Sirens & The Dungeons Are Calling: The Complete Session

Imagine.

The year is 1979. The place is America and more specifically Tampa, Florida. You are a young teenager and surrounded by radiant sunshine, miles of emerald beaches, endless commercial prosperity and the expectation that beauty is forever; your musical exposure would have been with the soft sounds of the prior generations declarations in affluence that reflected the utopian city you resided in.

However as your change in life occurs, the declarations of exorbitance give way by means of adventures to the cities gratuitous parks where unsolved morbid homicides and aberrant disappearances occur, forever shifting the focus of your youthful mind. Where an almost inexplicable sense of bleakness rears up to reveal what lies under the perpetual overcast skies. Where one is forced to mature by embracing of reality much more exploitative and truculent than the deceits brought on by over protection. This realization breeds the same cynicism that fuels the cities disputatious underbelly and your taste in art becomes almost exclusively disenchanted.

Since it is 1979 your rebellious love for the music meant you were lucky to have just discovered both Judas Priest and upstarts Motorhead; if even luckier you may have known about lesser known Accept or Riot. The only other 'metal' band at the time, Black Sabbath, had gotten entirely too tame for you, after all the same band who had done Hole In the Sky just four short years before were now proclaiming that life was a Hard Road with all of the ferocity and tension of a Fat Albert episode. You needed something more…

Your teenage ears craved music that was faster, harder, faster, louder, faster, heavier and abrasive, faster, meaner, faster, nastier, faster, purposely brass and over the top. Did I mention that you needed it faster? Needed a music that would make you want to run through walls and shoot subtlety square in its uneventful ass. Something that made all of the preceding 70s metal bands sound like show-tunes by comparison. You wanted to stand up and, in unison with the vocalist, scream out what you are feeling: RAGE!

Since it is 1979 the amount of rock or metal your youthful teenage ears would have heard would be scarce, being more exposed to the likes of AC/DC or Aerosmith. Bands that could certainly rock, pretty hard and heavy for the decade, but not what we all commonly know as ‘metal’ since the dawn of the ‘80s. The likes of Venom, Slayer, Sodom, Celtic Frost, et al had either not even formed yet or were still so outside of popularity in their own countries that international distribution was a wish fulfillment. As a teenager living in Tampa you were in the perfect spot over the next eight years to witness a fledgling trend of upstart bands who all seemed to have one goal in mind: push all of the metal boundaries to their extremes. Also realize that with the exception of Black Sabbath just one time in 1978 in neighboring city St. Petersburg, none of those bands we call ‘metal’ today had ever played in Tampa or its surrounding suburbs.

Before the city would spark the death metal genre the foundation was being built for it with that extreme and abrasive attitude a great number of local bands had, like Bloodshed, Nasty Savage, Prisoner & Noiz. Since nothing ever develops into something as extreme as first wave death metal in a rapid linear succession, one should only expect it to have arisen from a gradient instead of a vacuum. There is a massive gap of extreme between bands like Sabbath or Maiden and bands like Obituary or Nocturnus. Something, perhaps even a lot, would have had to appear in between these two movements, a connective tissue. Enter Savatage or, as they were predominantly known at the time, Metropolis.

While most would not make the connection, combining a lack of exposure for heavier bands by 1983 and the inaccessibility of international markets, young men like Trevor Peres, Kelly Shaefer, Kam Lee, Jeff Acres, Eric Hoffman, Chuck Schuldiner and Steve Asheim, would instead receive their influence in a big way from witnessing local bands from Tampa. Like Savatage who played the same clubs ( à la The Red Eye, Sunset Club, Night Moves, The End Zone, Victory Club, Ruby's & The Ritz ) those death metal bands would perform at just a fistful of years later, and were also the very first metal band to ever record in Morrisound Studios, which would become the Abbey Road of death metal.

