This is the 10th and final Dio solo album, and also features the return of Craig Goldy, who is clearly Ronnie's Zakk. Jeff Pilson also returned for these sessions, which capture a very classic sound that ironically opens with "One More For the Road". The title track is a little darker and more deliberate in its doomy syncopation. "End of the World" riff-wise almost feels more like an AC/DC song, with his vocals keeping it from falling into that place."Shivers" is driven by a more metallic riff, though in 2004, it was marginally considered metal based on where music was heading by this point.
They bring more menace with "The Man Who Would Be King, " which carries a more ominous power. "Eyes" is darker and has a cool robotic effect haunting it. Its climax is very effective. I like the vocal production on "Living the Lie," it helps showcase a powerful vocal preformance that sells the song. I like the creeping palm muted riff leading into the guitar solo.
"I am" carries the slow gallop true to the era he is embracing again, almost coming full circle in some ways. We are back to gypsy queens on "Death By Love." So you know he is back in his rocking sweet spot with wishing wells and sacred hearts thrown in for good measure. 'In Dreams' has big shoes to fill as the last song on the last Dio album, though it's not likely he knew it was his last, though he does own a few crystal balls. It is pretty deliberate and carries what you probably want from him. I'll round this up to a 10 as he feels like he grew comfortable in his own skin again right in time for the curtain call.
This Canadian thrash band offers a neck jerking take on technical thrash. They are not obsessed with capturing a retro sound , but incorporate many elements from that time, most notably the vocal, which are a higher pitched squawk on the first track. They locked into some of these riffs in a more breakdown like fashion, which bands like Sacred Reich did back in the day as well. The fleet fingered focus on riffing is what keeps them from being cross over despite the speed poured into the verses, they have twin guitar harmonies to break this but. its till feels kinda rushed.
"Kleptomania" finds more of a Vio-lence feel taking over the sound. There are enough accents and break downs to make it interesting. It's back to pouring on the speed for "Post-Human Predator". The relentless thrashing maintains it's momentum with " the Black Expanse". There are some audiences who just want fast rowdy playing and these guys deliver that so if that is your thing it is going to appeal more to you than listeners who want more hook and groove in their thrash, which makes the songs more enduring when you think about bands like well... the Big Four, who earned that title for good reason.
"March of Death' shows they can write those kinds of riffs but it's more of a two minute interlude than a working song, but "the Thin Red Line" takes from it and builds it's own identity full of guitar solos. "Already Dead' is another racing blur of hyper-aggressive riffing. The vocals are more of a an accent not just on this song, but as a whole on this album, There are more melodic guitar parts but they guitar has to do all the heavy lifting to keep you hooked despite the drums and bass still contributing . The clean guitar in the middle helps to create the kind of dynamics this album needs more of . "Painful Vengeance" starts off with a more deliberate riff, so they are capable of creating them not so much knowing how to write with restraint. I will give this album an 8, because it works on many levels thanks to the dazzling chops these guys have na there is an audience for this kind of thing.
Back in 2002 the dragon Dio was referring to was technology which he felt was a danger to mankind, so it's good that he is not alive to see where we are today. There is a more focus gallop on the first song than they used on the previous album. Whitesnake guitarist Doug Aldrich plays on this album, which also finds Bain and Wright holding it down behind him. "Along Comes a Spider" lyrically a little darker it's more of a typical Dio rocker but it works. with songs like "Scream" and "Better in the Dark" he was working off the theory that if it was never broke why fix, and trends allowed him to go back to something closer to his original style.
For the song to be called "Rock N Roll" the verse throb more like "Kashmir" . The chorus is a little cheese filled. "Push" is more of an anthemic rock song. The palm muted chug on the verse is accented by a more rock riff. I'm going to blame Doug for the parts that sound like they belong in a Ratt song. There is also a very 80s feel to 'Guilty' with the vocal production being the big difference. It's a darker song than the bulk of what we have heard so far on this album so it works for me, along with it being pretty catchy. "Throw Away the Children" sounds like he was reflecting back on his time with Black Sabbath which works for me. I prefer it to the more rock n roll feel of "before the Fall" . The organ solo was unexpected but makes sense.
The last song is pretty middle of the road, more rock than metal, but flashy enough guitar, though it feels like the same guitar riff could be applied to today's pop country. Overall, though this album works better than the previous one, and I think it was a smart move on his part to just embrace who he is. I will give this one a 9.5.
