While out promoting 1987’s Dream Evil, Ronnie James Dio and Craig Goldy sat for an interview with MuchMusic’s Erica Ehm. She asked him about Satanism in rock lyrics and videos.
Vanilla Fudge, Rod Stewart, Black Sabbath, Dio, Cactus, Blue Murder, King Kobra…those are just a handful of the bands who have boasted an Appice in their ranks. Drumming brothers Carmine and Vinny have been recognised by fans and critics alike for their rhythms and associations with amazing bands. Now they step out on their own, with a duo album called Sinister.
The musical directions are all alloys of good ol’ heavy metal. “Sabbath gave us metal!” goes one line (more on that later). You know what you’re getting. There’s even a Sabbath medley called “Sabbath Mash”. Joining the Appice brothers are familiar names such as: Craig Goldy (Dio), Tony Franklin (Blue Murder), Robin McAuley (MSG), Paul Shortino (Ruff Cutt), Joel Hoekstra (Whitesnake), Ron “Bumblefoot” Thal (Guns N’ Roses) and Jim Crean (who regularly plays live with the brothers).
Many tracks have both drummers, with Vinny panned to the left and Carmine to the right. It’s not immediately obvious, but if you listen, the drums sound huge! Double drummers are not something we’re used to hearing, so pay attention and listen to the individuals and what they’re doing. You won’t be bored, even if you’re not a drummer.
Everything rocks — no ballads. You’ll find a sludgy Sabbath vibe on some tracks such as “Killing Floor” (lead vocals by Chas West). Jim Crean kicks ass on “Danger” which comes from the brisk Dio end of the spectrum. Another Crean song, “In the Night” is the most immediately memorable. It takes a few listens to absorb Sinister. Headphones may help, but give it a chance because it’s not an immediate listen. Other tracks are familiar. Blue Murder’s “Riot”, with Robin McAuley singing, is a damn fine heavy explosive.
What about drum instrumentals? Well, of course! You would feel ripped off if the two brothers didn’t go head to head. “Drum Wars” is exactly what you’re looking for. What Vinny and Carmine have done is create drum parts that compliment each other and work in unison, creating a fuller sound. You’ll also get a kick out of “Brothers in Drums”, which tells the story of the Appice brothers. “Is that my brother, on TV? That’s what I wanna be!”
The album goes a little sentimental on “Monsters and Heroes”, heavy as hell, but the lyrics may bring a tear to your eye. “Sing a song, singer, you’re the man on the mountain…” Yes, it’s a tribute to Ronnie James Dio, with lyrics by Shortino, who worked with Dio back in 1985 on Hear N’ Aid. Sabbath gave us metal indeed, but “Monsters and Heroes” captures a little bit of why we miss Dio so much.
Not every song brilliant, and 13 is a large number of tracks, but Sinister grows as you listen. (Stay tuned to the end!) It’s a grower thanks in no small part to some great performances by an assortment of rock n’ roll veterans. Any fan of heavy metal will find something to enjoy with Appice. Serious Sabbath or Dio fans should consider adding it to their collections, as an extension of the discographies. Bonus: there’s a poster inside!
Although Ronnie James Dio was a very vivid songwriter, he only made one true concept album. Magica was intended as a trilogy, but only the first part was completed before Dio’s death in 2010. Magica was released in 2000 as a story of aliens, heroes, villains and magic. Dio’s new band consisted of returning champions Craig Goldy (from the Dream Evil album) on guitar, drummer Simon Wright (Lock Up the Wolves), and original bassist Jimmy Bain. The album, co-written by Dio and Goldy, was considered a triumph in its time. It is a strong return to old-style quality metal after 1996’s questionable Angry Machines CD. This deluxe edition collects the album and all related tracks together in one place.
Without getting into too much story detail, “Discovery” introduces aliens that serve as a framing story. Alien explorers have found the ancient planet of Blessing, but are confused by the written records they find. “Flesh can NOT be mutated into stone, and re-morphed back to the body once again. Continue the investigation with special attention given to one word: MAGICA.”
“Lord of the Last Days” is a dramatic and metallic start. Dio’s slow grooves bring the melody and power of the riff to the fore. “I love the night, so many shadows,” he sings as the villain character Shadowcast. A segue brings us to the single “Fever Dreams”, a song so good that it was performed live in 2001 by Deep Purple with Ronnie as guest. Goldy’s choppy riff is the stuff of metal dreams. Fans who thought Dio strayed too far from the old school before were very pleased.
