The one VHS tape I’m working on currently spans a period of recordings from about July 1986 to September 1987. This Hear N’ Aid special features a MuchMusic interview conducted by J.D. (John) Roberts. There’s lots of exclusive information in this valuable video, including a tidbit on bands who refused to be in the same project as Spinal Tap!
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.
Ronnie James Dio used to consider the second albums he did as inferior to the first ones. Second Rainbow wasn’t as good as the first; same with the second Sabbath, according to Ronnie. Is that also true for The Last in Line compared to the legendary Holy Diver?
Comparing the two is much like splitting hairs. The two albums are so close in style and quality that it really doesn’t even matter.
A better opener than “We Rock” is hard to find. The blitz of drums and riff was custom made for bangin’ on the stage. It’s unusual to hear a song where the drums are a major hook, but Vinny Appice has a way of doing just that. He gives you the urge to air-drum every time he throws down a fill.
Dio had an interesting pattern for his albums in the early days, up to Dream Evil (1987). The albums always began with something fast. In the song two position: always the title track! (The title track of each album always had a few lines of lyrics printed in the album sleeve too!) And so it is with “The Last in Line”. The soft and ballad-y opening lures one into that “safe place”…before Dio lets it loose. One of his best and most memorable music videos went with “The Last in Line”, absolutely one of the legendary man’s most notable songs. Its reputation is well earned, as all the pieces are in the right and you never get tired of hearing it.
We’ll know for the first time, if we’re evil or divine, we’re the last in line!
With the first two tracks being so legendary to Dio fandom, it’s easy to understand how the next batch often get lost in the shuffle. “Breathless” lacks for nothing. Vivian Campbell’s solo spot is blazing stuff, and the song is memorable enough for head banging. Accelerating into “I Speed at Night”, hooks are sacrificed for tempo. It’s quintessential 80s heavy metal when speed was such an important thing. Not a bad tune, but one with only a single purpose — banging thine head.
“One Night in the City” takes the time to allow the hooks to percolate through. Vinny and bassist Jimmy Bain lock into a mid-paced groove while Ronnie lays down one of his typically emotive melodies. Though it simmers on a back burner, “One Night in the City” is hot just the same. “Evil Eyes” is also a high quality tune, and if it’s familiar that might be because an earlier version was a B-side, included on the Holy Diver deluxe edition. Naturally, the album version is more polished, but as for which is better, that’s up to the listener. Then there is “Mystery”, arguably Dio’s most “pop” single. Not such a bad thing, after all Ronnie James Dio also did right by “Love is All” from the Butterfly Ball.
We are lightning, we are flame, and we burn at the touch of a spark.
“Eat Your Heart Out” is the only stumble, but it’s soon paid back with “Egypt (The Chains are On)”, a Dio epic in true metal fashion. Who doesn’t love a good plodding metal epic about Egyptian legends? It’s a second or third tier metal motif! Ronnie brings his own metal melodrama to the fore.
The Last in Line is already a great album, certainly up to the quality of Holy Diver with equally memorable material. This carries over to the bonus CD included in the deluxe edition. Four single B-sides from the era are included. They are live versions of “Eat Your Heart Out”, with “Don’t Talk to Strangers”, “Holy Diver” and “Rainbow in the Dark” (all originally from Holy Diver). The only two B-sides missing are “Stand Up and Shout” and “Straight Through the Heart” live at Donington 1983, from “The Last in Line” 12″ single. These tracks however can be found on the 2010 CD release, At Donington UK: Live 1983 & 1987 .
Finally we have Dio’s entire set from the 1984 Pink Pop festival. Naturally there is some overlap with the previous live tracks: “Holy Diver”, “Rainbow in the Dark” and “Don’t Talk to Strangers”. This is offset by a smattering of Rainbow and Black Sabbath classics: “Stargazer”, “Man on the Silver Mountain” and “Heaven and Hell”. The audio is quite good and Jimmy Bain’s bass has a nice full thump to it. The Last in Line is one deluxe you’ll want to add to your collection
2016, I fucking hate you.
R.I.P. Jimmy Bain, age 68, now the second member of the original Dio to pass. And yet another Rainbow casualty.
Jimmy rocked. Listen to some Jimmy today.