This month has helped prove to me that old school metal has not gone anywhere it just went back to the undergrounds where it belongs. This is the second album from this French band. The first track just focuses on the galloping guitar harmonies. "Ghastly Obsession" finds them locking into a pretty effective chug. The drum are admittedly programmed, but sound pretty real. The vocals come in with a commanding snarl.
What they are doing on "the Executioner " falls some where between classic Destruction and how Power Trip resurrected this sound. The vocals take on more of a growl for this one as well. The melodic guitar section giving them a more "Masters of Puppets" moment. They use a sung more power metal like vocal on "Soldier of Fortune" , which creates more sonic colors overall, though a brighter feel to the song. They balance it out with more feral speed metal attacks. The sung vocals return for "Charme Funeste". Oh yeah it bears saying that these guys sing in their native tongue, so if that is a deal breaker for you then there you go.
"Primal Conquest" Finds the snarled vocals trading off with a hookier sung vocal on the chorus. The last song opens with melodic clean guitars. It goes into the predictable thrashing, with twin guitar harmonies, though sung vocals eventually resurface. I will give this album a 9 not only did they nail a sound but they car about songwriting. It drops July 10th on Gates of Hell.
By 2000, I was pretty much jsut listening to hardcore shit like Converge or at the other spectrum the Cure, so this fell between the cracks and I have never listened to this album before. Craig Goldy returns for Dio's concept album. Jimmy Bain from Rainbow also showed up for bass duties."Lord of the Last Day" is the first actual song. It is slow and deliberate, bordering on doom, but not too anchored in nostalgia. It is interesting to hear Dio reach down and pull some lower notes out. "Fover Dreams" has more of a "Man on Silver Mountain" feel to its groove. It works for what they are doing here.
It feels like they are jamming their way into "Turn to Stone," which would work well live. There are some soulful vocal embellishments by Dio in places on this one. Not the strongest chorus, but not opposed to this song either. Part of the concept is the robot voices, adding narrative, so maybe the theme is robots vs magic? "Feed My Head" is a little darker with great lyrics. "Eriel" has more of a "Holy Diver" gallop, but it does not feel too recycled.
"Challis' takes modern drive and applies it to a more 80s rock sound. The riff carries echoes of "Cat Scratch Fever". There is some interesting guitar work that opens up "As Long as it's not about Love."It starts off as more of a ballad, Dio showing off the more tender colors his voice is capable of capturing while retaining power. It never takes off but stays in a more dramatic, expressive place. There is a folkish intro to "Losing My Insanity," but with that song title, it would be too muh of a Spinal Tap moment for them not to kick into metal at some point. It's not the heaviest song on the album, but it has more of a swing to it. He has obviously become aware of folk metal by this point in time.
"Otherworld" carries the typical not quite doomy throb that his solo work is known for, then the album takes a turn. There are two pieces called reprises before launching into the 18-minute of Dio's book on tape entitled. "Magica Story" so for the purpose of this album I am not going to include it nor was I really interested in story hour myself. I will give this one a 9 as despite it's ambitions and story telling it feels the least inspired . But Dio is singing that elevates it over most metal albums from this period.
This Italian band blends power metal with folk to create something that remains relevant in the bigger picture of European metal. Their stage cosplay is darker than what they actually sound like, which manages to not be too happy for me to struggle to get through the first song, but hopefully, there will be less frolicking ahead, and they will dig in a little more as they are riding the line right now, but it works for what they are going for in the opening track. They already have 12 full-lengths under their belt, so they know what they are doing.
There is almost a Bon Jovi-like candence to the singer's voice, which does not sell me on the bigger picture and makes me take it when they growl about the devil in the second song a little less seriously, though sonically it all somehow comes together. Three songs in, it's clear that this touch of cock rock is just how they are, and the choruses are going to be hit or miss with me, as some of them are too happy for my tastes. What does fall within my tastes but hits me weird is the cover of King Diamond's "The Arrival" which lacks the darkness of the original; the lower vocals work, but the falsetto finds them hitting the notes but not capturing the eerie feel. It's better just not to try to cover King Diamond in my book.