The music speeds up and becomes more menacing on “Turn to Stone”. Evil has made its move! “Turn to Stone” is classic Dio music, very much in line with Dream Evil (1987). Goldy turns in some killer solo work here, before we move on to the robotic “Feed My Head”. The album loses momentum on the long “Eriel”, and the truth is that the story gets too hard to follow without reading along with the liner notes.
Some smoking soloing introduces “Challis”, a memorable rocker that brings the album back on track. The songs work best when backed by good old riffs. “Challis” is quintessential hard rock Dio, but Dio also has a tender side. The album’s ballad “As Long as it’s Not About Love” is long but exemplary. Then it’s a celtic sounding jig on “Losing My Insanity”, before it transforms into something heavier and almost Sabbathy.
The deluxe edition of Magica contains the original Japanese bonus track, an instrumental called “Annica”. This is on CD 2, but for the most authentic listening experience, you should move it back to where it belongs, on the first disc between “Losing My Insanity” and “Otherworld”. This guitar piece really shows off Craig Goldy’s style and tone. Then “Otherworld” is the climax of the story, good triumphing over evil, and a nice dramatically heavy track.
The alien framing story returns with a reprise of “Lord of the Last Days”, indicating that the tale is not over. Far from it.
The final track on the original album has been moved to CD 2: Dio reading “The Magica Story”, also included inside as text. This is 18 minutes of some of the dullest narration you’ve ever heard. Finishing it once is a challenge, listening to it regularly as a part of the album is madness. Instead, skip to “Electra”, the only song they finished for Magica 2 (or 3). “Electra” was the last single that Dio released in his lifetime, as part of a box set called Tournado. It sounds like a part of Magica, perhaps indicating the next album would have been darker. It’s sad but gratifying to know that the last song Dio put out was a good one.*
Five rare live tracks round out the set, all songs from Magica never released on anything else. Live, the band featured Alice Cooper bassist Chuck Garric in Jimmy Bain’s place. “Fever Dreams” is particularly good, a little bit faster than the original. “As Long as it’s Not About Love” has more passion in the live setting. Most fans have not had the chance to hear live versions of the Magica songs before this package came out.
When Magica was originally released, I was lucky enough to get the Japanese version right away. I was hoping for something more like old Dio, and less like Angry Machines. Judging from my time in the Record Store, I think many Dio fans lost interest in the band after Angry Machines. One of my old customers, Glen, was turned around by Magica. I recommended it to him, and he loved it. Now, I’m recommending it to you.
* Former Dio guitarist Doug Aldrich recently stated that he is in possession of a complete demo with vocals of another Magica 2 song. He has offered it to Wendy Dio to release.
The King of Rock and Roll rolled into Philly with a new axeman. Vivian Campbell bitterly departed and was replaced by Craig Goldy of Ruff Cutt. Goldy had a flashier style, a bit heavier on the shred. The Sacred Heart tour was a big deal, and I can distinctly remember seeing TV ads for the Toronto show. They had their big dragon on stage, a crystal ball, and Accept as the opening act. The Philly gig was filmed, and so today we have this double live album to enjoy.
As it did on Sacred Heart, “King of Rock and Roll” opened the set with a flurry of speed. Another newbie, “Like the Beat of a Heart” goes over well with an extended solo by Goldy including a nod to Blackmore. “Don’t Talk to Strangers” is the first Dio classic in the set, though “Hungry for Heaven” was a top 30 single.
Dio had so much material to play (including his past with Rainbow and Black Sabbath) that a lot of the biggest songs are jammed into medleys. “The Last in Line”, “Children of the Sea” and “Holy Diver” are truncated into eight minutes. “Rock ‘N’ Roll Children” is joined with the Rainbow classics “Love Live Rock ‘N’ Roll” and “Man on the Silver Mountain”. It seems a shame that there are guitar solos, a drum solo, and even a keyboard solo, but all these classics had to be crammed together into medleys. “Heaven and Hell” is complete at least, but Claude Schnell’s keyboards sound out of place on this Sabbath cornerstone.
1986 was one of many prime periods for Dio. Your perception of this CD set will largely hinge on how much you like Craig Goldy vs. Vivian Campbell. Goldy was a fine replacement though his shredding often sounds like a green kid just going for it. There is plenty of great Dio material to enjoy, all killer no filler from start to finish…solos aside that is. There’s even a live version of the smooth “Time to Burn”, the first new song with Goldy from the Intermission EP.