Now while the music on Sirens is obviously not death metal, the musicality has a close association with some of said genres identifiable marks, making it a continuously fresh listening experience. Criss’ complete C# down tuning throughout did not find him existing just to create a wall of heavy that Iommi would orgasm at, he would cut through that dark wet production with a breakneck fluidity at brighter tones. Utilizing the typical ultra-fast palm muting style of the areas scene only sparingly, he instead played more melodically resulting in both crushing yet manic jaw-dropping leads. Meaning his rhythm was less stiff than most metal guitar, regardless of the sub-genre, and he could dance across the fret-board dazzlingly to create infectious grooves. This is benefited by not only Keith Collins’ often chunky bass work but special mention must be given to the albums true secret weapon, Steve Walchoz. There is a reason he was referred to as Doc Killdrums and there are moments of this record where goes absolutely ballistic on his three bass drum kit. It can be heard best on the thunderous and deadly Holocaust. This song grew out of Steve rehearsing and is one of Savatage’s biggest classics. In fact I believe the production of this song does the low end no favors, for if it had been mixed more clearly then Steve’s drums would be heard for the hyper-fast BLASTS they represent. He holds his own and provides the necessary backbone to the otherwise god-like strings throughout. Jon’s varied vocals also show a bit of influence and is his second finest outing behind the microphone. His apparent need to add dramatic flair through screams and grunts in places of the song perhaps not needed, was referenced by John Tardy when describing how he used his vocals for percussive effect when pioneering the death growl. Jon’s range from a growling low end to harsh screams is simply sublime.

Now between 1979 and 1983 the band took their constant gigging throughout all of Florida and composed a total of 33 completed original songs. Although this number was revealed in much later years with releases of early Avatar materials, for the purposes of this album, it is imperative to focus on just the 15 songs the band chose as their strongest. During the recording sessions for Sirens, 6 of those allotted 15 songs would be released a year later on the EP The Dungeons Are Calling. Of the 9 songs to make it to Sirens, only 2 of them ( On the Run & Living For the Night ) were composed after inking the deal with Par Records. Of the other 7 songs, 4 of them ( Sirens, Holocaust, I Believe & Scream Murder ) were written, and performed, as far back as 1979, while the band was still known as Metropolis. The other 3 songs ( Twisted Little Sister, Rage & Out On the Streets ) were written, and performed, after the band evolved into Avatar in 1980. It is also crucially important to note that all of the songs from Sirens that predate the bands name change were not altered any further for the recording. So the songs on this album were heard exactly the same, loud and clear, a full four years earlier. Faster, harder, louder, heavier, meaner, nastier, purposely brass and more abrasive than any band at the time.

The opening title track sums up the transitioning of youthful innocence written of earlier, as it opens with gentle guitar lines that, combined with wind chimes and bells, become progressively more eerie before exploding into a brooding atmosphere of metallic melancholy. With a rather unyielding riff providing a wall of gothic doom, literary allusions to bloodshed and terror in the visceral lyrics, the song has a thrash gallop that is everything which is great about metal on a whole. The stiffness of this iconic composition is due to being written after Criss accidentally fractured his hand over a botched show at Tarpon Springs High School, coincidentally where he would graduate from the same year ( and where this reviewer was attending ).

While every song exhibits a raw youthful energy, they also boast a songwriting maturity due to how long the band had them in their arsenal, sharpening them to a metallic edge through an endless evolution of early performances. The only track that does not hold up as well is Twisted Little Sister and it is hard to explain why. At worst it is just simply part of the pact and, honestly, if is the worst that can be said about an entire album, then it is a highlight in a musical collective;

Speaking of the albums highlights, they are tracks three and eight, I Believe & Scream Murder respectively. The former is a sprawling epic that is thematically dynamic. A moving piece that begins mournfully, with some earnest crooning by Jon before his voice goes gnarly and an evil riff straight out of Hell rips the piece open, leaving its innards to be shredded by Criss' glorious blazing fast fretwork. An unbelievable headbanger ensues with glistening metal riffs galore and four separate guitar solos, as well as some of Steve's most indelible percussion. His three bass drums, combined with Keith's chunky bass, creates such a powerful bottom end trade off that it seems they found the scientifically precise manner in which to have a rhythm meant for air guitar glory. This is best exemplified by that half muted chromatic riff during the evil sounding refrain in the first half, another riff idea that fellow statesmen like Obituary, Death & Cynic would build entire compositions around.

The latter is another song from prior to the bands current name change, which packs such a visceral punch that it places you in the dark atmosphere created. A very haunting rain drenched scene of dark and muddy alleys as you are chased by an unknown evil before the fog and darkness swallows you. How fitting for the reputation of Tampa, Florida at the time. The only thing to cut through the deep atmosphere is Criss’ face-melting shredding long solo that cuts like a buzzsaw through mesh. Beyond the monstrous beating all the instruments receive this songs highlight is the absolute intense and insane vocals by Jon, especially the grandiose climax, where he sounds like a literal murder victim as they are being gutted by a deranged madman in the alleys that resemble a morgue. If the cities unsolved grisly murders that both captivated and terrified the residents needed a specific soundtrack it would be this thrashy-speed metal monster.

