Twisted Sister
Stay Hungry

THE REVIEW

First half of the eighties.

The Hard’n’Heavy world (and in a certain sense all “hard” music) is going through one of its most important evolutionary phases. The teachings of the genre's founding fathers (Led Zeppelin, Deep Purple, Black Sabbath, Blue Oyster Cult, Motorhead etc...) are being reviewed, revisited, reinterpreted, and, in part, disrupted by what will become the most influential bands in developing certain sounds: the New Wave Of British Heavy Metal from England introduces elements of speed and “stadium involvement” with new bands and old guards rooted in the seventies (Judas Priest, Iron Maiden, Daimond Head, Saxon etc...), managing to rework and reinvigorate already existing “sabbath” and “oyster” sounds (even Black Sabbath themselves in those years partly detached from the Doom sounds of their beginnings in favor of a more “broad-based” Metal).

In San Francisco, the Bay Area, with bands like Exodus, Metallica, Slayer, etc..., gathering and in a certain sense uniting, the Hard Rock of the previous decade, the street extremism of Motorhead and the aggressive and destructive post-Punk attitude to a speed and technical conviction innovative (for the time), they give life to what will be called: the Thrash Metal movement (which was also emerging in those years in the New York area with bands like Anthrax and Overkill or in Germany with the trio Kreator-Destrutcion-Sodom), from which then will be developed, almost simultaneously, Death and Black metal (and subgenres) that will enhance and unite some Thrash matrices with dark and claustrophobic sounds and themes of pre-Thrash bands like the legendary Venom (which also influence the early thrash).

Almost at the same time, always in America (Manowar, Warlord, Virgin Steel, Cirith Ungol, Savatage etc...) and in Germany (Running Wild, Grave Digger etc...), the Epic and Power Metal movement is born... It also takes inspiration from seventies bands and sounds, but changes it with sought-after pathos and majesty, with themes ranging from mythological fantasy to “road-motorcyclist”. But in those years, there is not only a desire for total development and, in a certain sense, evolutionary detachment from seventies music... Indeed, in America, many bands (born at the very end of the seventies) attempt (successfully) to revitalize and give new splendor to the Hard Rock’n’Roll of the previous decade, leading it to be contaminated, but only in part, by more Heavy sounds born, once again, at the end of the seventies… Bands like W.A.S.P., Kiss, Poison, TNT, Riot, and Twisted Sister develop and create an incredible and monstrous Hard & Heavy “hybrid” that is fed by excess, extravagance, and nightmares, assimilates fears and beliefs from the streets and turns them into music and feeling... This “hybrid” is deliberately much more tied to seventies Hard Rock (almost like it is its most direct heir) compared to the previously mentioned genres (Thrash, NWOBHM, Power that will only draw inspiration from Hard Rock for their creation), and is by some called Street Glam Hard Rock, or more commonly Glam Metal (even though it will have only a few points of contact with Metal in a broad sense). The characteristics of this type of music are to be found in the aggression of the guitar riffs, in the simple but gritty rhythm section, in the interpretation and the “vocal feeling”, in the rebellious and accusatory themes often used in the lyrics, and especially in the nihilistic, excessive, and heavily-made-up image often exhibited by the various band members (the horrid taste in dressing, makeup put on with a trowel, and cottoned and frizzy hairstyles will be the major aesthetic characteristics of Glam).

One of the principal (and in my opinion best) bands of this new (old) musical movement are, without a shadow of a doubt, the exhilarating and daring Twisted Sister... The band was actually formed in 1974 by guitarist Jay Jay French, but it was only in 1976 that the member who would characterize the image and music of the “Twisted Sister” joined the band: singer Dee Snider, an incredible and charismatic stage animal with a stage presence and a vocal ability that, at the time, had few rivals. The group consists of highly cohesive musicians like guitarist Eddie “Fingers” Ojeda, bassist Mark “The Animal” Mendoza, and the fiercely energetic drummer A.J. Pero. From their very first steps, the band makes a mark domestically with their ability to compose, more than just simple songs, true anthems of rebellion, combining it all with an excessive and “repulsive” image. This is the case with their first single from 1981: “Bad Boys Of Rock & Roll.”

