Hair therapy with black magic is a controversial and unproven method of treating hair loss and promoting hair growth. This practice combines traditional black magic rituals and spells with the belief that it can influence hair growth and restore hair health. However, there is no scientific evidence to support these claims, and it is considered pseudoscience. Those who advocate for hair therapy with black magic often claim that black magic spells and rituals have the power to control the energies and forces that affect hair growth. They believe that by performing specific rituals and casting spells, they can interfere with these energies to stimulate hair follicles and promote hair regrowth. However, it is important to note that black magic is not supported by mainstream medical professionals or scientific research.
Those who have owned Native Trails copper sinks for an extended period of time come to understand that their sink will constantly change and heal itself with normal usage. Some homeowners become so comfortable with this fact that they even have some fun with their sinks—like writing special (temporary) messages to their family.
Honestly, you can t go wrong with either part of this particular record, and many would agree to open that one notch further to include the third act that dropped three years later, Invictus probably the closest they ve ever come to classic Manowar. Who s that man, my new lord Brown fur grows, there s no god My wolfpack howling, we are one Druid forests will prevail Мы являемся одном Лес и нашь мастер, нашим домом Мы никогдо не выйдом из леса Забыла из куда я и чем была этот камен вызывает мне Вокруг дерева, мох, так как в сне старой жизни больше нет We are one Forest and our master, our home We never leave the forest I forgot where I was from and what I was This stone calls me Around the tree, moss, as in a dream Old life is gone.
However, it is important to note that black magic is not supported by mainstream medical professionals or scientific research. Hair loss and hair health are complex physiological processes influenced by a variety of factors, including genetics, hormonal imbalances, lifestyle, and underlying health conditions. Seeking treatment for hair loss from a qualified medical professional, such as a dermatologist or a trichologist, is recommended.
We Have The Power Presents: The Top 50 US Power Metal Albums Of All Time, Part 2
Right off the bat, please recall that the full list is chronological by year, not an arbitrary verdict of “goodness-to-greatness.” In short, all 50 releases represent the best USPM has to offer, so trying to figure out which one is slightly better than the next? Truly an exercise in futility.
With the entrance of the final 25, you will of course notice a few brushoffs that may seem outrageous. Just know that if some of your favorites didn’t make the cut, that doesn’t necessarily mean I think what’s missing is, you know… crap. This list very simply represents the 50 albums I hold dearest to my heart after (gulp) 40 years of listening, pure and simple. In the interest of transparency, however, here are (gasp) six of the more glaring omissions, along with the briefest of explanations, offered up in an effort to get any tantrums out of the way early:
» Iced Earth — Yes, I know this is a big one. And yes, I am fully aware of the universal love for Night of the Stormrider, Burnt Offerings, Horror Show et al., but I’ve never fallen fully in love with any of the band’s output. It’s great that so many others have, but even the album I would consider tops—NotS—floats around an 80% for me. Plus, you know who attempted a boo hoo coup against one of the key factors that makes USPM US power metal, and I am an “actions have consequences” kind of fellow.
» Helstar — I feel pretty bad about this one. Like, laying there at night and wondering “what the hell did Nosferatu ever do to me to deserve this” levels of bad. There is, however, a more thought-out explanation amidst the blurbs below, so… keep reading?
» Lizzy Borden — Check with me in about three hours and you will find me already looking for a way to chop an album in order to wedge Love You to Pieces into the mix. That was a fun album that deserves love, and I am a chump for leaving it behind.
» Attacker — You know, I think modern day Attacker is better than the version that released Battle at Helm’s Deep and The Second Coming way back when. Basically, I never got the feeling they were terribly comfortable in their own skin, but I wouldn’t say I’m familiar enough with their newer face to give albums such as Giants of Canaan or Sins of the World a fair judgement.
» Apocrypha — Hey, fantastic leads.
» Pantera’s Power Metal — C’mon…
Now that we have that out of the way, I’ll be perched on the seat of a dunking tank somewhere outside of Jockstrap, Nevada this summer—come throw a few fastballs at the target in an attempt to make me pay for the above transgressions.
On to the business at hand.