Scream Murder also brings me to the only problem I have with the album and that is how it ends. Out On the Streets is not a bad song, in fact it is one of the bands most creative and beautifully crafted ballads, but is anti-climatic as a closer and would have worked if placed a few songs prior. Not only would it have offered a bit of reprieve between all the moments of metal mastery, but it would have allowed Scream Murder to conclude the proceedings as it should have. This misplacing costs Sirens a precious point, but is not enough to detract from the overall quality, which fills every second of this tremendous album. A debut that, as the review title states, is quite revolutionary. It was able to channel a region known more for lavish sunshine landscapes and radiant prosperity and bring its actual identity to the forefront. A recording that depicts unforgettable darkness, despicable atrocities and horrifying evil, all of which would define the scene ( and sub-genre ) that would emerge from the city immediately following its release.

Overall Savatage's first album is a winner and an contender in the subject of greatest debuts in metal history. Unforgettably bleak, morbidly heavy and intensely nihilistic. The only thing that makes this album superior is by continuing the recording sessions with the masterful follow-up EP, which is even darker, more nihilistic and deranged; proving the band was coalescing most of the elements that would soon evolve into death metal. This album ranks as my second favorite by Savatage, due to its near unmatched quality but also the special place it holds for me personally. No one and nothing sounded like the early days of Metropolis/Avatar/Savatage.

Unequivocally Recommended!

Highlights: I Believe, Scream Murder, Sirens, Holocaust, On the Run
Lowlights: Twisted Little Sister

Originally Written/Published On June 16th, 2007.

Quite simply, this pisses all over 99% of other metal albums from 1983 and, yes, I'm including most of those ones you just thought of. 'Sirens' is a remarkably strong album with a few minor weaknesses and has stood the test of time incredibly well, maintaining an enormously punchy sound and more than a few unique idiosyncracies. Though arguably not the band's finest effort (that prize may go to 'Hall of the Mountain King'), any fan of classic, power, speed, or thrash metal needs to listen to this and acknowledge the oft-neglected role that Savatage had in forming, progressing, and perhaps even perfecting those genres.

Considering that the songs on 'Sirens' aren't that long and that there are only 9 of them, they need to contain something pretty damn special to match up to the hype I've just provided. If you listen to this album, I'm not sure what you're going to pay attention to first, which is always a good sign. There are incredible performances on all four instruments here, all of which take a suitable position in the mix without drowning out any of the other members' contributions. The drums lack an ounce of sharpness, though Steve Macholz makes up for it with a livewire performance, sounding like the bastard child of Keith Moon and Dave Lombardo, upon the condition that one could be a woman. There is something rock 'n' rollish about the relentlessly pounding beats in the faster numbers like 'Rage', yet there is every bit as much precision and extremity as the other big guns of '83 when 'I Believe' hots up and the double kicks and rapid fills rain fire down on everything. Keith Collins also turns in a remarkable bass spot, with a glorious sound and a lot of complicated supporting work, but the focus must be on the Oliva brothers, who steal every song and smash all of the other early 80s vocal/guitar duos, hands down.

The power of the bass might be considered helpful with only one guitar, though it seems almost superfluous when one hears the staggeringly huge tone that Criss Oliva generates, not to mention the riffs (always simple, always effective) that just keep coming and coming until the closing ballad. The solos are out of this world too and don't borrow from any of the expected sources (I hear more Scorpions than Iron Maiden or Judas Priest), crossing a bridge between the 70s and the future with no stops in between and no regard to the other travellers on the same journey. Jon Oliva, on the other hand, has one of those vocal performances that just seems to rise from the smoke and debris that the other musicians are creating around him and seize control of the wasteland. The power and authority that exudes from his movements on 'Living for the Night', the hope and timelessness of his storytelling on 'I Believe', and the pure lunacy in the closing section of the title track are all indicators that he was either impossibly high or supremely confident to attempt such feats of skill and personality and, considering that he barely puts a foot wrong, we should probably discount the drugs. His single greatest moment (and surely the most memorable touch of the album) is the end of 'Sirens', when Criss's starkly lurching riff returns and his brother squawks out a series of chilling cries that come close to the intoxication and terror that the singing of the mythical creatures create.

