Thundersteel/The Privilege Of Power (2CD)

"Released on 16/11/09. CD1 – Thunder Steel. This 1988 album takes everything that was metal at the time and is a classic combining thrashing guitars and pounding percussion indicative of the underground thrash movement of the time. It has more riffs than Anthrax and undertones of the hair metal that was riding the charts at that time. It is a classic and has everything that makes metal great! CD2 – The Privilege Of Power. This 1990 album saw the band augment their state-of-the-art heavy metal sound with horns, courtesy of the Brecker Brothers and Tower Of Power. It also features guest vocals by Joe Lynn turner (rainbow). The album employs 10 complex tracks that work as a single unit."

Product Review

Tue, 2010-06-08 09:57
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All I know of Riot is these two albums from 1988 and 1990. They are both remastered in this new release and sound fresher than ever. The music is pure power/speed metal and is fairly similar to Judas Priest's "Painkiller" soundwise. Really good stuff. Leyth
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Product Review

Tue, 2010-06-08 09:57
Rate: 
0
All I know of Riot is these two albums from 1988 and 1990. They are both remastered in this new release and sound fresher than ever. The music is pure power/speed metal and is fairly similar to Judas Priest's "Painkiller" soundwise. Really good stuff. Leyth
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  • Long out of print second album originally released in 1979. This new edition by ProgQuebec features two live bonus tracks as well as photos and detailed liner notes. For their second effort the band is pared down to a quartet featuring Bernard Cormier (violin), Andre Duchsne (guitars), Jacques Laurin (bass), and Rene Lussier (guitars). Most of the music was used as soundtrack music. Although the lineup is simpler the music is still extremely complex.
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  • "A new interpretation of a classic RPI title! This is quite an undertaking, but it comes off in an outstanding way, giving new life to old friends. In contrast to so many reworkings of old pieces that I've heard in recent years, this one does not leave me only wishing to listen to the original. Rather, the new work stands well on its own, not only helping me listen to the original with new ears, but also bringing new insights and experience.In 1972, Latte e Miele released their debut, an incredibly ambitious work based on the Passion of St. Matthew, "Passio Secundum Mattheum." This is one of the seminal titles of 1970s RPI and has rightfully stood the test of time. The band would never equal this album, although the subsequent title, "Papillon", came close. After that the band broke up for a time, until drummer Alfio Vitanza reformed the band, with new members including bassist Massimo Gori. Their only album, "Aquile e Scoiattoli", has its moments but is inferior to the first two, and the band disbanded a few years later after moving toward more commercial music.In 2008 the band reformed, including all three original members (Vitanza and songwriter/keyboardist Oliviero Lacagnina, as well as guitarist Marcello Giancarlo Dellacasa) and Massimo Gori, bassist from the second generation of the band. The quartet released "Live Tasting", an excellent live album that portended of the good to come. Their time together also produced a wonderful new album, "Marco Polo: Sogni e Viaggi" in 2009.Over the years, Lacagnina never stopped composing his masterpiece, his "Passio". Now the quartet has recorded anew their masterpiece, adding those "new" compositions into the narrative. For example, "Il Pane e il Sangue dell'Alleanza" has been inserted right after "Ultima Cena", and "Il Rinnegamento di Pietro" and "Il Prezzo del Sangue" between "Il Pianto" and "Giuda". Also, the ending has been fleshed out significantly, with four new songs, and the final song, "Come un Ruscello che..." includes the final themes previously entitled "Il Dono della Vita". Also of note, a solo organ piece entitled "Toccata per organo" is placed just before "Calvario"--this is special, as it is an original take from 1972!The instrumentation is true to the spirit of the 1972 piece, although with an updated sound. Ditto the choir, which sometimes on the 1972 version is muted and thin--here the choir parts are strong, lush, and vibrant. The majority of the pieces that were rerecorded for this edition also maintain their compositional structure, although there are a few changes inserted (notably in "I Falsi Testimoni", the new version of "I Testimoni" parts 1 and 2). There is nothing that violates that spirit of the original work, though it is impossible to duplicate its wonderful innocence.Another unique feature of this album is the presence of several prominent figures from RPI providing the spoken Evangelist parts. These include Alvaro Fella (Jumbo), Lino Vairetti (Osanna), Silvana Aliotta (Circus 2000), Paolo Carelli (Pholas Dactylus), Aldo de Scalzi (Picchio dal Pozzo), Sophya Baccini, Elisa Montaldo (Il Tempio delle Clessidre), Giorgio D'Adamo (New Trolls), Max Manfredi, Simonluca, and Paolo Griguolo (Picchio dal Pazzo). It's a nice touch that really rounds out the album.The CD comes in a jewel case with a lyric booklet. I'm told that the pending Japanese version will contain a newly recorded composition as a bonus track. But don't wait for that one--go out and grab this one. You won't be disappointed. Four plus stars (Gnosis 13/15).Edit: I can't stop listening to this! Though it's not quite as good as the original, it's very close. I'm bumping it up to Gnosis 14/15, which is five stars on PA." - ProgArchives