We left off in 1986—with M.A.R.S.’s Project: Driver, to be exact—which means I either somehow managed to scrounge 25 releases spanning 1987 to around 1989, or I’m opening the doors to allow more modern bands a chance at olympic gold. Now, I may be one sketch to the right of Mr. Cro-Magnon on the Evolution of Man poster, but I am not one of those old soreheads who thinks “true heavy metal” died a glorious death on or around December 31st, 1989. So, yes, you will see modern interpretations of USPM represented below, as well as a couple entries that could rankle the feathers of the stodgiest of purists. Hey, there’s nothing wrong with rankling feathers, friends. That sort of thing keeps people on their toes, and it inspires completely level-headed and civilized debate—like Plato, Aristotle and Socrates very calmly battling to the death over who has the best cheesesteak, Geno’s or Pat’s.
Recap of the rules to the game:
» One album per band
» Bands need to be from the United States
» Ranked by year
I will likely need a little break before figuring out how to attack the next phase of the adventure, which is The Top 100 Power Metal Albums of All Time. That’s the list that focuses on what most people think about when power metal enters the conversation in the modern age—the Euro strain that built on and expanded the Keeper of the Seven Keys Part I blueprint. For what it’s worth, the list is already done, but the prospect of writing about it makes my head spin. In the meantime, though, I hope you’ve enjoyed this precursor, and that at the very least this list provides a relatively tidy snapshot of an oft-misunderstood / blurry brand of powerful heavy metal that continues to do its damndest to combat all the gloominess that so often gets the bulk of metal’s attention.
Right, that’s it. FIGHT! OR! FALL!
THE TOP 50 USPM RELEASES OF ALL TIME // THE NEXT 25
Cities – Annihilation Absolute [1987]
[Cover artwork: Beirne Lowry]
The big grab for Cities back in 1987 was the presence of A.J. Pero on drums, fresh off his split from Twisted Sister after the fairly mediocre Come Out and Play (1986), and that lure was of course prominently displayed on a sticker adorning the cover of Annihilation Absolute. As good as Pero’s performance is here, though, it’s easily matched by guitarist Steve Mironovich’s adjacent to shred but not quite shred attack on the fretboard. The result was a fairly bruising, raw form of US power heavy on punch (despite a notably shitty production) that might’ve gained more traction had everyone involved opted for a cover that, while technically proficient, didn’t look like a heavy metal band following in the footsteps of Pitcher-Man for an apocalyptic Kool-Aid ad.
Nasty Savage – Indulgence [1987]
[Cover artwork: Van Dercar]
No list featuring the top USPM releases is complete without finding an avenue for of one of our nation’s more unique acts: Brandon, Florida’s weird and weirdly amorphous Nasty Savage. The band’s self-titled debut is probably the closest they’ve come to straight-up US power, but like so many of their contemporaries, Nasty Savage warped the formula to keep in line with fresh trends that were continually bending into new extremes. As a result, Indulgence delivered a twisted form of US power, speed and thrash that was weirdly sophisticated on the one hand, but counterbalanced by the in-your-face force of nature that was the voice and very palpable presence of “Nasty Ronnie” Geletti. Put a collection of porcelain tea cups on an attractive antique table and watch a 250lb man do an elbow drop through everything from the top turnbuckle: that’s Indulgence in the nuttiest of nutshells.
Savatage – Hall of the Mountain King [1987]
[Cover artwork: Gary Smith]
Here’s the thing about having to pick between Sirens and Hall of the Mountain King for the reigning Savatage release for a list such as this: The Dungeons Are Calling also exists. In the end—and despite the fact that Sirens still features my favorite Savatage song, “ Scream Murder”—Hall wins the scrum because it’s more adventurous compared to what preceded it, and it just nails that perfect US power sweet-spot before the band became obsessed with rock operas. Jon Oliva’s vocals are bonkers, and Criss Oliva’s riffing and magnificent soloing prove beyond a shadow of a doubt that he remains one of the most underrated guitarists in all of metal. Fun throwback fact: I once recited the lyrics to “White Witch” to one of my best friend’s new girlfriends, who’d just finished trying to explain to me why she considered herself “a good witch, not one of those witches that practices black magic.” It went over about as well as you might expect.