The songs, individually or as a group, have a great deal to recommend them. The majority are simple in their construction and profit from pure balls and electric energy, while 'I Believe' and 'Sirens' are the divergences from the trend. The title track is a full-blown epic in content, though not in scope, including an atmospheric introduction, two verses and choruses, a drop in intensity, and then the climactic conclusion without troubling the four-minute mark. 'I Believe' does have a little more girth and uses it very well, building from acoustic origins into a stirring mid-section, before ending with an exhilarating burst of speed. The simpler numbers range from flat-out sprint through aggressive speed metal ('Rage') to hulking hard rock stomp ('On the Run') to hooky, galloping classic metal ('Scream Murder'). All of these songs have fantastic riffs, solos, vocals, rhythms, and - crucuially - chemistry, taking everything to a higher level than I expect when I play the album again. The only disappointment is the ballad 'Out on the Streets', which isn't too sappy and has some decent solo action, yet fails to capture the excitement of the rest of the songs and doesn't warrant too much attention. However, ending the album on a slower note was probably the best way to go.

There's not really anything else to say: there are 8 perfect songs here and four guys who believed that nothing was impossible. Let the sirens claim your life.

As often as my opinions have fluctuated beyond their 1989 opus Gutter Ballet, Savatage was once one of the most rock steady, reliable heavy metal groups of the Southern USA; the darker aesthetics they brought to hard rock fundamentals peeling off into an ambitious development that many bands would simply have been too fearful to attempt. I felt that the band was always under some sort of pressure, perhaps due to their own expectations, more likely from their major label (Atlantic), but the fact that they nonetheless managed to tough it out, remaining in the spotlight for such a long time without even packing tours or generating immense sales of their records, is a testament to the devotion of the Floridians.

Sirens was, of course, from a more innocent time, before the Oliva brothers evolved the band's course into its rock opera state, and yet there are still threads of almost theatrical elegance to how they crafted a number of the songs. After changing names form the far less distinct Avatar, they had begun to move in a moodier, dark direction that, like it's US, German and British counterparts, strafed the line between the arena mentality of hard rockin' sex thug anthems and the more aggressive speed and thrash that was only then beginning to emerge from a handful of scenes. Sirens still has a lot of natural groove to it, due to the writing style and performance of guitarist Criss Oliva, who to me always resembled a 'poor mans Randy Rhodes', but would inevitably become one of my favorite players of this precious period, due to his coordination of pure, molten riffing patterns, flashy but memorable licks and the escapism of his leads.

This debut wasn't the heaviest or most complex of their outlets. It didn't possess that same, vicious songwriting economy of a Show No Mercy or Kill 'Em All, yet it's still a hard-hitting classic, one of their career best, and despite the chunkiness of its production, it hasn't lost much luster through the intermittent decades. Like the ancient sewers and waterways that the elfin rogue children of its cover travel through, Sirens is a claustrophobic, cavernous sounding record, with a heavily processed guitar tone that mixes with the vocal reverb and other effects to create this echoing paean to evil. As a contrast, Steve 'Doc' Wacholz drums are mixed humbly, snapping and crashing along without that same level of vaulted atmosphere. The bass, performed here by an earlier member (Keith Collins) wasn't much of a presence itself, gently plugging along to support Oliva's churning rhythms, woozy octave chord slides, and gloomy clean tones.

Even more impressive than his brother, though, was Jon Oliva's barking, enraged inflection, one of the most unique in all heavy/power metal of the 80s, and a trait I've long considered a make it/break it factor in terms of my interest in their output. The man's style just exudes sinister intentions, like the villain in any classic play or horror film. The wolf man, stalking the wood behind you. Jack the Ripper, polishing his instruments while he waits for an unsuspecting lady of the night. MacBeth, eyes burning with the blood of his revenge. While some might have faulted him for lacking the range of a Halford, Dickinson or Ronny James Dio, for me he provided ample proof that the best singers are not always those with the 'prettiest' or widest capabilities, but those that make the best of what they've got. Jon can do delicate, and he can emit a shriek or two when it suits him, but it's this rabid, mad dog mid-range that, more than anything, made me such a fan.