"Children of Decadence sounds like what I expect from modern folk metal, jsut enough grit to be metal. It races along and has some shredding in the mix; it is hard to tell if it is coming for synths or fiddles, but I do not care enough to click on YouTube, as at the end of the day, it almost sounds the same. You can hear how both King Diamondand Cradle of Filth continue to be influences, with a more theatrical twist to what goes down. The ballad "Man of Iron" confirms that he can sing, but offers little else. "Salt on the Earth' closes the album. The vocals remind me more of Venom, but the song itself is not that raw. It's ok a little different than the rest, so they are not boring, though falling in the middle of the road when it comes to heaviness, if that. I wish it were darker, but if you are a teenager who likea folk metal, then this is a must. I will give it an 8.5.
In 1996, my taste in music leaned more toward industrial music like Skinny Puppy or heavier death metal, so this one slipped under my radar when it came out. It's heavier than the previous album. The opening track has a darker, more deliberate crunch. Seven albums in, this would be the last to feature Vinny Appice on drums. It flopped commercially as things were being steered in the direction of White Zombie and Marilyn Manson, so traditonal metal was falling between the cracks. To Dio's credit, he is not layering the vocals to sound like Alice In Chains or deviating from what he does, just producing it to sound heavier. The more thrashing "Don't Tell the Kids" is not the best choice to deliver this, but it doesn't suck, as these wily vets still know what they are doing.
"Black" has a little more of a staccato bounce to its groove that reflects the 90s. Dio also carries a little more of a snarl. But it's not like he was trying to be Korn. Jeff Pilson's bass adds more bite than he used to use in Dokken, for sure. They return to a heavier doomier tone for "Stay Out of My Mind". Thanks to the production choices, Dio's vocals glide with a smooth, eerie quality over the music. Midway into the song, things take a bizarre atmospheric turn. "Big Sister" has a more modern metal stomp. Dio's vocals are similarly handled in the studio as was done on the previous song. "Double Monday" blends the punchy grit of the riffing with more melody.
"Golden Rules" is not as focused as the previous song, as the guitar falls back into a palm-muted shuffle for the verses. The chorus does not take advantage of this approach to let it explode more. Some cool, darker moments slither in the transitions. I like the darker mood that opens "Dying in America," and the verse riff is pretty cool. His voice is given space in the mix. "This is Your Life" closes the album. It's a ballad that is doesn't suck but is not his most inspired song, either. Overall, this album was a pleasant surprise, and there are some cool grooving songs on here that reflect where metal was at, and to show how Dio remained sonically relevant. I will give it a 9.5
Swedish progressive power metallers Evergray have been at this for some time now. Their 2004 album "Inner Circle" was the last I gave a listen to, and it was a little too bogged down in the conventions of the genre to keep my interest, but things have changed. The guitar tone has grown denser to compete with the sound of modern metal. The singer and keyboardist are the only two members left over from those days as they now have the drummer from Shining, and Bassist from Therion in the fold, as well as the guitarist from Scar Symmetry. There is a heavier double bass attack bridging things, and the vocals might still be dramatic, but keep things in a more melodic and brooding direction.
On a song like "Heaven" you can hear the soulful nuance in his voice, but there are fewer Deep Purple vibes. When this sort of things goes wrong and do not infuse this level of balls into things, it ends up sounding more like Europe, which is a plight they have avoided this time around. The songs are also not just bookends for guitar solos, though there is no lack of them. "The Script" is more melodic, though it avoids becoming a total power ballad. It finds a big dynamic punch on the chorus to create a more anthemic feel. At times, it reminds me of Iced Earth in this regard, but not as dark or gritty, though darker than the last time I heard them.
The pace picks up a little on "Leaving the Emptiness." It's a little more upbeat mood-wise. Almost making me think of Christian rock. In fact, I had to confer with the rob0-lords of AI to make sure this was not the case. Just because something is too happy for my tastes does not mean it is a Christian band, lesson learned. "Longing" is a more emotional outpouring of melody that finds them well adapted to today's musical landscape. With strong, almost poppy hooks. Unlike many prog-leaning bands, they have learned that restraint is your friend when it comes to songwriting, and leaving space for the vocal is crucial. Lyrically, it's a little more hopeful than what I prefer, but not everyone is a depressive maniac.
Mikael from Dark Tranquility lends his voice to " A Burning Flame." To their credit, it's working off the epic 80s metal sound, though it feels more like middle-of-the-road mainstream metal, but it's well done, and the vocals continue to pull their weight. "Call of the Lions" falls closer to what a band like Kamelot does, but with a little less melodrama. The guitar solo to this is very melodic. "Chains of Shame" keeps the emphasis on a modern metal groove and the melody that is locked in, though it doesn't feel all that heavy to me. The album closes with "The Prophecy," whih is both spacious and grandiose. The vocals soar around what feels like the body of the song. Overall, this is a great improve to the band who learned to become relevant I will give this a 9.