Shok Paris – Steel and Starlight [1987]
[Cover artwork: Eric Apel]
Tyrant – Too Late to Pray [1987]
[Cover artwork: Glen May]
Too Late to Pray is one of those albums that might’ve been an ideal candidate to mollify parents concerned that heavy metal circa 1987 was “nothing but Satan, violence and death,” but it explored Christianity and religion in a way that somehow managed to tower over the darkness of Tyrant’s most eeeeevil contemporaries. “Look, ma! He says ‘Fight FOR the Nazarene!’” [bleakest riff explodes from the speaker.] Hey, ask any Catholic on the planet: You can’t have salvation without the guilt, fear and threat of eternal damnation constantly hanging over your melon like the Sword of Damocles. Regardless of its…strangely pious intentions, what Tyrant’s Too Late to Pray truly delivered was one of the heaviest and gloomiest USPM ever recorded. If the idea of Show No Mercy-era Slayer colliding with Omen inside a crumbled church graveyard sounds like a great time to you, Too Late to Pray is definitely your huckleberry.
Wild Dogs – Reign of Terror [1987]
[Cover artwork: Patrick Pending as “art direction”]
The rest of the LR crew is tired of hearing this story, but my first encounter with Portland’s Wild Dogs came courtesy of my kindly little grandma from Germany. Turn of events: I got a pretty good report card, mein liebe Oma agreed to buy me an album as a result of it, I chose Reign of Terror because the album cover looked sweet and there was a song called “Siberian Vacation” on it. Blind buys like that were always a total crapshoot back then, but I was immediately thrilled with Wild Dogs’ brand of flashy, aggressive USPM that underscored big hooks and a unique hazy atmosphere fitting of their city of origin. Plus, vocalist Michael Furlong had a wonderfully raspy delivery that sounded like the American version of Udo, which I’m guessing I forced my poor granny to discover later that afternoon.
Liege Lord – Master Control [1988]
[Cover artwork: John Zeleznik]
Nothing against the two opening forays into USPM that are Freedom’s Rise (1985) and Burn to My Touch (1987), but Pasadena’s Liege Lord really hit their full stride with album number three, Master Control. There’s a little more aggression here, both in riffage and rhythm, and new vocalist Joseph Comeau’s harder delivery suited the band’s feistier face perfectly. The whole affair is leaner, meaner and as polished as the laser-dodging protagonist that adorns the classic artwork. In a strange way, a record like Master Control felt a little dated at the time of its release, as a shift to a more aggressive approach like this still ended up sounding light compared to what bands like Death and Possessed were doing at the same time, but no self respecting metal freak could say no to a record like Master Control with all that melodic fret wizardry being volleyed back and forth between Tony Truglio and Paul Nelson.
Riot – Thundersteel [1988]
[Cover artwork: Kevin Kall]
When someone unfamiliar with USPM asks for a definitive album that best represents a true pick of the litter, you really can’t go wrong by offering Riot’s first return to action after a five year hiatus, Thundersteel. Few peers had the capacity to match the record’s overall energy and level of finesse, even by today’s standards, and the heights and hooks from so many of Thundersteel’s peaks still manage to sound fresh and bombastic in the modern age. Not to take away from Riot’s earlier works—their first three albums are equally essential—but to deliver something as electrified as Thundersteel after two fairly middling releases and years spent mostly observing the game from the sidelines? Just a hugely inspiring move by principal architect / guitarist, Mark Reale. He was a true master of his craft, and his absence continues to leave a crater-sized hole in the hearts of those who’ve come to rely on his fret sorcery to help animate the corners of an often humdrum existence on planet Earth. Thankfully, we’ll always have albums such as Thundersteel at arm’s length to combat the unyielding forces of darkness, and that’s certainly well enough reason for loud celebration. “Rise up! Your swords for the souls you must save!”
