The Privilege of Power

Editorial Reviews

All Music Guide - James Christopher Monger
Like Queensrÿche's 1988 prog metal masterpiece Operation: Mindcrime, Riot's Privilege of Power works off of fear, paranoia, and conspiracy, employing ten complex tracks that work as a single unit. Where Mindcrime stuck to a straight narrative, working every Pink Floyd-ism it could into its disillusioned protagonist, Power takes a broader, less specific approach to its subject. The atmospheric snippets that tuck-point each song into place help maintain a general air of unease, eventually giving way to an ambiguous but entertaining revolution that lacks Queensrÿche's self-importance. Lyrically, the group does little to deviate from obvious metaphor and "Viking" ...
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Editorial Reviews

All Music Guide - James Christopher Monger
Like Queensrÿche's 1988 prog metal masterpiece Operation: Mindcrime, Riot's Privilege of Power works off of fear, paranoia, and conspiracy, employing ten complex tracks that work as a single unit. Where Mindcrime stuck to a straight narrative, working every Pink Floyd-ism it could into its disillusioned protagonist, Power takes a broader, less specific approach to its subject. The atmospheric snippets that tuck-point each song into place help maintain a general air of unease, eventually giving way to an ambiguous but entertaining revolution that lacks Queensrÿche's self-importance. Lyrically, the group does little to deviate from obvious metaphor and "Viking" simplicity -- in "metalspeak" something as mundane as an airplane ride "Metal Soldiers" is described by shouting "We climb aboard the eagle made of steel" followed by a four-octave scream -- but "true blue" fans of heavy metal know the genre's scholarly limitations, and revel in its face-value descriptions of rebellion and honor. The bizarre use of a horn section keyboards? on tracks like "On Your Knees" and "Killer" actually works, adding a swaggering charm to the already hook-laden tunes. The ferocious "Dance of Death" brings to mind classic Judas Priest and features brutal guitar work by guitarist/songwriter Mark Reale -- he really is remarkable -- and elements of Iron Maiden run rampant throughout the rousing "Storming the Gates of Hell." The record loses its flow -- not its focus, as it never really has any -- with the dreadful "Little Miss Death" -- a study in "horned-hand" mediocrity -- and the obvious single "Maryanne," which -- although the vocals are outstanding and the slight melodic variation mixed with car horns and other sonic oddities is infectious -- is virtually a carbon copy of Boston's "More Than a Feeling."
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Product Details

  • Release Date: 11/25/2003
  • Label: Collectables
  • UPC: 090431744826
  • Catalog Number: 7448
  • Sales rank: 39,018

Album Credits

Performance Credits
Riot Primary Artist, Primary Artist
Tony Moore Group Member
Mark Reale Group Member
Bobby Jarzombek Group Member
Don Van Stavern Group Member
Technical Credits
Al di Meola Composer
Rod Hui Producer, Engineer
Steve Loeb Director, Producer
Mark Reale Composer
Nick Sansano Engineer
Christopher Shaw Engineer
Kirk Yano Engineer
Don Van Stavern Composer
Don Ivan Punchatz Cover Art
Mork Peale Producer
Vince Perazzo Executive Producer
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