Since I have already reviewed 'Sacred Heart" just last year, I am skipping ahead to this album, which I wore out when it came out. It was darker than bands like Twisted Sister and Judas Priest were doing at this time. Craig Goldy replaced Vivian Campbell on this album, which factors into a shift in sound. The opening track is pretty heavy on guitar solos and your typical Dio uptempo opener. But lyrically brilliant as he asks questions like "do you come alive with neon kills the sun shine?" Why yes, I do. The title track is one of his all-time strongest songs. The verses are pretty typical for him, but the chorus is perfectly produced and performed. There are moments in "Sunset Superman" that remind me of his Sabbath years, though the chorus is certainly the kind of anthem Dio was known for cranking out.
Dio's take on power ballads was different from others from this era. There was a more mystical atmosphere to them that can be felt in the languid melody that leads off "All the Fools Sailed Away". In some ways, it is not unlike some of Ozzy's work in this regard. Though this feels more menacing when it kicks in on the verse. Lyrically, there is also more depth than Ozzy's solo work, though the subject differs greatly. I had totally forgotten about the keyboard solo leading into the guitar solo on this song.
"Naked in the Rain" sounds like it could have been left over from the "Sacred Heart" sessions. Craig Goldy's most impressive playing is on "Overlove". "I Could Have Been a Dreamer' shows the more emotionally sentimental side to some of Dio's anthems. It is consistent with who he is, but balanced out by songs like "Faces in the Window". The last song, "When A Woman Cries" has more groove to it and despite the shredding leans towards the shadow side of Dio though the darkest song on the album. I will give this underrated album a 10 as it has held up over the years, even with the synth prescence carrying over from "Sacred Heart".
This California band offers a sci-fi-themed take on power metal. The synth doubles up the guitar part to help paint this picture. Vocalist Melissa Pinion of Stygian Crown uses her head register more than expected to capture the metal yodel of old. In and of itself, this is not the most original thing I have heard, but they stir the elements in well enough for this to work. They also have all the shreddy riffs you might want from this kind of thing. When belting from her chest register, she does not have the power of her male counterparts, but perhaps that is just this song.
The riffs are not just trying to be Judas Priest but also embrace the groove metal of the 90s. The more emotive tone her voice shifts into for " Idols and Gods" works better as it paints them less into the nostalgia corner. The chorus strikes me as a little underwhelming. There is something odd about her vocal style, like she sings behind the beat to create a bluesy feel at times. The synth accents are a juxtaposition to this. It is also a good example of how a mix can shift the entire genre of a sound, as they synth dominant mix makes it feel more prog.
"Steel Mandible Swarm" has more of a rock feel. I think the vocals need more effects on them to blend in more with the synth sound. At timeS like the varied influences being brought to the table gel better in some places. "Swords Held High" has a riff that carries a similar swing to "Walk." When they lean in a darker direction, it works better than when they don't, but they are inconsistent in this regard. The second half of the song is loaded with shredding solos if you are into that kind of thing. There is more of an 80s synth sound applied to "The Persistent Age". Her vocals float over the songs rather than being punchy and locked in to create hooks, so they feel awkward in places. The vocals could have used more love in post-production.
"Lathe of Heaven" has a more powerful chug to it. But the song loses focus some where around the guitar solo. So far, the sci-fi elements have been marginal, but they come more to the forefront on " Let This Be Your Final Battlefield." The last moves with more drive, though there is a great deal going on, but it also winks in the sci-fi direction they were trying to push this album toward. I appreciate the effort, even if the execution and production is spotty in places, mainly with the vocals, so I will give this one a 7.5. If you want weird proggy power metal and not too picky about vocals, this album is for you.
The 1984 sophomore album feels more aggressive than it's predcessor, with more uptempo proto thrashers balanced out with Dio's commitment to melody, but a song like "I Speed at Night" almost feels like Judas Priest, but with flashier Motley Crue-like drumming. The anthemic opener 'We Rock" finds strong vocal melodies flowing over the faster riffing, driving it. The title track is one of the most recognizable songs outside of Dio's fanbase. Despite being more dynamic and melodic than "Holy Diver", his previous hit is just too infectious to be beat, despite this being the highest charting album for him.
They reach a more deliberate middle ground with "One Night in the City." This is one of the rare lyrical moments that brough things into the more modern urban landscape, despite some of the medieval metaphors that he could not shake. The guitar gives him more room to flex his powerful pipes on this one. It's the first song that I really noticed the synths on. Vivian Campbell has established himself as a guitar hero on this trip to the studio. "Evil Eyes" is another uptempo rocker that follows what we now know of as the typical Dio formula, but it was fresh when this album came out.