Not all of Sirens aged well for me. In particular, the smutty "Twisted Little Sister" lacks an interesting hook, and the vocals and lyrics are beyond cheesy unless you really like your dim lit 80s S&M metal for the sake of burning its own candle wax. I also feel that the front half of the album is a cut above the rest. Deeper in, you've got "Living for the Night" and "Out on the Streets", solid enough tunes, but nowhere near as strong as something like "Sirens" itself, with its hypnotic, eerie clean guitars and bells that transition into a filthy dose of primal power metal that captured the threatening mythology of its subject matter. "Holocaust" and "On the Run" had a lot of that dirty, beloved hard rock groove, while "Rage" is borne more on Motörhead speed metal fix with some of Jon's higher pitched howls and screams. In general, though, I could listen today to almost the entire album with the exception of "Twisted..." and the later added bonus tracks, and still get the same thrills as I did in Junior High.

I wouldn't hold the production up alongside their finest works (like Hall of the Mountain King), since it seems mildly uneven and the rhythm section leaves more of a footnote than an impression, but as a debut for the Oliva brothers, you can't really go wrong here. In terms of complexity, it's not much more involved than Iron Maiden or the other serious entries in the NWOBHM field, but the band knew how to throw down a chorus, provide interesting verse riffing, and there are plenty of little licks to pick out there, thanks to Criss Oliva's ceaseless unrest for the mundane patterns a lot of also-ran metal acts were producing. Ultimately, while it's no American masterpiece, it's a damn good debut which an appeal that transcends generations, and I'd count at least the title track as one of their top 10-15 songs ever written.

-autothrall
http://www.fromthedustreturned.com

“The beginning of the 80’s… yes, magic times for metal music. I was a kid at that time and I knew nothing about it. Fortunately everything changed and I can listen to this kind of music now. Writing about “Sirens”, there is a need to make mention of band’s history. Formerly known as Avatar, Criss brothers released Ep “City Beneath The Surface” with two songs. Then their label came down with the money (3000 bucks) for studio session (only two days!). The band recorded fifteen songs which were divided into two titles: “Sirens” and “The Dungeons Are Calling” (released as Ep in 1984). Unfortunately, Avatar was forced to change a name (due to Avatar in Europe with some official stuff). So Savatage was formed and “Sirens” saw the light of day.

The album is opened by the title song which is in fact a mine of information about the “Sirens” content and the Oliva style. This is their first breath in metal world, but it is obvious that this band is unique and not commonplace. Listen to the first song and let the sounds attack your mind! What do you hear? First of all: Jon Oliva and his demonic vocals, with ease he can modulate it from screams and shrieks to calm, subtle and sensitive form of singings. I can imagine that in those days metal fans could be in shock just like after listening to the GUITAR of his brother Criss. Even deaf person can hear that this guitar play has something splendid. Although his play is rather thrifty, it really impresses. The rhythm section is on good level, the specific production (comparing to the present times) helps to admire all the sounds and vocals.

Yes, title track is a classic for Savatage, it is published on many live/best-of albums, of course no wonder, because it is perfect heavy metal hymn (opened by mysterious introduction), rather short and dense with very interesting guitar lead and surprising end (about 2:28 the song calm down, after 30 seconds the main riff appears with demonic shrieks of Jon). The second song “Holocaust” has a marvelous riff, it is not a fast track (see title!), but the basis here is this guitar masterwork. Total metal holocaust! Then “I Believe”. The ballad guitar opening (with Jon vocals) turns into heavy, sharp riffs and amazing guitar lead (and look at rhythm section work!). Something wild! The song is maintained in mid-tempo with four thrilling Criss solos, at the end song starts to hasten. The best song on the album? Probably yes. The next song “Rage” is like a prolongation of “I Believe”. Very fast, very short, this is real firecracker! Four songs passed away and I have to write that the second part of “Sirens” is weaker a bit. It is not bad stuff, but the differences in quality of songs are perceptible. Especially “On The Run”, “Twisted Little Sister” and “Out On The Streets” (ballad with hard guitar chorus). In turn “Living For The Night” and “Scream Murder” are better, with very interesting riffs and multilayer guitar lead. These songs hold high level of “Sirens”. My cd (reissue record, 1994) also contains of two bonus tracks: “Lady In Disguise” and “The Message”. The first song is like a better version of “Out On The Streets”, it has fine intro with preferable Jon singing, but “The Message” is very good composition, I can compare it to these best two songs from the second part of the album.

