enough, but it's hard not to feel like I've heard them do each of these better on previous (or later) albums.  It's not a bad album, and perhaps something of a refocus for the band, but not much more.

Retro Reviews - April 2025 Part Two!!

I thought about changing things up with a different article, but I was just such in a mood for more classic releases that I figured I'd just write up another one!  I've also realized that there are a lot of albums from 1985 that I want to talk about, so getting a head start on those seemed like a good idea.  Get out some patches for your denim jacket, because it's time for some classic metal!!

Manilla Road - Invasion

It's hard to talk about the US power metal scene of the 80s without bringing up this band.  Between these guys, Omen, Riot, and Manowar, they created a style that may not have been the biggest during the decade, but certainly cemented a legacy that would inspire others around the world.  However, when Manilla Road got started, they were much more in the vein of heavy space rock.

My immediate thoughts is that this is like a blend of southern-friend rock with some early Rush.  I admit Mark Shelton's gruff vocals help lend the band that southern sound, but it works for the kind of stuff they're doing.  Much of the riffing is on the noodly side, making me think of Alex Lifeson in particular, but the songs focus on jams more than organized sections or transitions.  Scott Park's bass in particular has a tendency to drone on a rhythm or groove, letting Shelton go nuts on guitar, and the atmosphere they create is not bad.  The production can be a bit rough, making the band sound muted at times, but otherwise, this album coasts along pretty well, as I was banging my head through most of it.

While it isn't quite metal, the album does have a lot of good energy, especially on "Cat and Mouse," but there are times where the spacy-ness gets a little carried away, like on "Far Side of the Sun."  Meanwhile, "Centurian War Games" goes completely acoustic with a folky vibe, like something Uriah Heep would record in the early 70s, and "The Empire" is a thirteen-minute closer that goes back and forth between energetic rock and spacy interludes.  It's a rough album, but they clearly had big ideas from the start, so I can see this setting the foundation for the epicness to come.

Saxon - Strong Arm of the Law

Not just content with releasing one great metal album in 1980, these Brits went back to the studio to push out another.  While the first one definitely had a lot of Motörhead influence, with Strong Arm of the Law, they leaned into a bluesier style, making them sound much more like AC/DC.  Still, this is some pretty solid rockin' stuff as Saxon settles into their style more.

The same lineup provides much of the same charm, with Oliver and Quinn providing some chunky riffs and even trading solos at times.  Gill and Dawson remain a decent rhythm section, though I don't know if they're as dynamic this time around.  However, Biff Byford remains a timeless singer, ringing out those notes with style (though I do wish he was a tad louder in the mix).  

"Heavy Metal Thunder" is an immediate standout, and it's followed by "To Hell and Back Again," which keeps things moving forward.  Singing about the plane-flying thrill of "20,000 Feet" adds a bit more aggression on the album.  The rest of the tracks aren't bad, but lack maybe a bit of the punch that Wheels of Steel had, which makes this a bit of a let down.  Overall, it's a decent chunk of classic metal, showing how vibrant the NWOBHM scene had become.

Warlock - Hellbound

Let's start my 1985 pile of reviews with a legend.  Doro Pesch has been the Metal Queen since the 80s (despite what Lee Aaron might claim), and she started with a band called Warlock.  I've listened to their first album Burning the Witches, and it was alright.  The songwriting was a little rough, and the lyrics were pretty cliched, but they played with good energy, and Doro's voice was immediately iconic.  (For what it's worth, I've also listened to Doro's Fear No Evil, which was pretty fun, but otherwise I'm pretty new to this singer's history.)  As for Warlock's second outing, the production gets a very nice boost in quality, but the songwriting remains clunky and filled with 80s metal clichés (which isn't a bad thing). 

Right off, the album starts with a big chord, a cheering crowd, then into some fierce, speedy chugging for "Hellbound."  It's a great, high energy start to the album, and the later track "Time to Die" right there with it.  But the rest of the songs tend to settle into a typical, mid-tempo style.  There's nothing wrong with that, but it gives the album a bit of an identity crisis, as if they couldn't decide to be an 80s glam metal or more of a speed metal band like Running Wild.  "Earthshaker Rock" in particular shifts back and forth between these two styles rather awkwardly, though it ends in a nice speedfest.  For what it's worth, the band is playing their hearts out, full of energetic playing and Doro's soaring voice.

There really is a lot to like on here.  If you don't mind some messy songwriting, it's easy to get lost in the thrill and passion of what they're playing.  I liked the opener "Hellbound," and I thought "Out of Control" had some interesting glam metal storytelling.  The vocal harmonies on "Time to Die" also stood out to me as something pretty cool.  Overall, it's a fun album, but I don't know if it will find its way into my upcoming Top 5 list.

Accept - Metal Heart

Yup, I'm still making my way through this discography as well.  After the breakout success of Balls to the Wall, the band decided to lean in more of a pop metal style for their follow up in order to keep a good thing going.  While they retain much of their iconic sound, the songs do suffer a little in the songwriting department.

As for the lineup, Herman Frank steps out, so the band brings back Jörg Fischer, who sticks around for a good while after.  Nevertheless, some of the songs are business as usual, such as the title track, "Up to the Limit" and "Dogs on Leads."  However, they really lean into a more MTV-savvy, glam metal style for many of the other tracks, with some mixed results.  "Midnight Mover" and "Living for Tonite" aren't bad, as they are, but "Screaming for a Love-Bite" and "Too High to Get It Right" are filler and don't leave much of an impression.  The band then gets a bit jazzy with "Teach Us to Survive."  There's some interesting drumming and a neat swing groove, both otherwise, the track does the album no favors.  Fortunately, things end well enough with "Bound to Fail," with it's triumphant riffing and doomed lyrics.