Sanctuary – Refuge Denied [1988]
[Cover artwork: Ed Repka]
Many moons ago, amidst an age when the word “Megadeth” did not cause me to think about the retching noise a cat makes before hurling chowder onto the floor, a sticker with the words “Produced by Megadeth’s Dave Mustaine” appeared on the cover for Refuge Denied, and that was all I needed to commit to Sanctuary’s landmark 1988 debut. What I was not expecting, however, was to be very literally and physically bowled the frick over by what still stands today as one of the most unique and powerful vocal performances to ever land on a heavy metal record. Stupidly high praise? Sure. But take Warrel Dane away from Refuge Denied and you basically have a 7/10 album by a promising power / thrash band. WITH Dane, however, you have a bonafide classic that is unquestionably essential for anyone who cares about the roots of the genre. Where were you the first time you heard Warrel Dane howl, “Their heathen ways have sealed their….. DOOOOOOOOOM. ” Still conjures chills today.
Screamer – Target: Earth [1988]
[Cover artwork: Scott Jackson]
Screamer’s Target: Earth is one of those albums that really benefits from the passage of time. The band was often referred to as “Wisconsin’s answer to Queensrÿche,” and landing their first contribution in 1988 amidst what many would consider the apex of their primary influence’s career meant a number of people didn’t have a ton of extra time for something that sounded a bit like the preliminary sketches of what Geoff Tate & company were producing. Years later, and with the benefit of Queensrÿche quickly drifting further and further away from their roots and eventually off the rails altogether, Target: Earth found a fresh appreciation. One listen to a gilded turd like Tribe or Operation: Mindcrime II was enough to make any fan of the classic ‘Rÿche sound weep for a week, and even though Screamer vocalist Bill Carter was on a tier below Tate (c’mon… who wasn’t??), the combination of his prominently underscored siren’s wail with the glassy lead interplay between Mike Schantek and Ronny Valeo made Target: Earth feel like a time warp right back to the glory days of Rage for Order.
Vicious Rumors – Digital Dictator [1988]
[Cover artwork: Guy Aitchison]
I really don’t think there’s a wrong answer between the first three (maaaaybe four) Vicious Rumors records for a list such as this, as long as one of those albums is represented. The band’s self-titled third release remains my favorite, because it’s their catchiest and it was my first introduction to the band after seeing Barney Greenway sport a Vicious Rumors shirt in a promo pic. But Digital Dictator? Holy crap, what a heavyweight. This record isn’t just the launch of what’s widely considered to be the classic line-up of the band, it’s a steel-plated example of how to balance beauty and brawn for a damn-near invincible USPM ride. How a band can get better following the exit of a guitarist as gifted as Vinnie Moore remains a mystery to me, but I’m guessing it has a lot to do with the fact that Geoff Thorpe and Mark McGee thrived as one of the most underrated guitar duos in metal. Plus, Carl Albert was an absolute beast behind the mic, may he rest in peace.
Titan Force – Titan Force [1989]
[Cover artwork: Todd Caudle]
It’s not terribly common to find three brothers united under the roof of one heavy metal band, but such is / was the case with Colorado’s Titan Force. Did the brothers Flores drive their parents up the wall with unending metal shop talk, blown speakers and haircare products stacked to the rafters? “Signs point to yes,” according to the Magic 8 Ball. But their dedication to the craft of developing a brand of progressive power strongly related to the No Exit-era of Fates Warning resulted in opening gigs for Jag Panzer, which quickly landed JP vocalist Harry Conklin in the Titan Force ranks. We love it when a plan comes together. At first blush, it’s a little strange hearing the same Tyrant responsible for much of the aggression behind Ample Destruction soften his delivery for a more elegant form of power, but it still works. Really, the only reason I can figure for the relatively small splash Titan Force made at the time of its release relates to the fact that most of the glossy headlines at the time shifted their focus toward the burgeoning death metal scene. Thank goodness the internet never allows unheralded metal releases to get lost completely.