"Mystery" is a more radio-friendly anthem that sounds like it was the precursor to 'Hungry for Heaven". It's catchy enough, so it works for me. "Eat Your Heart" is more deliberate and powerful. Lyrically mroe typical of the times in certain ways, but it was more fun in those days, so there is that. "Egypt" is a darker song, with lyrics that encapsulate what Dio does. I will give this album a 10, it's a great metal classic.
It is no mistake that this German power metal band sounds like a more pumped-up version of the Scorpions. This album is a collection of 80s pop covers that the band is tackling. It opens with "Fame" the dramatic Irene Cara anthem, which they take in the expected direction, while being true to at least the vocal, along with the layers of backing vocals. The Mike and the Mechanics song "All I Need Is a Miracle " lends itself to their bright and over-the-top take on metal. There is a magnitude of harmony guitar layers, though the verses stick to what made the original work, by giving the vocals room to breathe. I prefer what they are doing here to the previous song.
Pat is pulling the vocals pretty well for 62, though he is getting some love in the studio. I am not sure Jermaine Jackson's "When the Rain Begins to Fall" needed to be covered, though it lends itself to this kind of treatment well. They certainly have a thing for "Flashdance," as there is also a cover of "Maniac" here. It's a better song, so of course, that results in what they are doing here working better. As a song, it's darker than the first few songs they have chosen, while working off the typical 80s writing formula. They don't get too carried away on the chorus, so it works better than what we have heard so far on this album.
The problem with this style of metal is that it often sounds too happy and does not carry enough danger and darkness to it, making it sound less heavy than other approaches to metal. This can be heard on Aha's "Take On Me," whih has a more haunting sound than their version which finds the melody leading into the verses to become to hipper. When it gets to the chorus, you are gone, you are expecting the note to be nailed Judas Priest, and instead, the power is produced out of it. I like the original, so this is a little bit of a disappointment, but they tried with what they are working with. I do not have any emotional connection to Frankie Goes to Hollywood, so their version of "Relax." does not really leave much of an impression on me, though they are clsoer to the original than expected, and have a chunky riff thrown in for good measure.
Jesus Christ, what is the deal with their fixation on 'Flashdance" as we also get a version of 'What a Feeling." His voice does not feel as layered in effect on this one. I never really cared about the chorus of this one, but they pull it off. Then they go into a power ballad for "Against All Odds." This finds the drums driving it more than the Phil Collins version; this tempo does not allow for the vocals to take their time and explore the nuance of the original. Instead, it comes across more like Sammy Hagar-era Van Halen. I hate Journey, so I went into their cover of ' Seperate Ways" expecting something along the lines of Dream Theater. What ends up happening is not that bad; in fact, it is one of the album's heavier moments. But now I can not unhear the Sammy Hagar element.
The song selection begins to improve with the Pet Shop Boys 'Suburbia." Though with the wailing guitar solo and the vocals, it is hard to trace back to the original until the chorus, and even then, the more aggressive drumming and soaring vocals obscure it. "Here Comes the Rain Again" has a lurking darkness in the urgent delivery Lennox brought to the original; the drum's momentum continues to push the tempo away from it. They make some poor song choices that can't be redeemed, then use a similar formula on them or make them worse by pushing the bpm up on things like "She's Like the Wind" and "Forever Young".
"Since You've Been Gone" sounds more like Queen here. A little too happy for my tastes, but it's a well-done cover of a better song rather than some of the turkeys they should have left buried. Blondie's "Call Me" is heavy in it's on way for new wave, but they work off this, though it's not as dark as the original, but keep the drive more appropriate It's well done but often to upbeat and celebratory for my taste so I will give this one an 8.
This project steps even further into a bleak sea of chaos and further from their black metal beginnings, which is fine. It's more dynamic than black metal tends to be, so much like Ulver, they outgrew the bounds of the sub-genre. They do play at a more aggressive uptempo speed on 'This Moment the Life of a Memory, but there are few traces of the metallic roots of Gorgototh. Kjetil Moster, who played sax on the last album as a session musician, is now a full-fledged member of the band, and his presence can be felt muh more on this album. On this song, Gaahl just mutters his way through in a low voice, but the first two songs showcased his continued vocal growth, as he takes on higher, lighter tones.
The title track takes a minute to churn through the dense atmosphere. The eerie ringing of the chords will appeal to black metal fans even in the absence of blast beats. There is an ominous rumble to it that is dynamically aggressive enough to get the point across. The saxophone adds to the din with its wails. Gaahl finds the space to put his voice in this storm of sound, which is a feat. "Folding the Mind" finds them reating more space. The vocals have a more solemn doning chant to them. It feels a little more like a jam, even with some restraint being applied here.