There is a nice selection of live Dio available on the market. Finding the Sacred Heart would be a great choice for most, but if you want Dio live with Vivian Campbell, probably best to go for the Donington 1983 & 1987 set. This one certainly sounds excellent, it’s a beautiful recording and mix.
DAVID LEE ROTH – A Little Ain’t Enough (1991, Warner, digipack promo CD version)
First Billy Sheehan was gone – fired by the “note police”. Then Steve Vai was out, to join David Coverdale in his merry international band of Whitesnake, replacing Vivian Campbell. David Lee Roth lost his two biggest guns in the space of a year. What next? Replacing Billy was Matt Bissonette, brother of drummer Gregg. Matt is a fantastic bassist, but there is only one Billy Sheehan, so naturally the band was bound to sound different. Replacing Steve Vai was much harder.
Filling the guitar slot, but not the shoes, was new young guitar prodigy Jason Becker (from Cacophony, with Marty Friedman), and veteran axeman Steve Hunter (ex-Alice Cooper). Becker was beginning to feel the effects of amyotrophic lateral sclerosis (ALS). Fans must have known something was wrong when Becker was not seen on tour. Becker kept his diagnosis private for the time being. Roth tapped Joe Holmes (future Ozzy guitarist) and stated that he needed musicians who could “fly” on stage. It was hard for fans to become attached to his new band, even wielding the firepower of two guitarists, with all these changes.
Roth’s first post-Vai album, A Little Ain’t Enough, failed to ascend the commercial heights of Eat ‘Em and Smile or Skyscraper. “Good”, but not “great”. Not enough of that Dave “charasma”. Just a collection of songs, not a fierce sexed up power-packed ride through. Roth hooked up with producer-du-jour Bob Rock at Little Mountain studios. Rock endowed Roth with a generic sound, contrasting the high-tech Skyscraper. Dave seemed to be trying to take a step back towards his Van Halen roots. Roth insisted that he and his band stay in the shittiest Vancouver hotel they could find. Prostitutes, dealers, criminals, the works. He wanted a dirty rock album and you can’t make one of those with a $20 room service hamburger in your stomach, as per the method of Diamond Dave.
A Little Ain’t Enough wasn’t the return to dirty raw rock Roth that had hyped.
Lead single “A Lil’ Ain’t Enough” was plenty of fun, a top notch Roth party song. “Was vaccinated with a phonograph needle one summer break, then I kissed her on her daddy’s boat and shot across the lake.” Perfect for summer. Second track “Shoot It” was just as fun, a big horn section delivering all the big hooks.
The one-two punch of those openers was slowed by following them with “Lady Luck”, a rock blues track written by Dio’s Craig Goldy. Good song, but the firepower and excitement of the previous two was missing. “Hammerhead Shark”, the fourth track, had more energy but not the killer hooks. What it does have is some killer shredding by the guitar duo of Hunter and Becker, with Hunter on the slide and Becker on the quick pickin’. “Tell the Truth” is another blues, slower this time, and was also released as an instrumental remix with dialogue (from a movie?) dubbed over. Side one closed with a real Van Halen-like corker called “Baby’s On Fire”. As the title suggests, it’s red-hot and loaded with smoking playing.
Side two is a mixed bag. “40 Below” is a fun track, with shades of Halen but more focused on bluesy guitars. “Sensible Shoes” was a single, a slinky blues that appealed to some that normally wouldn’t buy a David Lee Roth album. The slide guitar is the main feature. “Last Call” is another one reminiscent of classic Van Halen, and “Dogtown Shuffle” dips back into noctural blues rock. Good songs – not great, but good.
Jason Becker only contributed two of his own songs to the album: the final two, “It’s Showtime!” and “Drop in the Bucket”. These happen to be two of the best tracks. “It’s Showtime!” is 100% pure Van Halen, smoking down the highway, so try to keep up. It’s the kind of high speed rock shuffle that they invented and mastered. Meanwhile “Drop in the Bucket” serves as a cool, smooth ending to the album. Its impressive guitar work is only a glimpse at what Becker was capable of.
ALS be damned, Jason Becker refused to go down without a fight. As the disease took his voice and his hands, he began composing music on a computer. He uses a system that tracks his eye movements, much like Steven Hawking. This way, Becker has managed to stay active musically and has inspired thousands with his efforts.