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  • " 'The Naked Truth' by Ureas is a weird album. Most remarkable would be the combination of different vocals that are set to work with the lyrics, that are in itself are interesting to say the least. Ranging from a lovely, childish second voice through the well-known power metal shouts to a screaming level that is not often found in power metal.At times it sounds like this would be the result of Marilyn Manson making power metal. The rest of the musicians knows reasonably well what they're doing and the songs itself are full of variation. Because of the fact that the songs are not very complicated, there is a lot of focus on the vocals, but that seems to be exactly what Ureas is aiming for, considering the complexity and versatility of exactly that. Here and there 'The Naked Truth' is reserved and melodic. At other moments the composition is bombastic and it appears as if they want to make their lyrics carry over the entire face of the earth. Because of the diversity of the songs it's sometimes hard to keep your attention focused to the music. It's impossible to link the album to a specific mood and it's even hard to capture it with the term power metal. But I can definitely recommend it to those who wish to try out something new." - Lords Of Metal 'zine
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  • "This story began in 1973 when Museo Rosenbach recorded their magnificent debut album Zarathustra that still is one of the boldest and most beautiful work in Classic Italian Prog and in contemporary music in general. And now nearly forty years later this new Italian band Il Tempio delle Clessidre (name taken from one song on the Zarathustra suite) performs the Zarathustra album in its entirety and most importantly and luckily, they perform it with respect to the original feel with original (obviously true analog sound I guess) and don´t try to change it to today´s "standards" in any way, with exception of some jamming that features nice Moog soloing from the great Elisa Montaldo on Superuomo. She´s also a great vocalist and is another lead voice on the Zarathustra, with Stefano "Lupo" Califi the original voice in Museo Rosenbach. And yet the sound is their very own, it´s just a bit different in colour. Actually their performance of Zarathustra is so mature in everything that I couldn´t have had believed to expect. If an inexperienced listener doesn´t know Museo Rosenbach ever existed he/she would be completely fooled by Elisa & boys as playing their very own music, they are that good. Bravo ! What a nice surprise. The band gives the very best and Zarathustra revisited is a superb performance and does honor and does justice to legendary band Museo Rosenbach.Il Tempio delle Clessidre is an incredible debut album and for me is like a continuation to the Zarathustra epic, in a way. It represents the softer, female side of the subject, of course thanks to Elisa´s compositions and performance. Don´t get me wrong, it is far from mellow or dull passages. On the contrary, it contains some very heavy moments, like all great music does. The music of both Rosenbach and Clessidre have the power, grandeur and, most importantly emotion as the best Italian (prog) music always is so very special of. Clessidre is a bold evidence that RPI is very alive and kicking, so to speak. Because music is foremost and most importantly emotion, in the positive sense and that´s the essence of all .Oh yes, the second part of the show features they own songs from the superb eponymous first album. Elisa Montaldo is the main composer and I just can´t stop admiring her enthusiasm for classic Italian prog that is so clear in her compositions. She is the most important female instrumentalist and writer in Prog of today. There are many good prog bands in modern Italian scene but Clessidre is very hard to surpass, both musically and as a performing unit. They are unique in modern Italian rock and in Prog Rock in general, they create a universe of their very own. There are not so many bands lead by a woman, particularly in Prog and especially in Italian scene, aren´t there. With the vocalist of Museo Rosenbach, Stefano "Lupo" Califi and the lovely lady Elisa this is a magical line-up.Needles to say there´s no single dull moment. This is a fine document of a very special band in modern prog, namely the "Lupo" Califi era Clessidre. Alongside the Italian Prog Exhibition (4 DVD set from 2010) this the very best DVD release in modern prog rock music so far, obviously a very hard job for any band to make better, particularly musically. Il Tempio delle Clessidre nicely represents the New Generation of Italian Prog and reigns supreme.Another nice surprise, their very first live show, in Genova they hometown in 2009 with very good sound & picture quality is in the second disc.Italian is the perfect language for symphonic progressive music, it just suits beautifully. And it´s so great to see the veteran proghead enjoying performing with his young companions who respect and prefer the origins of progressive rock, the symphonic way. They seem to understand that it´s only the music who is the true protagonist. This is a perfect union of the old & the new. This is triumphant for new Italian Prog and music itself. This all is so wonderful and extraordinary beautiful. Thank you so much, Elisa & boys." - ProgArchives