Through releasing this album (and forthcoming Ep), Savatage proves some things. Firstly, they are new force in metal world, secondly, they are many-talented and brilliant. And in future they showed some kind of patent to create heavy metal masterpieces, despite of two weaker albums (“Power Of The Night” and “Fight For The Rock”). The main advantage coming from this first effort of the band: this music is timeless and it never gets outdated nor boring.

“Sirens” is the beginning of the metal way of Criss brothers… The way I will follow…

After ripping apart Savatage’s “rock opera” Streets in another review, I thought it’d be a good idea to revisit the band’s early material to remind myself of why I got into them in the first place. What better place to start then with their criminally underrated debut Sirens? A catchy and consistent record, Sirens showcases the band at their most raw and uninhibited: qualities that despite their implications result in some of the band’s most forceful and effective material.

Sirens is one of Savatage’s strongest efforts, mostly because they’re not fucking around with weighty lyrical concepts or symphonic elements. These songs nine are just straightforward heavy metal tunes that work, which is really all you can ask from a band that claims to play heavy metal. The Oliva brothers are in top form here: Jon is surprisingly menacing throughout (he throws in those wild yelping noises from time to time) and he shows incredible charisma during “Out on the Streets” and “I Believe” while Criss demonstrates why the metal community should be missing him more than they do. The man sports a mean guitar tone and has an ear for a good riff. Overall sound? Imagine a melding of early Twisted Sister, Anvil, Metal Church and a bit o’ Dokken (in a melodic sense) and you’re on the right track.

Most of the songs chug along at a steady pace (“Holocaust,” “On the Run”), but there are a few that dare sprint into speed metal territory (“Rage,” the back half of “I Believe”). “Out on the Streets” plays the part of power ballad, but it’s actually surprisingly memorable. It turns out that when Savatage cut out all of the monkey business, they’re actually damn good songwriters and that when Jon Oliva doesn’t overdo it, he’s actually quite a good vocalist.

It’s a shame that this album never caught on because if it had, Savatage might not have dabbled in the various commercial and theatric experiments they’d embark upon over the course of the next decade. Regardless, Sirens stands out in the band’s catalogue as one of their better achievements.

I discovered Savatage through "The Heavy Metal Collector's Guide, Vol.2" by Martin Popoff. In it he gave this, Savatage's indie debut, a perfect 10. Still being relatively new to metal at the time I began searching for this thinking it would be good and knowing how highly recommended it was by a man who is somewhat of an authority in metal. Well I was wrong... this isn't good... this is amazing!

I've been into metal (especially older varieties) now for about 3 and a half years and this is still one of my all-time favourite albums, and it contains my all-time favourite song.

Sirens - The opening and title cut to the album. This track is at times chilling, but always ferociously heavy. The short intro uses a simple yet melancholy guitar riff accompanied by what I believe to be chimes and a bell. After approximately 25 seconds, Savatage kick things into high-gear. The searing vocal presence of Jon Oliva's always unique technique delivers the lyrics about the demonic sirens attracting ships to their island and butchering the sailors therein. Screaming lead work, effective drumming, solid bass work. This song is very nearly perfect. My all time favourite song and already the album has paid for itself. 11/10

Holocaust - a faster, more energetic song, but not quite as heavy in my opinion. This one really showcases the drum work of Steve Wacholz. Another good, although not quite as haunting, vocal performance from Jon Oliva, and more wicked lead work from his late brother Criss. 9/10

I Believe - Great mid-pacer. More great and unique vocal work from Jon. Another showcase of Steve's very solid drum work. Solid all around. Lyrically well written (in a sort of sci-fi/apocalyptic type theme. 8/10

Rage - Fastest song on the album. This one approaches thrash territory at times (definitely not a bad thing). This one just drips with energy. Jon gets a bit screamy and whiny at times, but the vocal performance is still very good. The place this song really shines is the lead work. Criss giving us speed conviction and power with every note. 9/10

On The Run - another good slower song. Nice groove and cool, creepy lyrics. Jon's vocal performance on this track is nearly as bracing as on the title track. More great soloing and riffing from Criss with the rhythm section of Keith and Steve being very effective at providing that groove. 10/10

Twisted Little Sister - Odd lyrics to this one. But still good performances all around. Definitely not my favourite song here, but still decent. 7/10

Living For The Night - Another high-riding, energy soaked speed run. Good (not great) Vocal work, more solid drum and bass driven groove. Great headbanging tune. 9/10