Then the first two official albums: “Under The Blade” from 1982 and “You Can’t Stop Rock And Roll” from 1983, which establish them as the unchallenged and worthy heirs of the great Alice Cooper (one of the most important personalities for the very creation of Glam). But it is in 1984 that the group churns out (and some might say “vomits”) their most important, successful, and malevolent work: The incredible “Stay Hungry.” The album presents the band at its peak splendor and cohesion, and everyone (but especially Dee Snider) is more inspired than ever, both in instrumental performance and songwriting... And it is an immediate success.
The fierce and animalistic image of a hungry Dee Snider, ready to viciously devour a large bloody bone, greets us immediately on the album cover and gives us a taste of what we'll find inside: tight and incredibly catchy songs... Songs that are never too technical but precise and powerful with the (aforementioned) feeling that makes you shake and jump, sing and scream... In short, incredibly engaging and energetic music that does something (unfortunately) only a few can: trigger the adrenaline of the listener (and excuse me if that's not much).
Inside, we find real outbursts of anger and emotion like the roaring and barbaric title track where Snider’s edgy and powerful voice is the absolute protagonist, as always, along with the beautiful and melodic solos of the French-Ojeda duo... We continue with what is considered the masterpiece of Twisted Sister, namely “We’re Not Gonna Take It”... This track is magnificent in its simplicity and can be considered a true “playful and overwhelming” anthem (the track deviates slightly from the rest, making it stand out even more, and there will also be a fun video made for it).

Dusk falls, and the atmosphere becomes dark and sulfuric... Enter “Burn In Hell”... The piece starts influenced by sounds beloved by early Black Sabbath, only to turn into an unstoppable gallop towards the depths of the underworld, with fast and powerful riffs and choral double vocals that characterize all the pieces (especially in the choruses). We move on to the little suite “Horror-Teria,” which in turn is divided into “A) Captain Howdy” and “B) Street Justice...” It also picks up the dark sounds of the previous one, managing to be, somehow, even more original, especially in the second part, with a square guitar work like never before. The light returns with what is the most famous and engaging song of the Twisted Sister… An anthem that rushes like a runaway train, to be sung at the top of your lungs, and more direct it could not be: I'm talking about the legendary “I Wanna Rock.” The song was incredibly successful at the time with the video constantly broadcast and the song playing on all the radios… Fantastic in its mischievous and assured step, with lyrics that are almost a tongue-twisting nursery rhyme.

“The Price” is the ballad of the album... that kind of song which in many works lowers the overall average due to its predictable “sweetness”... But in this case it fits perfectly and is one of the most successful pieces... Dee Snider’s voice is surprisingly capable of traveling far from his usual aggressive and sharp shores in favor of an unexpected “sweetness” (nothing too sugary anyway).
“Don’t Let Me Down” picks up the rhythms and atmospheres of the Title-track with an incredibly catchy and fast chorus that will get stamped in your head after the first listen and an enraged duet of solos.
Almost at the end comes the most theatrical and epic piece of the album: “The Beast.” The title says it all about the song’s content: malevolent, dark, and heavy just right with Sabbathian sounds partially joining an atmosphere almost bordering on early eighties Epic Metal.
“Stay Hungry” concludes with the angry and square “S.M.F.” and couldn’t do so in a better way: catchy melodies, perfect solos, an exceptional rhythm section, and loads of energy.
Unfortunately, they will never again propose themselves at these levels in subsequent albums which, although good, won’t reach the charge and reckless “malignant cheerfulness” of “Stay Hungry”... A union of melodies that captivate at first listen and a rage and rebellion, somewhat playful, that oozes from every note.

An album to listen to over and over again, a masterpiece of Hard Glam Rock which, though not technical or innovative, has a characteristic few (master)works possess: a palpable conviction and an incredible charge that makes you sing and jump and that never, but never, touches boredom or repetitiveness. In short... Listen to it... You’ll find it difficult not to move and shout.
PLAY IT LOUD, MUTHAAAAA!