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  • Not sure what needs to be said about this album - I get weepy eyed just thinking about the first time I heard it. One of the greatest progressive rock albums of all time - residing in my all time top 10. The best album Pink Floyd never made. Extraordinary, expansive space rock journeys that will transport you to another place and time. This long awaited remaster comes with two non-lp bonus cuts: "Child Migration" and "Let The Sun Rise In My Brain". Essential listening!!!Please note this disc incorporates EMI copy control technology which seems to allow you to do whatever it is you would normally do with a CD but you can't rip it. Bummer.
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  • Who would have believed that Greece has one of the strongest and most fervent markets for heavy metal in the World. Not only is it a required destination for any band touring Europe but many home grown bands achieve attention from fans and the local metal media. It is from this hot bed that Wastefall emerged to create two superb progressive metal albums for the Greek label Sleaszy Rider Records. Sensory Records has now signed Wastefall world wide for the release of their third album Self Exile.While Wastefall has often been compared to Swedens Pain Of Salvation their music is much more aggressive and dynamic. The bands desire to take their music to the next level led them to Denmark to work with noted producer Tommy Hansen (Helloween, Pretty Maids, Wuthering Heights). The results are quite evident Self Exile retains all of the bands trademarks but the music is heavier and more immediate. When you hear Self Exile Pain Of Salvation will instantly spring to mind but also Pantera, vintage Metallica, and Nevermore as well. This is an album that has more than enough complexity and passion for the prog fan but is also heavy enough for any metal fan.Wastefall will be making their North American debut appearance at the world renowned ProgPower USA festival on September 16, 2006 in Atlanta, Georgia. 
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  • "Their debut album, Dreamboat Annie, was first released in Canada and then in the United States on February 14, 1976. It was an immediate hit, reaching number seven on the United States album charts, and achieved a platinum award for sales.At this point in its career, Heart was still a band, but the Wilson sisters had already begun to exert control. They co-wrote wrote nine of the 10 tracks on the record and wrote the remaining track with the rest of the band. In addition, Ann, as the lead vocalist, was the centerpiece and main focus of the band.It was an auspicious first album. The music had a rawer feel than their later polished sound that would propel them to further stardom. It was hard rock with a bluesy sound mixed in. It all added up to one of the better debut albums of the seventiesThe album's first track was the Top 10 hit single “Magic Man.” Ann Wilson’s vocal immediately grabs you. It was instantly recognized that she possessed one of those rare voices that was a gift. The other Top 40 single, “Crazy On You,” was an anxious and urgent rocker. The acoustic intro led to a building electric guitar sound with a repeated riff that continued throughout the song.There is a lot to like about the album. “Soul Of The Sea” is a nice guitar ballad with strings. “White Lightning and Wine” is a bluesy rocker and a forgotten gem in their large catalog of material. “Sing Child,” which is the only group composition on the album, has a guitar jam in the middle that presents early Heart as a true band. “How Deep It Goes” is another rock/blues outing.When this debut effort was first released, it seemed as if Heart just appeared on the music scene out of nowhere. Thirty-four years later, the Wilson sisters are now recognized as lasting rock superstars. If you want to explore the music of Heart, Dreamboat Annie is the place to start." - Seattle Pi
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  • Phenomenal new release from this NY based band with ties to Coheed & Cambria. 3 are fronted by Joey Eppard, one of the great prog rock vocalists going these days. 3 is not a band about complexity although they have great chops. Their music is a roller coaster ride of melody, emotion, and intelligence. Some heavy moments but nothing approaching metal. While not sounding similar, I could see fans of Porcupine Tree falling all over themselves for 3. Highly recommended.