It’s a shame that Becker’s only album with David Lee Roth was a bit middle of the road. It wasn’t the full shred of early Roth, nor as diverse as Dave can get. In his efforts to make a straight ahead rock album, Dave shed some of what makes his music special. The musical thrills are lessened on what is probably the most “ordinary” album in his catalog.
Intermission was Dio’s live EP, bridging the gap between Sacred Heart and Dream Evil. At the time it came out, Dio was very busy with the Hear N’ Aid project as well as replacing Vivian Campbell on guitar. Maybe that’s why he opted for just a Dio EP to tide fans over. For a long time this unavailable on CD; it has recently been reissued in its completion as bonus tracks on the deluxe edition of Sacred Heart. Good news, I’m sure, for those fans without the equipment to play vinyl.
The band was in a transitional period. They had recorded the five live tracks with Vivian, but replaced him with Craig Goldy in the middle of the tour. For years, fans were wondering who played on Intermission. Goldy’s picture is on the back, but the solos are clearly Vivian. There were no credits either, but today we know that Vivian is indeed the guitar player on the live tracks. And so is Craig! They overdubbed Goldy over Campbell on the live rhythm guitar parts! Why he decided to do this, aside from spite, I have no idea, but I strongly dislike tampering with live recordings. (Yes, that makes me a hypocrite since I rated Kiss Alive! a 6/5!)
Goldy plays all guitars on the soul newbie, “Time To Burn”. This new studio cut was a really excellent one; a mid-tempo burner (no pun intended). He co-wrote it, probably contributing that cool riff. The song has melody to spare and is definitely a diamond among Dio’s early solo material. It sounds similar to the Sacred Heart era, but with a higher level of songwriting quality.
As far as I’m concerned, they may call it an EP, but this is essentially an album, clocking in at 32 minutes. That makes it slightly longer than Van Halen’s Diver Down. It may only have six tracks, but one is a 10 minute medley of Dio and Rainbow classics. “Man on the Silver Mountain” sounds incredible; Ronnie was singing powerfully on this tour, and despite the tampering the band does sound great.
The Dio songs sampled here include obvious choices like “We Rock” and “Rainbow in the Dark”, but the two biggest hits (“Holy Diver” and “Last in Line”) are absent. Diligent fans already had live versions of those two on the last Dio single B-sides. The more puzzling inclusion is “King of Rock and Roll” which was already released live on the last album! Ultimately though I’m satisfied with the songs selected on this EP. The vinyl used to be frequently played around these parts, though it has no been collecting dust since the reissue of the songs on the deluxe Sacred Heart. It remains a great sounding mini-album, if you will!
“I’m letting them pick what songs they wanna do in the way they wanna do it.” Wendy Dio
No preable from me: we all know how great Dio was. Let’s get to the tracks.
Anthrax kick off the festivities with a slamming “Neon Nights”. The storming opener couldn’t have been in a better slot. Not only is Charlie Benate heavy as shit, but the guitar solos are mental. Joe Belladonna handles the powerful vocal ably. Rob Caggiano is still in the lineup indicating this isn’t brand new. I suspect it was recorded at the same time as last year’s Anthems EP.
The guys that never get respect, Tenacious D, tackle the difficult second slot. No worries there; they chose “The Last In Line” which Jack Black sings with no difficulty. Uncle Meat has said it before: Jack Black is one of the best singers he’s seen live. “The Last In Line” proves his pipes, although some may not like his exaggerated, humorous vocal enunciation. Kyle Gass plays a cute recorder solo in lieu of guitar, but there’s not enough K.G. on this track. Brooks Wackerman kicks the drums in the ass.
And speaking of drums, Mike Portnoy is next with Adrenaline Mob. They demolish “Mob Rules”, although singer Russell Allen is certainly no Dio. He is completely overshadowed by Portnoy and the shredding of Mike Orlando.
Corey Taylor, Satchel (Russ Parish) and friends chose “Rainbow In the Dark” as their tribute to Ronnie. This has always been such a fan favourite, and a personal one as well. It is difficult to imagine anyone but Ronnie singing it. While Corey Taylor is not at all like Ronnie James Dio, you can tell he loves this song. It bleeds out of his performance. He does it in his own rasp, and it works.
