ALBUM REVIEW: Riot V - Mean Streets

Riot are a band that passed me by. I do know of them and vaguely remember flashes of them on the Friday and Saturday Rock Shows on Radio 1 in the UK, when Tommy Vance and Alan 'Fluff' Freeman were introducing me to the world of metal. I think it was their 6th album, Thundersteel, and the title track that I remember, but by then I was going down to hell in the form of thrash and death metal and was done with the more traditional form. 

Founded in New York City in 1975 (the year I was born) by guitarist Mark Reale and drummer Peter Bitelli. Riot have disbanded and reformed twice. The second disbandment was due to the death of Reale. On the band’s second incarnation, they changed their name to Riot V. The 'V' was due to the addition of a fifth member. A heavy metal band that started towards the power metal side with the release of Thundersteel, the latest line-up consists of long standers Donnie Van Stavern (bass, since 1986), Mike Flyntz (guitar, since 1989), Frank Gilchrist (drums, 2003), and newcomers Todd Michael Hall (vocals), and Nick Lee (guitar). 

On to the music. In truth, this did not grab me at first. A 13-year-old would have lapped this up, but I was just hearing cliched rhymes and cheesy lyrics. Then on the second, and third listen, it clicked. This is unapologetic metal. It is old school. Cliches don’t matter, I was singing along to hooky chorus, and interestingly phrased verses, regardless of the subject matter. “Blasphemers! Idolaters! For this, you shall drink waters… God has set before you this day his laws of life, and good, and death …”, so opens the album Mean Streets, that will hit our streets on 10th May, with the track Hail to the Warriors. A lovely acoustic intro with this portion of speech from Charlton Heston’s Moses in The Ten Commandments, placed over it. Then into the power metal, and some pretty good operatic vocals, which are nice to hear in the day and age of the cookie monster and the squeal. 

These guys can riff and chug. There are elements of power, trad, thrash, and speed metal all over this album. Some great dual great work, which will always make me happy, and a tight, complimentary rhythm section with the bass and drums keeping the foundations there. The solos truly add to the tracks in all cases, never too showy to be the highlight, but never in the background. There are some cringy bits, like the start of the second track, Feel the Fire, and some of the lyrics in Love Beyond the Grave (yes, I know, right?), but once you realise it is yourself that is the problem and just go with the music and have some fun, which is what it’s all about, no? Then this Riot V album is pretty good. High Noon is a high-octane affair, with a great intro, and who doesn’t love a good cowboy film with a showdown. 

                            Riot V - photo by Tom Flynn
Next is Before This Time, which has a certain swagger about it, and I shouldn’t like this track, but I do. It’s almost a Europe-esque poppy affair, but I love it. Seem to have a phrasing in it like the Marti Webb Take That Look Off Your Face (guilty pleasure, it’s a great track), and the change in key. ‘Higher’, my favourite track, has a sci-fi feel to the intro, like it could be Blakes Seven or such. Love the dual guitar and the progression on this so much. Then the main riff comes in with Aces High speed.

The title track is probably where the trite lyrics and hackneyed phrases come to the fore-front, but it works and has great sing-along value is never in doubt. A great little bridge into the solo, too. Next track Open Road also suffers from this, and the transition from verse to chorus is a little clunky, the only one like this I feel, as all other tracks flow between sections. A great piano bass intro for the start of Mortal Eyes, very reminiscent of Lone Justice by Anthrax, even when the guitars come in, I can hear the similarities. And another infectious hooky chorus. Lost Dreams, has some mid-80s Maiden vibes (Back in the Village???), and I’m taken in, again. Lovely guitar work and a great rousing chorus you can’t help but want to sing to. Penultimate track is Lean into It, has kind of a generic riff, that again, is infectious and sucks you in. Not taken by the refrain or the lyrics to it, but again I want to sing it! The finale, No More, aptly named as the last track, sets off at a great speed, with some lovely dual guitar work, again. The drums and bass then drive whilst guitars take a backseat, the bridge sets it up for an anthemic chorus. A great song to finish on. 

Production wise, everything is there in its space. I’d personally like a bit more of a ring to the bass, and at times there is a bit of rumble in the kick drum (Might be that I only listened on my headphones/earbuds and monitors though, not on a proper system, and could be the file form. Would love to give it a vinyl listen!), but all in all it’s great. As said before I do miss a bit of singing, and that sounds great. In summary, this ticks the boxes for my teenager self, and my 49-year-old self after I put my bias aside and decide to have some fun.

Mean Streets is out on Atomic Fire Records on 10th May

Review by Rich 'Tricky' Hudson