One of Dio's heavier solo albums, where he carried the energy from the "Dehumanizer" sessions into this one. The staccato riff in the verse of the opening tracks reminds me a bit of "21st Century Schizoid Man," but the song rocks out pretty hard. Tracy G's playing on "Firehead' makes this feel almsot more like solo Ozzy. The opening track sets the bar pretty high for the rest of the album, but Dio proved he can still be relevant in a post-grunge world. The title track features a great vocal performance from Dio as the verse riff crunches into a doomy territory. It is darker than the previous song. Jeff Pilson's bass crunches through to bring more weight to the riffs.
According to Tony Iommi "Hollywood Black " does, in fact, go back to the session they did with Dio, as they demo'ed it out, but did not use it, so Dio resurrected it for this album. It works well enough. At this juncture in the album, he is beginning to get back in his formula when it comes to marching metal anthems. This can also be heard on "Evolution," which has more of a 90s groove to it. "Pain" adds more urgency and passion to the verses of "Pain". There is a dark power-ballad dynamic in place for "Give Her the Gun." I also enjoy Dio's more melodic moment, as his softer vocal is more nuanced.
"Blood From a Stone' is a more straightforward rocker. The first song that has felt like filler to me, but even then, it works for what they are doing. "Here's to You' is another fast-paced rocker, less rock n roll and more metal than something like "We Rock" that is similarly paced. The last song is less memorable for some reason, it works, but doesn't hook me in. I will give this album a 9.5, so not quite perfect, but he benefited from this reset, and this is an underated album that put him ahead of most of his peers during this time.
One of Norway's biggest bands, and one of my faves, they have picked up where they left off with the last album, the first actual song that is not a dramatic symphonic-tinged intro."Ascent" has just enough blast beats in the periphery to remind you they were once a black metal band, but that is far from the primary focus. The flash and finesse of the guitar solo on this solidifies their roots in classic metal. There is a similar shifting of arrangements that we heard back on "In Sorte Diaboli". What is more interesting is the darker, more melodious atmosphere to "As Seen in the Unseen." The drumming that explodes when they build it up as you expect them to continues to excel as Daray is still behind the kit. The creepy spoken vocals with heavy effects are, of course, making an appearance.
"The Qyrptfarer" comes clsoer to bringing the type of hooks that have not been at the forefront since "Abrahadabra." That is not to say they are not bringing the big sound you want from them. It's tradmark grandiosity in peak form. I do like the creepy descending passages that sound like they are from a haunted house ride. "Ulvgjeld & Blodsodel" or 'wolf debt blood guilt' was the first single, which features a return to vocalizing in Norse again. It brings the big symphonic bombast that has become their calling card. With a very deliberate marching riff as the backbone. Choral chants and folk sounds buried deep in the mix add needed color.
"Repository of Divine Transmutation" offers a respite from the thunderous riff churning for a minute before cranking back up into a more blackened sentiment, for a few seconds, but they wrote the book on how to make this dynamic so muh so that they took themselves out of the genre. The guitars are catchier here. Shagrath is doing nothing new, but refining what works for him. He makes declarations with a snarl more than outright screaming or growling. Majestic guitar harmonies chime in. The speed up in bursts makes it a brief stab to accent what they are doing. "Thus, An Alchemist Remembers" opens with a more traditional metal riff and shifts into the brooding symphonic metal that dominates this album. There are passages of clean guitar to give some breathing room.
"Phantom of the Nemesis' stands out for me as it works off a different throb that is bigger and darker. The guitars feel more nuanced on this one. Ironically, Shagrath is snarling about how nothing is new under the sun, when this is another song that sounds like it could have been on "In Sorte..." but that was one of their best albums, so it is hard to argue against this. They speed along similar lines and drape "Recognizant" in similar sonic colors as what they have been on the other songs thus far. Perhaps this just needs to grow on me. "At the Precipice of Convergence" is more memorable than the previous song, though it takes its time winding around the intro. There is more of his croaking talking on this one. The more vampiric talking also shows up, which is fine by me to switch things up, but it does feel like they are very deliberately peddling their trademarks. The guitar solo is a bit chaotic, which is the most different element on this one, but it falls into place, as you want it to.