On "The Word-Choose to Vanish," the drums hold the atmosphere together long enough for the guitar to take the reins. The vocals are more of a low texture, as things build like a free-jazz jam. Things get really murky with the ambiance it sinks into. They get more intense on the buzzing build of the last song. The depressive vocals have more purpose here. The saxophone seems intent on causing chaos, but it works for what they are doing here.I will give this a 9.5 despite this not being as saong focused a the previous album, as I respect what they have created here, and the willingness to explore new places.
Ok, now it's time to dig into Dio's solo album. Sure, Dio is also what he named the project, but it's clearly his band. This album is perhaps his best. I guess we will uncover that as I tackle his work, the only album I won't be reviewing again is "Sacred Heart," which I already covered last November. "Stand Up and Shout " is a faster, more aggressive anthem that serves as a suitable anthem. His calling card for his solo work is, without a doubt, the metal classic and title track. The vocal is perfect, the lyrics mysterious, though he has gone on record saying "ride the tiger" which comes from a Chinese proverb that states 'he who rides the tiger is afraid to dismount. Not sure where the stripes being clean come into play.
"Gypsy" is more of a straightforward rocker that works off its energy. Dio belts it out with more grit but the vocal hooks are not as memorable as the first two songs. "Caught in the Middle" has more groove and gives his vocals a clearer space to occupy, thus a better vocal performance from him. It is more upbeat musically and the chorus more melodic. He adapted to the 80s well. "Don't Talk to Strangers" is darker , is more subdued vocal tone sets this up for when things take dynamics shift that is foreshadowed in the lyrics. This shift makes it even more sinister. "Straight Thru the Heart" sounds like it could have been written during his Black Sabbath days. The melodic middle section is a staple in the Dip songwriting formula, but it also showcases some nuance in his voice.
It's cool going back and listening to these albums as I was 12 when I first got this album, and had almost forgotten about the song 'Invisible' which taught me how melodic metal can be while still packing a punch. Lyrically there is a lot going on here with the story it tells , which Google might not want me to lay out in detail for you here with it's abuse themes. If the keyboards were not present on "Rainbow in the Dark' were not present, I might like it more. Dio's vocals are great but the synth sound ruin the chorus for me as it makes it too happy.
"Shame on the Night' has a darker creep to it. His lyrics are great , and vocals runs remarkable. This album is a classic but I am going to give it a 10 which is a perfect score, but it does not quite hit the 11 mark like some of Maiden's albums, but that does not mean it's not in the upper tiers of classic metal, someone the sound might just be a product of the time but it's flawlessly performed.
This split mini-album from these two bands is set firmly in the days of yesteryear. Savage Master is no stranger to us here, as I really enjoyed the last album, "Dark & Dangerous," that found them moving in a darker direction, but it will be my first time checking out Mystic Storm. Savage Master's first track is more anchored in rock n roll and high on high energy. "The Last Kiss" is similarly paced, though with a marginally darker mood. There are some more deliberate passages. 'The Power finds them locked in a more midtempo headbanging chug that is not unlike Accept or the Scorpions. The pace picks up on the chorus. The songs are all very compactly arranged; they do not break any new ground, though they might lean in a more rock direction.
Russian band Mystic Storm starts off the first of their three songs with spooky ambiance before, going into 80s worshipping proto thrash lead by what might be considering King Diamond like falsetto wailing if it was not coming from a woman which makes it a blended register soprano jump, since it's easier for a woman's vocal chords to flip over into this . I like the melodic guitar passages injected in their. I might actually like them better than what Savage Master was doing as it's darker in a more Mercyful Fate direction. The title track to their contributions has a more deliberate menace,. It does slowly build into more of a gallop the time the vocals come in. I am also picking up an old Scorpions influence.
The last song from these guys "Into the Abyss" has a more Maiden like harmony guitar run, with a very 80s palm muted riff driving the verses. The chorus being darker and more melodic. The melodies she uses a more darkly powerful than what we heard from the more rock approach Savage Master used. It is kinda of weird to rate an album like this but the best way to think of it is that I would give Savage Master's songs a 9as they were a well composed representation of what they do as a band, even though it's a snap shot of them moving in a more rock direction, they did this in a manner that is true to who they are. With that said Mystic Storm's three songs would get a 9.5 as they made we want to search out their other music and dive deeper into who they are. This drops on Shadow Kingdom June 24th.
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