Scream Murder - The energy of "Rage" meeting the chilling "Sirens" half-way. Great lyrics, great vocals, great lead and riff work, and the continuing presence of a solid rhythm section keep the whole thing from crumbling under it's own barely contained energy. Another master-piece of a song. 10/10

Out On The Streets - Saving the worst for last. It's not a bad song. But definetly not great either. Power-ballad thing going on. Fluffy, Heart-break centered lyrics. Maybe it's meant to be a nice breather after the absolute skull-crushing power of the previous 8 tracks? I don't know... 6/10

There you have it. All around this is one of the best albums I've ever heard and it's definitely the best debut. Everything right down to the production values (Which absolutely kill just about any other indie release from '83) just scream power and metal. If you can pick this up, in any of it's forms, it's well worth the investment.

Sirens is undoubtably one of the 80's most acclaimed underground classics ever. Jon Oliva and co unleash their powerhouse force of flashy guitar licks + solos, sturdy consistent bass playing, and slamming drumming. Jon's voice is abit immature but i think that just adds to the whole atmousphere of the album, and is nowhere near as squieky as Hetfield era Kill Em All. Jon's contains one of the most unique voices ever, and i must give the man credit for being an innovator. His voice on this album can range from a banshee like yelper to a lower pitched singer, and at times very mellodic (see Out on the Streets). Brother Criss Oliva is simply put a fucking mammoth on the 6th string guitar and I cannot disagree with anyone who would put such a label on him. The sheer brilliance and professionalism he puts into his playing puts others to shame. When this first came out it was beloved by alot of metal fans and i can totally see why, because there was nothing quite like it at the time of it's release (1983).

Sirens has alot of ballsy, brute powerful songs that have alot of diversity and catch your attention quite easily. Savatage really started accomplishing a cult status right away with their debut and can you wonder why? Take a listen and just dare to tell me this isn't some inventive stuff for the early 80's. This took Heavy Metal to the next level in my opinion, and adds that more extreme touch of aggresion to it. The thing i like most about the album is the attitude of the tracks. They all display a life like meaning that all of us can relate to in some way or another. Read the lyrics, and you should get something out of each track. Twisted Little Sister, is almost sadistic, Holocaust is horrifing, and Out on the Streets is Depressing. Check that fucking guitar solo out on the track "Out on the Streets" fuck that is touching. Pure Genious. This is definatly a Darker album than most would expect. The themes are about murder, war, lust, and sorrow etc. Basically everyone is bound to get something out of Sirens weather it be for the better or worse. But in the end im sure no one can say this album is all bad.

If you were wondering the line for this album was Jon Oliva : Shrieks of Terror, Criss Oliva - Metalaxe, Steve "Dr Killdrums" Wacholz, Keith Collins - The Bottom End. For a debut album this is mighty fucking good and who knew that Savatage would grow to be even more godly in the future? For a band to last this long surely is a feat in and of itself. In conclution if your a fan of classic metal albums, and are lacking in a Savatage record this is the one for you. There is nothing lacking about this album, and i suggest to get the Silver Anniversary Edition, for the Remasters are much cleaner.
Cheers Savatage
He's gonna take it out on YOU!!!!

Best Tracks: Sirens, Holocaust, I Believe, Rage, On the Run, Living for the Night, Scream Murder, Out on the Streets

This, to me, is the best album that Savatage released during the 80's. The band started their career on a high note when they released "Sirens" to the masses and they were never really able to equal this album until "Streets: A Rock Opera" came out in the early 90's, although it sported a fairly different and more "mature" style.

The album is a classic through and through, traditional metal with a good sense of what works and what doesn't...plus the solos, oh man don't get me started on the solos. You could already tell that Criss Oliva was going to be one of the better metal guitar players.

The album is midpaced and upbeat for the first two tracks "Sirens" and "Holocaust", both being signature Savatage tunes and Jon Oliva still jokingly complains in interviews about having to sing "Sirens" for the millionth time in concert. The third song, "I Believe", starts out soft and then goes into something in the same vein of the first two songs. "Rage" comes next, fast and in your face double bass. The rest of the album kind of follows the same ideas for the rest of the album, midpaced and heavy songs with awesome riffs, sweet solos and strong vocals. The last song, "Out on the Streets", is the only deviation as the album's only ballad. It's a very good song and works as the last track on the album.

There's not too much that you can say to describe this album aside from "heavy metal" and that "it rules!". So to describe the album I would have to say, that this is heavy metal and it rules!!!