The incredible Lzzy Hale and Halestorm are up next with another Dio classic, “Straight Through the Heart”. There is no denying the talents of Lzzy Hale, but her powerful pipes are almost too much. Perhaps she overpowers the song, rather than simply fueling it. Halestorm fans will love it, but I think Lzzy maybe should have reeled it in a bit. Or, maybe I just need to get used to it. “Straight From the Heart” does sound better after a few listens.
Biff Byford (Saxon) joins Motorhead on lead vocals for Rainbow’s “Starstruck”. There’s a bit of that Motor-slam in it, but if I didn’t know who it was, I never would have guessed Motorhead. You can hear Lemmy on backing vocals, but weirdly, he’s not credited on bass. Nobody is, but you can hear the bass clearly and it sounds like Lem.
I’m a little sick of the Scorpions doing ballads, but I admit that “Temple of the King” (another Rainbow classic) is stunningly good. One might almost mistake it for a Scorpions original. It has that regal Scorpions bombast to is, but Matthias Jabs’ lead work is just sublime. He’s an underrated player, absolutely. You can tell he’s a Blackmore fan.
An oldie from 1999, Doro’s cover of “Egypt (The Chains are On)” is excellent. It’s cool to hear female singers like Doro and Lzzy Hale sing Dio. Doro’s impressive pipes have always been astounding. Her version of “Egypt” is a little over the top compared to Dio’s, but that’s cool by me.
Killswitch Engage…hmm. “Holy Diver” starts great, super heavy, with some perfectly acceptable, melodic vocals. Then it all goes down the toilet at the bridge. That’s when it turns into hardcore shouting and blast beats…sorry, not on this song, thanks. I can listen to that stuff in moderation, but don’t sully “Holy Diver” with it. Fortunately the guitar solos are great, sounding like an Iron Maiden outtake from Powerslave. Shame about the growling and shouting. Skip.
“Catch the Rainbow” is a great song, and Craig Goldy plays guitar on this cover. He’s ex-Dio himself, and he’s backed by his former Dio-mates Rudy Sarzo, Scott Warren and Simon Wright. (Hey, that’s also 1/3 of Tateryche!) Glenn Hughes sings, but this song sounds out of his scope. His bluesy slant doesn’t work for me. Sorry Glenn, you’re still awesome!
I find it strange that two more ex-Dio members (Jimmy Bain and Rowan Robertson) chose to cover Black Sabbath. But who cares! They covered “I”, perhaps the greatest song from Dehumanizer (1992)! On drums is Brian Tichy, with Oni Logan (Lynch Mob, Dio Disciples) singing. It’s a perfectly authentic version and I love it. It’s absolutely thunderous, and I love Jimmy Bain’s bass sound. Always have. Of all the vocalists on This Is Your Life, it is Oni Logan that comes closest to nailing Dio’s vibe. Considering he’s in Dio Diciples, I shouldn’t have been surprised. I didn’t expect it though, based on what I knew of Logan from Lynch Mob. He fits “I” like a glove!
I was disappointed in Rob Halford’s version of “Man On the Silver Mountain”. It’s true that Halford did replace Dio in Black Sabbath for two shows in 1992. However, having owned a bootleg video of that show since that time, I knew that Halford’s and Dio’s styles didn’t really mesh. This is no different; I don’t think his voice works with the song and it unfortunately shows off the places where Rob’s voice has weakened. What is cool though is that the band (all ex-Dio: Doug Aldrich, Vinnie Appice, Jeff Pilson and Scott Warren) take it to a swampy bluesy Whitesnake-y place for the intro. You can definitely hear Pilson covering the high notes in the chorus.
Finally we arrive at the mighty Metallica. Snicker if you like. If Metallica do one thing really well, it’s covers. If they do two right, it’s covers and medleys. The “Ronnie Rising Medley” is entirely made up of parts of Rainbow songs. “A Light In the Black” bleeds into “Tarot Woman,” where the vocals begin. It’s safe to say if you don’t like Metallica, you won’t like this. If the opposite is true, I think you’re in for a treat. Metallica do these classics in their own style, just as they have in the past when covering Maiden, or Mercyful Fate, or Thin Lizzy. Simply add Lars’ thuds, James’ growl, and some standard Metalli-licks, and you’ve got a medley that is enjoyable through its near-10 minute run time. Having said that, the weak point is definitely “Stargazer”, which is gutted of all its majesty. They do much better with “Kill the King” which is fucking perfect. They include the entire song in their medley!