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  • Excellent debut from this Finnish occult rock band.  Led by the sultry voiced Jess, JATAOs go the 70s retro route in similar fashion to The Devil's Blood and Ceremony.  In fact there is a remarkable similarity to the first album from The Devil's Blood although Jess' voice isn't quite as operatic as Farida Lemouchi.  Keyboards are present (even hear some 'tron samples in the mix) but they aren't as prominent as used by The Devil's Blood.  Long guitar driven tracks have a mystical, almost psychedelic, vibe.  If you were told this had this been released on Vertigo 40 years ago you wouldn't even blink.  Highly recommended.
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  • "Alternative Rock is not a genre that graces my ears very often, but as always, they are open; as is my mind. The funny thing is, any time I am exposed to something I wouldn't normally find myself listening to, there is always something about that band that has my wanting attention for one reason or another, be it the sound of the vocalist, the mixing, or those infectious hooks in the chorus. For its genre, the ANNEKE VAN GIERSBERGEN (formerly AGUA DE ANNIQUE) is perfectly postulated and is a leading act, with their non-repetitive writing (something I hear too often in commercial rock), excellent vocals and songs leaving you burning with an urge to sing along.Their latest release, "Drive", is no exception; as an album, it proves to be versatile, with no two songs sounding identical, but every song keeping the rhythm and mood to make the album fit piece by piece. "We Live On" feels like a typical pop-rock track, upbeat and driving, with an extremely powerful vocal performance in the choruses by Van Giersbergen. "Treat Me Like A Lady" does not want to be treated like a lady, and takes a noticeably heavier tone, brimming with attitude. "She" begins ever so modestly, making us think we're brought back to some level of calm, but explodes into an incredibly fast-paced chorus for such a Rock band, and includes yet another infectious chorus; something that is fast becoming an obvious highlight. "Drive" – I adore the sound of the bass in this song, the way it is dislocated from the drums, adds another dynamic. Van Giersbergen's even more stellar performance in the chorus demonstrates her large vocal range and versatility. Save for electric bass, "My Mother Said" is an entirely acoustic song and is the softest, most heartfelt song on the album; the band's namesake flawlessly demonstrates her ability to fit her voice around any song to emote any mood wants. "Forgive Me" is especially different, demonstrating unusual chord progressions, totally different instrumentation, and revealing even more, the extent of control that Van Giersbergen has over her range. "You Will Never Change" is upbeat and punchy, through-and-through with an – okay, let us just assume that every song on this album has an infectious chorus; definitely one of my favorites on the album. "Mental Jungle" begins with a strange, Arabic-sounding vocal melody, also featured on the chorus; I do indeed also love this chorus, as well as the interesting chord progressions. Quite easily the most unique song on the album, it strays from the pipeline rock sound that this record has been purveying. "Shooting for the Stars" takes the cake for the 'radiorock' track on the album, where every note, every beat, every lyric, screams commercialism and airtime. Not necessarily a bad song, but not the most interesting on the album. The album closes with "The Best Is Yet To Come" which makes me thing, Anneke has even better music to offer us in the future? The song itself takes first place on the album for me; the presence of the overdriven guitars and bass compliment her voice perfectly to create a powerful and catchy, yet Heavy Rock track, with interesting and unpredictable licks and hooks.Van Giersbergen and her band are quickly cementing themselves as one of Europe's currently most powerful and gorgeous-sounding rock groups, whom don't necessarily always cling to the commercialized, radio cliché sound, although no doubt perfectly suited to long air time. Coming from a metal head who listens to a fair share of female singers, I believe she could sing anything she wanted to, and the band of musicians that have got together and recorded this organic album with her have done so masterfully, and I'm not sure if the best is yet to come." - Metal Temple
