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Go Home and be a Family Man - 52%

Tanuki, November 21st, 2018

Restless Breed was a rising tide of mediocrity, crashing against the shore and sweeping away Riot's prophetic songwriting, blues mastery, and mystique. It was a dramatic shift in quality most comparable to Saxon's purgatorial mid-80's descent, and somewhat similar to King Diamond's power struggle throughout the 90's, at first sounding like no one else, and eventually sounding like everyone and their grandmother. Especially their grandmother. On the bright side, Born in America addresses some of the more geriatric issues blighting its predecessor, making it Riot's all-time greatest Rhett Forrester album.

Fair dues to the man, he puts on a much better performance on his second and final time around the block. Sounding considerably less cheesy and contrived, Forrester controls compositions with gravelly gusto and some much-needed seriousness after all the tittering goofballery that polluted Restless Breed. It's fair to say that lackluster album was a bit of an early wake-up call, reminding Riot that they weren't permitted a single moment to catch their breath in the ensuing heavy metal arms race. As a result, Born in America isn't afraid to flex its metal biceps with blood-pumping dynamos like 'Heavy Metal Machine', if to do nothing but assure us they haven't turned into a permed dad rock band over night.

However, much like Accept, every barnstormer is accompanied by at least one narcoleptic rocker that will fade out a few minutes after your consciousness does. Most filler is at least innocuous, offering well-maintained musicianship and competent singing, but "competent" is about the extent of things. Movements and melodies aren't in the least bit daring, and you're guaranteed to be left wanting much more out of static, Manowar-ish filler like 'Running from the Law' and the overt Scorpions coattail riding that is 'You Burn in Me'. It feels similar to, but in no way as bad as, the drivel that would soon be multiplying like rabbits across the NWOBHM scene; just take a gander at what Saxon and Tygers of Pan-Tang were calling metal in 1984.

So Riot earns a little more than a participation award this time around, actually managing to quote their past glories and sidestep some of the spiked pitfalls Restless Breed fell in ass-first. Sadly, the 'return-to-roots' shtick was not enough to sate the appetite of the metal hungry masses on either side of the ocean, and was certainly not enough to recapture the hearts and souls of their diminishing cult following. Reale was thus faced with an ultimatum; hang up his cape and lay his dreams to rest, or craft a world-bending symphony that will redefine the boundaries of a genre. Just pretend this is a cliffhanger.

Take this, Springsteen! - 58%

Felix 1666, March 27th, 2017
Written based on this version: 2015, CD, Metal Blade Records (Reissue, Digisleeve)

The early phase of Riot always fascinated me for two reasons. "Narita" was one of my first albums which was not released by one of the very big bands such as AC/DC, Kiss or Def Leppard and an outlaw status is always interesting. Furthermore, their contribution to the birth of speed metal ("Fire Down Under", the song), deserved applause. Therefore, I was all the more disappointed about "Restless Breed", their commercial genuflection. Then came "Born in America".

Thumbs up, it is a better work than its predecessor. But thumbs down, this is not to say that it rocks the boat. "Born in America" is a pretty staid hard rock album. The overly commercial direction of "Restless Breed" has given way to a pretty dowdy approach. Yes, the songs reveal a higher degree of combative spirit, but they do not surprise with extraordinary elements. Conservative patterns meet standardised riffs and Rhett Forrester (R.I.P.) leaves no doubt that his performance aims at American listeners. He has a certain charisma and he is anything else but a bad singer, but his entire presentation seems to lack of honesty and power, though it does so only to a certain extent. Anyway, his undistinguished voice complements the more or less antiquated compositions perfectly.

In all fairness, the songs are free from surprising twists and turns, but maybe I have no right to call them "antiquated". Perhaps this sound was socially acceptable in 1983. Yet I do not think so, because "Born in America" does not achieve a high tier of vitality. Its compositions rather seem to originate from a somewhat dusty environment. However, some tunes are pretty solid.

"Heavy Metal Machine" does not only score with its title, it lives up to its name as well and delivers a comparatively harsh number. Its dynamic riffing is as crispy as that of their classic piece "Swords & Tequila" and an effective chorus is presented as well with the effect that this piece marks the climax of "Born in America". The metallic guitar at the beginning of "Where Soldiers Rule" makes clear that the band still has a metallic heart and the same goes for its concise drum rolls. Finally, the AC/DC inspired riffing of the relatively strong closer asks for Bon Scott's voice. Nevertheless, some pieces taste as spicy as a glass of water. The title tracks, for example, wants to be a kind of second national anthem, but it needs more than a bloodless chorus and the sound of joyless guitars to storm the American market and hearts. This totally mediocre number is eclipsed by its direct successor, the fairly romantic, but solid "You Burn in Me". Not to mention comparable songs such as Quiet Riot's "Metal Health" which are also simply structured yet much more impressive.

To cut a long story short, Riot commute between Journey (the beginning of "Wings of Fire" is heavily influenced by "Wheel in the Sky") and Judas Priest (Halford's guitarists used the first riff of "Running from the Law" for "Jawbreaker") and add lame arena rock elements. Yet there is a certain metallic fundament as well as a sometimes shady atmosphere and these two features rescue the album from drowning. The contemporary production is another feature that could whet the appetite of historically interested hard rock / metal fans.

1983’s Wings of Fire. - 96%

Nightlock, April 30th, 2008

While 1982’s Restless Breed was a great introduction to Riot’s second vocalist Rhett Forrester and their best effort up to that point. It wasn’t half as amazing as 83’s Born in America which would unfortunately be the last studio release with the brilliant Rhett Forrester R.I.P (Possibly the most underrated heavy metal vocalist in history).