DIO – Holy Diver (2012 Universal deluxe edition, originally 1983)
Ronnie James Dio often said that the best Dio album was the first. Fans will always have their own favourites, but there is no denying that Ronnie was right about Holy Diver being a special album. Dio had always had a knack for rallying talented people around him. Just look at that lineup: Ronnie and Vinny Appice had recently fled Black Sabbath. Jimmy Bain had worked with Dio in Blackmore’s Rainbow, an integral part of that band’s lineup in the Rainbow Rising period. On guitar – Vivian Campbell, from little known New Wave of British Heavy Metal band Sweet Savage. A shredder he was, able to compete with the hot flashy players of the 80’s.
Very few people do speedy metal songs better than Ronnie James Dio. “Stand Up and Shout” is the prototype of such Dio songs. Youthful and rebellious, “Stand Up and Shout” was exactly what fans in 1983 were craving. The band got to show off their chops a bit, with Vinny Appice leading the way via a hell of a drum performance. Then it’s Vivian’s turn to shine on one of the speediest solos laid to tape. “You are the strongest chain and not just some reflection,” sings Ronnie, inspiring the masses with his positive message of self-belief.
For the first four albums, Dio always put the title track second. If this holds some special meaning, I do not know. “Holy Diver”, with its ominous opening, still remains upon the lofty peak of the best songs Ronnie has ever written. The riff, written solely by Ronnie, is iconic. Perhaps it is not recognized on the level of immortal riffs such as “Whole Lotta Love”, but among metal fans, it is held in high regard. “Holy Diver” is the shiniest jewel in the crown, a massive track that just has everything. Bain and Appice formed a tight rhythm section with the exact right amount of heft. The song is flawless…shiny diamonds indeed.
Like the eyes of a cat in the black and blue, something is coming for you.
“Gypsy” is a knockout. Ronnie belting in full voice with a solid mid-tempo song behind him is always a pleasure. This is Vivian’s first writing credit on a Dio album. The guitar solo could use some focus, but I think the directive here was “just shred”. One of Dio’s most pop moments (in terms of melody only) is “Caught in the Middle”, one of his catchiest, most concise and direct songs. Even Vivian sticks to point on the solo. But “Caught in the Middle” is soon eclipsed by an even more exciting song: “Don’t Talk to Strangers”. The acoustic fake-out intro is a trick Dio pulled again later on “The Last in Line”, but when the song really starts, it’s friggin’ frantic. It’s like the wind. These guys had so much energy, it is remarkable. “Straight Through the Heart” has balls to it, it’s a groovy tune. I loved Halestorm’s cover of it immensely. I think they really caught and emphasized what is great about the song. Lzzy Hale is one of very few people who can do Dio justice vocally.
The slow intro to “Invisible” reminds me of a 1987-era Whitesnake ballad. This is another trick! It stops and abruptly turns into another Dio stomper of high quality. There is very little letup on this Dio album. The momentum is maintained by the stunning single “Rainbow in the Dark”. That’s Ronnie on keyboards, by the way. I have a story about this song.
Our local rock station, 107.5 Dave Rocks, has a 3:00 contest called the Tedious Tiresome Trivia in the Tri-Cities, or the TTT in the TC. What makes it so tedious and tiresome are the callers. Craig seems to attract the…how should I say this? The most “interesting” callers. The most notorious of these is “Bore-linda” who has a legion of haters who can’t stand her perky tone. (She’s actually a very nice lady in real life.) Craig Fee would receive emails from annoyed listeners saying, “Hang up on Bore-linda! Play some Dio!” So that’s exactly what Craig did, and he chose “Rainbow in the Dark” as the song. And Bore-linda calls in a lot. And Craig hangs up a lot. For a while, “Rainbow in the Dark” was played almost daily between 3 and 4 o’clock. And you know what? It never got tiring. Every single time it came on was a fist-pumper.
Holy Diver deserves a dramatic ending, and that would be “Shame on the Night”. Copying the template of a song like Sabbath’s “Lonely is the Word”, it occupies the same kind of slow-paced dark metal space. Vivian’s guitar intro is very cool, but the song just pounds.
The bonus CD is chock full of Dio goodness. Deluxe editions should always present a complete set of B-sides. This has the three from this era, including the studio cut “Evil Eyes”. This excellent, cruisin’ tune was re-recorded for The Last in Line, and the B-side version has remained obscure until now. Vivian has a lot of different solos on this version, and they are all cool. Then, essential cuts “Stand Up and Shout” and “Straight Through the Heart” are both live B-sides, every bit as electrifying as the originals. They are simply more raw, probably a little faster, and there is nothing more powerful than Ronnie James Dio’s voice live in the raw.