Fittingly, the album ends on a ballad: Dio’s own somber “This Is Your Life”, performed by the man himself in 1996. I did not like the Angry Machines album, but if there was one song I would have picked as a highlight it would be “This Is Your Life”. Performed only by Dio and Scott Warren on piano, it is unlike anything else in Dio’s canon. The lyrics speak of mortality:
This is your life
This is your time
What if the flame
Won’t last forever?
This is your here
This is your now
Let it be magical
What a way to end a great album. As much as you can “miss” a person you have never met, I do miss Ronnie James Dio. In many ways he’s been my friend for 30 years.
As a nice added touch, the liner notes include photos of just about every performer on this CD with Ronnie!
Of note: the Japanese edition has a bonus track by Dio Diciples: “Stand Up and Shout.” It also has Stryper’s version of “Heaven and Hell” from their 2011 album The Covering, which I reviewed here.
BUDGIE – “You’re All Living In Cuckooland” (2006 Noteworthy Productions)
24 years passed between this and the last Budgie studio album. Not that you can tell, as “You’re All Living In Cuckooland” sounds like classic Budgie to the last detail. The cover art even looks like classic Budgie! No computer generated images here, and the classic Budgie logo is intact! Drummer Steve Williams has returned, and the guitar slot was filled by the excellent Simon Lees (although I understand Craig Goldy of Dio toured with them a lot).
Right from the first track, “Justice”, you know that Budgie are back. Burke Shelley’s unmistakable voice is as vintage-Geddy as ever, and the sound of this band has hardly changed at all. Maybe there are some slicker effects on the guitars, but the style is 100% Budgie. The songwriting is still idiosyncratic Budgie, except for some unaccompanied acoustic tracks which Burke wrote alone. Musicianship is in the forefront and production is sharp, although I can’t hear enough bass for my tastes. To me, early Budgie was all about Burke’s slinky bass lines, and I want to hear them!
- The solidly heavy “Justice”.
- “Dead Men Don’t Talk” and its positively squirrly solos.
- The psuedo-title track, “We’re All Living In Cuckooland”, an acoustic number that remained lodged firmly in my skull for days.
- “I’m Compressing The Comb On A Cockerel’s Head”, the 8 minute closer with its stuttering tremelo guitar solos. Yet another oddball Budgie song title too. I love it!
Everything here is a winner. No filler.
DIO – At Donington UK: Live 1983 & 1987 (2010)
Ronnie James Dio’s death was an incredibly sad day in rock. For our little corner of the rock world, that genre known as Heavy Metal, it was an absolute tragedy. Very rarely have ever lost someone with so much talent, and so much history. I mean, we lost Randy Rhoads, but he never got a chance to grow and spread his wings. Dio did. Unfortunately Dio’s long and powerful career has not been well documented in live album format. There are gaping holes in his live catalogue, with very little (just B-sides) being available with Vivian Campbell on guitar.
Finally some of that history has seen the light. Doninngton UK collects two concerts. From 1983, we get a show with Vivian Campbell. From 1987, a show with his replacement Craig Goldy from the very underrated Dream Evil tour. Both shows are excellent, with nary a complaint between the two of them. Both shows contain ample Dio tunes with a smattering or Rainbow and Sabbath.
For me, my personal highlights were not any specific song, but more the tireless performances by Ronnie James Dio. If any man ever made it all sound easy, it was Dio. Plenty of power to spare, Ronnie James is the ringleader and he never faulters. He’s perfect. A second highlight for me was the guitar work of Campbell and Goldy. It was great to finally hear the first two Dio dudes rip and shred live.
You get “Holy Diver”, “Heaven and Hell”, “Stargazer”, “The Last In Line”, “Rock and Roll Children”, and pretty much any favourite Dio song you’ve ever had from that era. Yes, you’re going to hear several songs twice. “Children of the Sea” (a Sabbath classic), “Rainbow in the Dark”, “Holy Diver”, “Heaven and Hell” (another mighty Sab classic), and “Silver Mountain” all appear on both discs. When you think about it though, that’s a lot less overlap than you’d expect.
The recording and mix are good enough (by the BBC), and the packaging is very nice as expected. I love the cover.
5/5 stars. As if there was any doubt.
ADDED BONUS: Two plastic backstage pass replicas included!