Often when fans are discussing early pre-Thundersteel era Riot the two Rhett Forrester albums get completely overlooked in favour for the three with Guy Speranza. This is absurd, Narita and Fire Down Under are enjoyable albums but I can’t conceive in anyway possible way how they rank alongside the incredible 1983 release. Born in America generally has taken a heavier, catchier approach without losing emotional depth. Basically the next logical progression for Riot, Fire Down Under and Restless Breed have some great songs but far too many tedious 70’s rock moments that bring the material down.

Rhett Forrester-Riot can’t really be described as the same they were with Speranza. Songs like Narita , Swords and Tequila are as the best examples in old Riot that can be found here, but that still lacks accuracy. Think perhaps a more Screaming for Vengeance / Defenders of the Faith riff sense and tone but the rest of the music having a much more American sound. Completely forget Speranza’s vocal style that’s not what you’re going to find here. Rhett sounds more like a combination of a throaty blues singer, 70’s hard rocker and blood-curdling, screaming demon. There’s no better way to describe him and his West Virginian accent just adds to the substance of his already amazing and unique vocal colour.

The album is very consistent and has no weak tracks as such. With exceptions of perhaps Promised Land written by Rick Ventura, but anyone who owns Restless Breed will know he writes the slower more “bluesy” numbers. It’s really not a bad song just the weakest link found here. With this kind of album it’s really hard to pick favourites every song holds its own quality and defining characteristics. You Burn in Me is probably the most noticeable song at first listen, with its melodic guitar lines and that chorus; so catchy and memorable:

“And you burn in me, just like fire on the raging sea”

Born in America is the mid-paced anthem-chorus-heavy song of the album preaching America being the “land of the free”. Wings of Fire showcases the band displaying their amazing song writing range. While Heavy Metal Machine shows a fast neck-twisting-head-banging classic. I especially love the last chorus and the way Rhett sings “got to keep it clean” followed by the scream and then back to the lower “heavy metal machine” (3:09 – 3:18) man this guy has range. Speaking of Rhett’s vocal range Gunfighter probably my current favourite of the album, Rhett sings this one with just the right emotion for the lyrical content. The: “I’m going to send you straight to hell” line sounds like he’s almost spitting fire.

Without all the emphasis on Rhett Forrester main song writter and guitar Mark Reale (who formed the band back in ’77) has also shown a huge improvement in both categories. Writing 6 out of the 10 songs on the album and those 6 being the best songs (not counting the Cliff Richard Devil Woman cover) must say something. Speaking of the Cliff Richard song though, generally I’m not a huge fan of cover songs instead siding with the original. It’s very rare a cover is better than the original. Yet Riot seem to somehow do it again they truly make the jazzed up version of Devil Woman their own.

Another great point that needs to be made, this album screams early 80’s traditional metal nostalgia. I’ve often noticed when bands make the hard – heavy progression Riot make with Born in America that often they lose the nostalgic values of their earlier releases. This is certainly not the case here. Born in America contains so many of those moments where it’s utter nostalgic bliss on your ears. If you want heavy metal at it’s best, this is as heavy metal as 1983 can offer.

It's okay, but it's not them. - 72%

hells_unicorn, February 11th, 2007

This is the last offering by pioneering New York based heavy metal act Riot, and it is purely a product of its time. 1983 saw an increased interest in both cock rock outfits such as Dokken over in LA, and slightly more early rock inspired outfits such as the Scorpions. Much of the songs reflect this trend in the music scene, particularly in the lead guitar department which is loaded with catchy harmonized parts in many of the slower rock songs, in addition to more overt shredding during the solos.

Rhett Forester’s singing on here is not quite as over-the-top as it was on “Restless Breed”, although album opener “Born in America”, “Vigilante Killer” and “Heavy Metal Machine” have some hit or miss attempts at emulating Ian Gillian. When he sings clean he sounds better and actually quite a bit similar to Tony Moore, who helped turned Riot’s late 80s/early 90s stuff into the revolutionary fits of artistic genius that they ultimately became.

The guitar has morphed a bit on here in the lead department, resulting in something that is a bit more hook oriented than even their late 70s material. “You burn in me” has a highly hook oriented harmonized intro that reminds a bit of the stuff found on the Scorpions’ album “Black Out”, which came out the year before. The guitar soloing on such songs as “Heavy Metal Machine” and “Vigilante” see a large amount of fret board tapping and a slight tinge towards a George Lynch sound.

The best songs on here are the ones that are the most removed from the cock rock sound that has snuck its way into this portion of Riot’s history. “Wings of Fire” has a haunting acoustic intro with some synthesizer sound in the background, followed by an up tempo set of killer riffing and drum madness. This song is essentially the musical ancestor of Thundersteel’s classic track “Bloodstreets”. “Where Soldiers Rule” has a solid horse galloping flow and the best vocal performance out of Forester. This one is probably the closest to the older Riot that originally pioneered this sound, although the atmosphere is quite a bit heavier and the guitar sound is reminiscent of Accept.

For the potential buyer, this is the weakest album that I have heard put out by the band and the reason is that they don’t sound like themselves. When one thinks of a band name like Riot, one does not picture a band prancing around with more lipstick on than their girlfriends, one thinks of a traditional heavy metal band that rocks hard and moves fast. This album has almost no speed to it at all, although in terms of technical prowess this album is the most guitar-oriented of the older stuff. It comes recommended at a reduced price of $9 or less, it isn’t bad, but it’s not them either.