Warriors of Greyhawk

Seattle’s Greyhawk arrive at a pivotal moment on Warriors of Greyhawk, their third full-length and most fully realized statement to date. While the addition of new vocalist Anthony Corso initially grabs attention, the real evolution lies in how the band’s riff-driven foundation has expanded—without losing the steel backbone established during the Rev Taylor era.  Apparently, Taylor left the band to pursue a career in opera, which isn’t surprising if you’ve heard his Greyhawk albums Keepers of the Flame and Thunderheart. 

From the outset, Greyhawk’s identity has been rooted in riffs first. Earlier material leaned heavily into that U.S. power metal framework—tight, percussive, and driving, with clear lineage to Vicious Rumors and the polished, heavy-handed “rockametal” attack of fellow Seattle stalwarts Fifth Angel. It was direct, muscular, and built to move.

That hasn’t changed—but it’s been refined in a way that makes Warriors of Greyhawk feel more dynamic and, frankly, more exciting on a riff-by-riff basis.  Guitarists Jesse Berlin and Rob Steinway lean heavily into galloping patterns throughout the album, but what stands out is how they develop those patterns rather than just sit on them. You’ll hear the classic gallops that immediately evoke traditional power metal—but they’re rarely static. Instead, they’re constantly being reshaped: a gallop resolves into an ascending melodic segment (this is where the Gamma Ray / Iron Savior brand of power metal most obviously shows up in Greyhawk’s DNA), then pivots into a harmonized lead, then drops back into a chug with subtle rhythmic variation.  It’s that sense of forward motion that gives the album its energy. The riffs don’t just “cycle,” they progress.  There’s also a noticeable interplay between percussive rhythm work and more fluid, European-style melodic phrasing.  When they go full gallop, it really hits. These aren’t loose or overly polished runs—they’ve got bite, with just enough grit in the picking attack to keep that U.S. power metal edge intact. But layered on top is a stronger melodic sensibility, bringing the band closer in spirit to European power metal without losing their identity. 

The soloing follows the same philosophy. Both players clearly have the technical chops, but more importantly, their leads feel like extensions of the riffs rather than detours from them. There’s structure; phrases build, peak, and resolve with a consistent emphasis on melody, even at higher speeds. It’s purposeful playing, not filler.

Vocally, Corso’s soaring, high-register delivery fits this evolved guitar approach perfectly. His ability to ride above those galloping riffs and sustain notes adds to that unmistakable Euro power metal lift. By contrast, Taylor’s baritone anchored the earlier material with a heavier, more grounded feel; less about flight, more about force with an operatic flare. The difference is stark, and it directly shapes how the riffs land.  Chosen captures that transition in real time. Featuring both Taylor and Corso, it works as a genuine passing of the torch, with the band’s riffing acting as the connective tissue between two vocal identities. Berlin and Steinway thread that needle effectively, shifting between grounded, driving patterns and more open, melodic passages to support both styles.

Lyrically, the band continues with uplifting, heroic themes, but avoids slipping into self-parody. The conviction in the performances, especially the guitar work, keeps everything grounded, so the triumph feels genuine rather than forced.  I have to think Jack Starr (Virgin Steele) would appreciate Greyhawk as they harken back to his style and sound. 

One very mild criticism comes in the album’s closing stretch. Both Rise Above and Eternal Quest aim for that anthemic, statement-ending feel, but they’re cut from very similar cloth. Each leans into a mid-tempo, marching pace that, while effective on its own, feels redundant when placed back-to-back. After an album driven by momentum and galloping energy, that slower, more deliberate plod ends up deflating the pace as the album closes out.

If forced to choose, Eternal Quest is the stronger of the two. It not only lands harder as a song, but its themes and lyrical direction feel like a natural segue into whatever comes next for the band. Trimming the album to ten tracks and closing with Eternal Quest would have made for a tighter, more impactful finish.

Ironically, the album’s theme of transition now extends beyond the music itself. With Corso announcing his departure on Facebook on April 14, 2026, Warriors of Greyhawk becomes a snapshot of a brief but compelling era—another turning point in Greyhawk’s evolution. If the band continues, yet another passing of the torch seems inevitable.  Corso’s statement did say that his departure is for “personal reasons” and was very gracious and rightfully full of pride for his time in Greyhawk.  He mentioned his appreciation for the opportunity Greyhawk gave him to sing after a long history as a guitarist and audio engineer.  Well wishes to Corso, and we hope to hear you behind the mic again if possible!

At its core, though, this is a riff album. Everything flows from the strength of Berlin and Steinway’s guitar work—galloping, driving, and constantly evolving. By merging their U.S. power metal roots with a more expansive European melodic sensibility, Greyhawk have delivered their most complete and engaging work yet—even if the lineup behind it proves to be temporary.