Once you come to terms that ICS Vortex is not sweeping in to save the day with a big operatic hook, then the bar is pretty low for what they can deliver, which is creepy riffs that are catchy, and they deliver this with "Shadows of a Thousand Perceptions". They create more breathing room going into the last song, wisely opening with a very steady drum beat. I was not expecting it to be an instrumental, but at least it's a change of pace and very melodic. I will go ahead and round this up to a 10, as it's better than the last album, and delivers what they know fans want, even if it feels a little formulaic in this regard, I think it will grow on me.
It's been thought that this album is where Dio fell from his peak popularity. I remember being unsure of the line-up change spearheaded by the inclusion of 18-year-old Rown Robetson, who has a blues-rock feel to his playing rather than the more overt style. Yngwie keyboardist Jens Johansen and AC/DC drummer Simon Wright were also part of this new line-up. The main difference lies in the guitar tones, as Robertson is a great guitar player with ample chops displayed in "Born on the Sun". It plays off many of the typical Dio tropes, but they still have gas in the tank.
"Hey Angel" was the lead single, which leans more in the direction of where commercial metal was going, particularly with the layered vocals on the chorus and the drum sound here. But the songs is pretty good, and hold up to Dio's standard. After this, Dio would need to get his batteries recharged by reuniting with Sabbath for the heavier "De-humanizer" album, after which his solo albums would be more on track with where metal was heading, but when it comes to the transitional records going into the 90s, he fared better than many of his peers, though this is a far cry from "Painkiller".
"Between Two Hearts" follows the Dio "power ballad' formula with the softer melodic intro, but this time a blues-based verse that modulates into a creeping palm-muted groove that snakes around the sparse almsot doomy drumming. It's his best vocal performance so far on this album, as it is very soulful. There is some interesting guitar playing going on in "Night Music." They default to the more typical dynamic ebb and flow on this one, but it still works thanks to Dio's magic pipes. I think what I sensed back when this came out in high school was that it wasn't as heavy as what he had done up to that point, though I saw him on this tour, and it worked for me live.
While the lyrics are a little silly, the title track has to be my favorite song on this album, as it's the one I have returned to the most over the years, thanks to the vocal hook on the chorus. It is also darker and heavier than the previous songs. The bluesy swagger of " Evil on Queen Street" benefited from Rowan's playing. A song like "Walk on Water' works in this context, but it goes to show that if Dio had not done a reset and kept making albums, he would have gone to the well too many times going into the 90s. "Twisted" certainly helps to cement this as Dio's most blues-based rock n roll album.
"Why Are They Watching Me" is more of a return to form with a great vocal performance from Dio, despite revisiting many 80s metal tropes. "My Eyes" closes the album. The verse riff is more like classic Dio before it ebbs back down, but his softer vocal performance is pretty stunning, so no omplaints about this formula. Which could apply to this album as a whole, sure it's a shift in a more rock direction, but when I was combined with Dios raw vocal talent and Rowan's enthusiasm, they made this work, so I will round it up to a 10, as the songs that come close to fillere were better than where hard rock was heading during this time.
The doom band from 40 Watt Sun's main man, Patrick Walker. The most striking thing is the haunting plea of his vocals, which glide over the depressing, lingering instrumentation. Everything feels very organic; it is mixed in a manner that gives the vocals more than enough room to do their thing. The guitars are not loaded down with an overabundance of gain like most doom bands, but they ring out with despair, while the minimal patter of drums keeps things moving. With their first album coming out in 1999, it is clear that this band was a strong influence on what Pallbearer does.
While they are paced at a depressive tempo, I would not call this funeral doom, as it's not dark in the same way, but it does drift close to that sound. Lyrics also play a much more important role in the songs than the heavier strain of doom. He is a great lyricist, so this only plays in the song's favor. "Stations" finds more melancholy being poured into your ears. It slowly begins to build momentum while staying at a very speculative wandering tone. Lyrically, he is expressing wanting to escape from the outside world, which is certainly relatable.