I can definitely imagine fans feeling a little betrayed with this one, as their previous few had been some pretty solid heavy metal without compromise.  Still, there were certainly worse records to have come out at this time as the glam took over the decade.  As for Accept, perhaps it's just a victim of its circumstances, but this is definitely a step down, despite that excellent, classically-inspired title track.

Anniversary Series - 1989!

Another month, another Anniversary Article!  1989 is an interesting year, as rock was in the middle of a lot of transition.  Grunge and alternative rock was slowly growing, pop metal was as big as ever, thrash and death metal were finding their audiences, and other genres were bubbling up.  Here's how this year went!

The year starts of with a number of big hits, as Skid Row and Warrant release their debut albums.  The former provided "18 to Life," "Youth Gone Wild," and the big ballad "I Remember You," while Warrant was about the "Down Boys" and "Heaven."  Great White would soon follow with ...Twice Shy, and the sort of title track cover song "Once Bitten Twice Shy."

However, the beginning of the year, saw other iconic releases, such as Doro's Force Majeure, her first album on her own, Metal Church picking up Mike Howe for Blessing in Disguise, and Dream Theater released their debut with When Dream and Day Unite, carving a small niche for progressive metal that they would widen later.  Meanwhile, Seattle was getting a taste of the future with Nirvana's debut Bleach and Soundgarden's Louder than Love.  In the midst of all this, Jon Anderson would leave Yes and form a group with former Yes members called Anderson Bruford Wakeman Howe.  Their self-titled album would be a unique prog rock highlight for the year.

As the year goes on, we get more epic hits, with Mötley Crüe's Dr. Feelgood being a massive single factory, including the title track, "Kickstart My Heart," and "Same Ol' Situation."  Alice Cooper would comeback with his own take on the genre with "Poison," John Sykes would form Blue Murder and record their debut album, while his former bandmates Whitesnake would carry on with Slip of the Tongue, featuring "Judgment Day."  

However, in my opinion, the winner of the year is Candlemass.  Their fourth album Tales of Creation is peak doom metal, in my opinion.  I know I don't talk much about the genre on the blog, but this album is my standard for what a good doom metal album sounds like.  From the epic riff on "Under the Oak," to the atmospheric plodding on "Dark Revelations" and "The Edge of Heaven," and even the sudden high-speed instrumental "In the Unfathomed Tower" are all highlights.  A favorite album of mine, from any year.

Wrapping things up, we see Blind Guardian's follow up Follow the Blind, featuring their classic closer "Valhalla" with Kai Hansen showing up with some vocals of his own.  Stratovarius released their debut Fright Night, being more of a speed metal group before they became power metal titans.  Guitar legend Michael Schenker teamed up with Robin McAuley and release Save Yourself, a unique team up that probably should have lasted longer.  Finally, Savatage would really lean into a Queen-like theatrical style with Gutter Ballet, definitely showing signs of where they would end up, to say nothing of their Christmas-themed spin-off.

So that's another year wrapped up again.  Once again, check out the playlist below for more, and let me know in the comments what else stands out to you from this year.  In the meantime, I've got some more albums to listen to, so keep an eye out for more reviews.  Until then, rock on!  \m/

New Videos - August 2023!

After reviewing so many albums, it's nice to just check out some music videos.  I've definitely got a mix of rock and metal this time around, with a few surprises along with some familiar faces.  Let's wrap up this summer by turning these songs up!

Taking a break from doing movie soundtracks, Trevor Rabin is coming back to recording vocal hard rock for the first time in decades.  This single is interesting, with a big, anethmic hook and some neat fretwork on both lead and bass guitars.  I kinda wish the production wasn't quite so muddy, especially with the vocals, but it's still pretty different and unique compared to a lot of the AOR that comes out these days.

I don't know what it is about Iron Savior, but they just keep ticking all the right boxes for me.  Otherwise going for a fantasy theme instead of their usual sci-fi, this is business as usual for them: catchy riffs, great energy, and Piet Sielck's excellent vocals.  October can't come soon enough!

Here's another Noveria single full of noodly solos and an anthemic chorus!  This one has a bit of an Arabic twinge, but otherwise, the chunky riffs and epic strings make for a solid track of melodic prog metal.  I'm definitely hearing stuff similar to DGM in this one, and that's a good thing.

While I've featured The Defiants on my blog before, it's been a few years, and I guess they've shifted from their 80s pop rock sound to something heavier and more anthemic.  Not that I mind, of course, it's just surprising to hear them rock this hard.  

The Dust Coda seem to be expanding their sound, this time coming out with a 70s style country rocker.  I admit when I started this song, I wasn't sure if I would like it, as I find country to be a little same-y (not that I've listened to a lot of it).  However, the band brings in some of their unique transitions, letting things build pretty well to a very anthemic ending.

Meanwhile, the Queen of Metal keeps things classic, sticking to some catchy, melodic, old-school metal.  If you've followed Doro at all, there are no real surprises here (though they look like they're having fun with their Mad Max aesthetic), but there's nothing wrong with keeping things simple, and this is about as straight-ahead as metal gets.