Before the disputes and legal battles, before the mythological themes, there was a different kind of VIRGIN STEELE. I never really gave much attention to the 80s era, especially the first several years of the band, with Jack Starr still an integral part of the band as lead guitarist. Thanks to the newfound effort of the Greek No Remorse Records, both the self-titled debut, which is also known as "I", along with "Guardians Of The Flame", were reissued in a special edition.

The debut "Virgin Steele" introduced me as one of the many examples for the baby steps of what soon to be called US Power Metal, or US Metal. Introducing two power pillars into the local Metal scene, such as guitarist Jack Starr and vocalist David DeFeis, the band strode with an interesting musical mixture. VIRGIN STEELE made it happen with 70s styled Hard Rock, al'a DEEP PURPLE and LED ZEPPELIN along with NWOBHM circling the hay days of SAXON, exploring a variety of speedy rhythms. In order to put additional flavor in, there is a sweet dosage American born and bred Blues Rock, a cream at the top you might say, if you are a bit open minded.

The songwriting within "Virgin Steele" shows promising abilities, even if not to closer to perfection. Generally, the fine musical mix that made the band what it is in its first years, was quite solid and showed that things to come are bound to shine. Nonetheless, "Virgin Steele" still sounds raw, in particular DeFeis's vocals on most of the songs that just screamed himself to death with various shouts and yelps. Later on, he would become a much tougher edge of the band. However, he did have his moments on this record.

Hard N' Heavy cruncher "American Girl" was the first on the scene to do justice, enticing with Rock to the bone riffery, amplified with enough gain to cut you open. Screaming banshee DeFeis showing off his deadly vocal force. This is late 70s Hard Rock meets raw Heavy Metal. Going into the realms of Epic Metal, unraveling its first chronicle, "Children Of The Storm" barges in with fury. Musical complexity to the side of a dramatic drop of Keyboards, letting loose a barrage of lead guitar electric charges to keep the fire burning. Keeping it emotive, especially in the 80s, is a must for any release, even for Heavy Metal. I didn't expect DeFeis, which revealed himself as quite a proficient vocal fiend, to command balladry "Still In Love With You" with such naturality. Songwise, not your ordinary ballad, and in a manner of sorts I was glad that it wasn't the usual AOR cheesiness (No disrespect to AOR of course). Shifting to heavier horizons, fantasy driven "Virgin Steele" returned to the traditional form of Heavy Metal, demonstrating a number of impressive riffs alongside Starr's definitive soloing offerings. There are various of twists and turns in the song that in a way rose above other strong Metal exports of the early days.

You may find in the release a lengthy booklet, including liner notes of DeFeis, which remained as the sole member of the band since its formation. Worth reading DeFeis's intake of the early days. In addition to the original album, three previously unreleased demos were included, with "Life Of Crime" being the high and mighty stream of toughness, which even reminded me of early SAVATAGE. Four remastered mixes found their way into the reissue. To be honest, I didn't find too much of a difference other than a much better mix of "Dead End Kids", which convinced me of its prime. Lastly, and I was a bit perplexed about it, was the final track, a live version of the lengthy epic "A Token Of My Hatred", originally released much later in VIRGIN STEELE's career, crossing the 2nd act of the "The House Of Atreus". I can't really understand why, as it is surely out of context, but at least the quality of the recording was alright. Anyway, it is a must for collectors.

With the emergence of the sophomore, VIRGIN STEELE's raw deal of the debut nearly diminished, as a powerful force rapidly took hold.