It's fitting that a song titled "Night Comes Down" would move in a darker, doomier direction."Landing Lights" finds them sinking further into the despair alluded to in the previous song. The pleading purity of his reedy tenor continues to impress. If he were singing Irish folk music, you might not blink, but here the results are more dynamically beautiful in the manner it provides contrast. The last song "Teacher" finds a similar languid, depressive feel drift over the song. The vocals continue to flow similarly to how they have been. The droning lathargy of this one does create a dynamic uncertainty by the time you get to the album of the album, but it still works. In some ways, it makes me think of Ian Anderson singing for Black Sabbath. The melody this winds around to reminds me of "Fade into You" by Mazzy Star. Which is a pleasant twist of fate. I will give this album a 10 as it's one of the best doom albums I've heard this year so far, as it is unique in its melodic sensibilities. This album drops June 19th on Relapse.
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.
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.
The band's 2010 album was darker and grittier, though also more sprawling and epic, as heard in the almost nine-minute opening track, which takes two and a half minutes to build. I remember liking this album when it came out, but giving it another listen, I can appreciate the sonic layers captured here. This is not like other Maiden songs, which is impressive, though midway it busts into something more accessible to Maiden fans, as hookier vocals kick the door down.
"Mother of Mercy" is more melodic with a rare strum coming from the guitar. Bruce sounds great, though past the age of soaring vocals, he works with what he has and has retained much of his power. The song builds into the expected gallop, though more mid-paced. You can hear the opening riff off "Coming Home' and know exactly who this is. Some of the best guitar solos from this era of the band, the song has its twists and turns without being overtly proggy, as everything flows well. "The Alchemist" is a more uptempo song that recaptures the direction the band was heading in on "Poweslave" just with the bombast dialed back with age. However, it gets the point across.
"Isle of Avalon" starts off with a darker tension, which is always hte side of the band I appreciate the most, but the chorus rockets into the realm of their anthems. The choruses are really strong on this album; Dickinson puts a great deal of hooks in them as you can hear on "Starblind". There is more of a folk feel to the beginning of "The Talisman". Not the first time we have heard this from the band. It occupies the first two minutes before the band comes galloping at full power. Bruce is knocking the top notes out of the park very casually. One of the reasons I like doing these stints of digging into my favorite artists' discographies is it gives me a chance like this to rediscover songs I had forgotten about. "The Man Who Would Be King" also follows their melodic, mysterious intro formula before working its way into something more powerful and metallic. This time is more atmosphere creating a fantasy environment for the epic guitar harmonies to emerge from. They jam out a bit on the instrumental section.
They close the album with the 11-minute "Where the Wild Wind Blows." When it comes to their sprawling prog adventures, I normally expect things to start in a more subdued fashion like this, after all, they are going to have to have peaks and valleys to keep your interest. This intro part is two minutes before building to a more frolicking folk metal type riff, which, of course, they are the originators of. With three guitars, they can also fill up some time by giving everyone the chance to step into the spotlight. Here, they give this instrumental space, just over two minutes, so nothing excessive. Nine minutes in, they return to the guitar solos. Metal is about sonic excess, but they use restraint and instead break things back down into the opening theme. This is another underrated album from this later period of the album that you should give a chance, as I give it a 10.
This Swedish thrash band leans pretty heavily onto the more punk side of thrash on the opening track, with the taunt Slayer like riffing anchoring them in metal. Their lyrics are often political, and spilt out in an angry fashion that is suited for that they are doing. Though everything races at you with such ferocity, I lost track of where I was by the third song and had to go back and give things a better listen. "Mortality" carries a more metallic chug. The vocals are accented more like Nuclear Assaults' though not screamed in the same manner. "Again I Rise' finds them wisely changing things up to gather a more deliberate purpose that pays off as it's the best of the first three songs. Gang vocals in the chorus help break things up.
"Culling" find the drummer going more ballistic. It hammers in a more straight ahead fashion, though the vocals are pretty well articulated. It's not as catchy as the previous song. Seems like some very deliberate winks in the direction of Slayer riff-wise. "Tsar" is another rapid blitz, with the lyrics yelled at you wit ha caustic spit flying. They are all in on the Slayer tribute with "Precipice". But it works fairly well, as it's driven by a cool riff. There are a few places where he comes closer to singing. The title track charges at you head first with a more punk intensity. It's a bout a mass-shooting, and barrow a little from "War Ensemble".
"Confession Obsession" might not be the most original thing I've heard but the guitar is pretty powerful and makes for one of the album's strongest moments. "Ashes" finds a hooky more melodic chorus tempering the rush of the punk thrashing that overtakes the verses balancing it out. I will give this one a 9 despite it's blatant Slayer influence as it's a great deal of fun.
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