Lethal – Programmed [1990]
[Cover artwork: Dell Hull]
It’s gotta be the album cover, no? Not the worst concept, to be fair, but far too simplistic and… strangely clumsy, particularly considering how not simplistic and clumsy the music behind Programmed happens to be. Bottom line, amidst an age where a first impression often lives and dies with front cover art, what Lethal delivered here had little-to-no chance of catching the eye of passersby scouring record bins in 1990, despite the noteworthy distinction of being on Metal Blade Records. Listeners who took the plunge were definitely rewarded, though, as Programmed delivered quite possibly the very best slightly shifted interpretation of the more progressive face of Queensrÿche a metal fan could ever hope to encounter. In particular, Tom Mallicoat’s vocals were tastefully mapped from Tate’s, and the stronger emphasis on the proggier side of both Fates Warning and Iron Maiden gave Programmed a rather unique atmosphere that felt like a more suitable follow-up to The Warning than what Rage for Order ended up delivering.
Virgin Steele – The Marriage of Heaven and Hell – Part 2 [1995]
[Cover artwork: Darren “Demon” Boerckel]
If you’re at all familiar with Long Island’s Virgin Steele, then you are quite versed in the concept of “expect the unexpected.” Some days you’ll get ruttish hard rock along the lines of the Sea Hags, others you’ll get a 10 minute video of chief engineer / songwriter / vocalist / keyboardist David DeFeis squirming around in a chair with his cat whilst warbling through symphonic odes to Greek gods. Suffice to say, most anything appears to be fair game for DeFeis’ central creative outlet, but we do generally get the most excited when steel meets the whetstone and the results are beautifully pure, epic, progressive US power—an occasion that’s best represented by the second part of Virgin Steele’s majestic ode to poet William Blake’s book of the same name, The Marriage of Heaven and Hell. Honestly, you can’t go wrong with either part of this particular record, and many would agree to open that one notch further to include the third act that dropped three years later, Invictus—probably the closest they’ve ever come to classic Manowar. TMoHaH Part II is truly special, though, as it represents the perfect amalgamation of dark and light / muscle and elegance / pageant and punch, and it additionally features one of the most confusing doodles one could ever hope to encounter on an album cover.
Cauldron Born – Born of the Cauldron [1997]
[Revised cover artwork: Lionel Baker II]
On to the business at hand.
They can diagnose the underlying cause of hair loss and provide evidence-based treatment options, such as topical medications, oral supplements, laser therapy, or hair transplantation. While alternative therapies and complementary medicine have gained popularity in recent years, it is essential to approach them with caution, especially when it comes to practices like hair therapy with black magic. Relying on unproven and potentially harmful methods can delay proper diagnosis and effective treatment, leading to further hair loss or complications. In conclusion, hair therapy with black magic is not a scientifically supported method for treating hair loss or promoting hair growth. It is important to consult with qualified medical professionals to address hair-related concerns and explore evidence-based treatment options..
Reviews for "The Secrets of Black Magic for Hair Growth Revealed"
1. Sarah - 2 stars - I was really excited to try "Hair therapy with black magic" after hearing so many positive reviews, but I ended up being disappointed. While the treatment did leave my hair feeling slightly softer, it had no effect on my hair growth or overall hair health. Additionally, the strong scent of the product was overwhelming and lingered in my hair for days, which was quite unpleasant. Overall, I wouldn't recommend this product for anyone looking to see noticeable improvements in their hair.
2. John - 1 star - I have to say, "Hair therapy with black magic" did absolutely nothing for my hair. I followed the instructions carefully and used it consistently for several weeks, but I saw no difference in the thickness or strength of my hair. On top of that, the product seemed to weigh my hair down and make it dull and lifeless. It's disappointing to spend money on a product that has zero results. Save your money and look for other alternatives.
3. Emily - 2 stars - I had high hopes for "Hair therapy with black magic" but was left unimpressed. While the packaging and marketing claims were enticing, the actual results were lackluster. My hair didn't feel any different after using the product, and I didn't notice any improvement in its texture or manageability. Additionally, the price point for this product is quite high, considering the lack of results it delivers. I wouldn't recommend this to anyone looking for effective hair therapy options.
4. Michael - 2 stars - As someone with thinning hair, I was excited to try "Hair therapy with black magic" to see if it could help stimulate hair growth. Unfortunately, I didn't notice any positive effects. The product felt heavy on my scalp and left a greasy residue, making it difficult to style my hair. I used the treatment consistently for several months, but my hair continued to thin without any signs of improvement. Overall, this product was a letdown and didn't live up to its claims.