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  • "The average underground metal fan seeing Crucified Barbara in the daily news feed probably made the same mistake I did in expecting this Scandinavian all-female rock band to be too upbeat and soft to hold my attention. That turned out to not be the case at all, as “In The Red” has the best of both worlds: an energetic rockin' vibe with more than enough of a metal edge. If you dig metal/rock crossovers like Doro or want a more serious and less humorously misogynistic Steel Panther, “In The Red” is absolutely the album for you.The album opens with the catchy “I Sell My Kids For Rock 'N Roll,” an anthem of rebellion against slowing down the rock just because of age, and then shifts into the slower but harder hitting “To Kill A Man,” which would make a great soundtrack to an “I Spit On Your Grave”-style revenge flick. Third track, “Electric Sky” then splits the difference, being catchy but still heavy.The album as a whole is incredibly cohesive, keeping up a solid and recognizable vibe while slightly altering the formula to switch between punk rock partying and darker themes. There's not much in the way of experimentation or a single stand-out track, but that's actually more of a good thing than you might think, as there's really no filler tracks either.“In The Red” is likely to hold the attention of extreme metal fans better than a good deal of the other rock hybrid groups. Granted it's not brutal or extreme, but so long as you don't head into it expecting Arch Enemy you'll be good to go. These tracks are definitely heavier than say Lita Ford's material, but much more rock focused and less on the extreme end than other all-female groups such as Astarte. This leads to both high powered guitar riffing on tracks like “Lunatic” alongside an old school Blue Oyster Cult feel on “Finders Keepers.”Refusing to give up the fist pumping fun of rock while playing heavy metal, Crucified Barbara's “In The Red” is a must-hear for fans of either genre.Highs: A great meshing of energetic rock with hard hitting metal with essentially no filler material.Lows: If you only dig extreme metal this won't have as much appeal, and there's not much in the way of experimentation or a single stand out track.Bottom line: Rock and metal rarely sound this good together - even if the less heavy end of music doesn't usually appeal to you, give this one a listen anyway." - Metal Underground
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  • European only 2CD greatest hits set. The 2 CDs features remastered versions of classic tracks plus you get 3 unreleased acoustic tracks recorded in 2000 by Jon Oliva.
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  • Not at all what I expected...vocal based project with Terry Bozzio and Billy Sheehan playing all the instruments. Obviously the predominant instrumentation revolves around bass and percussion so it's very rhythmically oriented music. Bozzio sings and contribues keys while Sheehan also plays some guitar. Music has a dark Crimsonish feel. Bozzio vocal approach is more talking than singing but it fits the moody noir-ish music. Clever disc!
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  • "Alice Cooper wasted little time following up the breakthrough success of Love It to Death with another album released the same year, Killer. Again, producer Bob Ezrin was on board and helps the group solidify their heavy rock (yet wide-ranging) style even further. The band's stage show dealt with the macabre, and such disturbing tracks as "Dead Babies" and the title track fit in perfectly. Other songs were even more exceptional, such as the perennial barnstorming concert standard "Under My Wheels," the melodic yet gritty "Be My Lover," and the tribute to their fallen friend Jim Morrison, "Desperado." The long and winding "Halo of Flies" correctly hinted that the band would be tackling more complex song structures on future albums, while "You Drive Me Nervous" and "Yeah, Yeah, Yeah" showed that Alice Cooper hadn't completely abandoned their early garage rock direction. With Killer, they became one of the world's top rock bands and concert attractions; it rewarded them as being among the most notorious and misunderstood entertainers, thoroughly despised by grownups." - Allmusic Guide
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