The balance of the disc is fleshed out by six live songs recorded for radio by the King Biscuit Flower Hour. They sound excellent, thanks to King Biscuit. You get “Stand Up and Shout” a second time, but the rest of the live songs are not repeats. In the mix are some Sabbath (“Children of the Sea”) and some Rainbow (“Man on the Silver Mountain/Starstruck”). Of the two, “Children of the Sea” fares better from the Dio band’s interpretation. To be fair, I think Tony Iommi and Ritchie Blackmore both have so much personality, that it is daunting to cover them no matter who you are. I think Vivian’s style works less well on the Rainbow song than it does with Sabbath’s material. The rest of the songs (“Holy Diver”, “Rainbow in the Dark”, “Shame on the Night”) are all quality Dio tracks. Although the market is now inundated with live Dio packages, it is still a delight to have these early recordings on CD.
I needn’t divulge that this deluxe edition is loaded with cool liner notes and pictures. You have come to expect that from a good deluxe edition. And Holy Diver is quite good indeed.
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.
“There’s no sun in the shadow of the wizard, See how he glides, Why he’s lighter than air”
RAINBOW – Rising (2011 deluxe edition)
I believe I’m well on record for being a connoisseur of deluxe editions. I love to collect all the extra music, check out the liner notes, and feast on unreleased tracks. The problem with Rainbow Rising is that no extra unreleased songs or demos survived. So, what you’ll get is three different and complete versions of Rainbow Rising, plus a tour rehearsal version of the quintessential Rainbow song, “Stargazer”. If you don’t want to hear the whole album three times in a row, plus a fourth version of “Stargazer”, then don’t buy this disc. Just stick with the regular CD.
The three versions of the album inside include a previously unreleased rough mix. This one is especially interesting because a lot of these song versions run slightly longer than the original album versions. Therefore, you will hear some valuable performance stuff that you haven’t heard before. The other two versions of the album include the “LA Mix” and “New York Mix”. The liner notes don’t go into detail here, but the original LP and CD versions of Rising had different mixes, and now they’re both here in one place. The differences are subtle, but those intimate with the album will recognize slightly different keyboard, vocal, and guitar parts. Previous to this, I had only owned the original CD edition, which was the “LA Mix”. Later CD editions had the “New York Mix” which I haven’t heard until now.
Lastly there is a tour rehearsal version of “Stargazer” from Pirate Sound, where Deep Purple rehearsed Come Taste the Band. It is surprisingly lo-fi considering where it was recorded. It sounds like somebody taped it on a hand held cassette deck. Not very listenable unfortunately, and kind of baffling why something this lo-fi would have been included at all. You can barely hear Dio at all at some points. Still, there was room for it and why waste plastic, right?
This album itself is probably Rainbow’s best. That’s just my opinion. The renowned Martin Popoff ranked Down to Earth higher, but he did rank Rising highest of the Dio-era. I think five of these six songs are incredible. The only one I’m not especially fond of is “Do You Close Your Eyes”, which I just find doesn’t fit the overall darker direction of the album. It would have sounded better on Blackmore’s Rainbow. “Tarot Woman”, the album opener, is one of the most incredible songs Dio’s ever done. It’s absolutely a highlight of his storied career. Cozy’s drum pounding is monumental throughout. “Light In The Black” is just furious jamming throughout. Incredible playing. And of course “Stargazer” is purely epic. The lyrics are cool and the keyboards just take the whole thing to another level. If I could only play one Rainbow song for the rest of my life, it would be “Stargazer”.
The liner notes don’t the mention any sources or history about the three different mixes at all, and I don’t really know anything about it. There is, however, a great interview with keyboardist Tony Carey, supplemented by an old one with Cozy Powell. The packaging, including cover art from Ken Kelly (Kiss Destroyer), looks amazing in digipack form.
While normally Rainbow Rising would be a 5 star winner, hands down, I left this deluxe edition feeling slightly disappointed. It is what it is, but I think I would have preferred some different bonus material. Maybe some live stuff. If no outtakes or extra songs exist in the vaults, there’s only so much you can include I guess.
5/5 stars for Rising
4/5 stars for Deluxe Edition
DIO – Lock Up the Wolves (1990)
July 1990: A M.E.A.T. Magazine interview (issue #14) with Ronnie James Dio states that he was unhappy with Dream Evil, one of my favourite Dio albums. He felt the songwriting was unfinished, that the songs needed tightening up. Supposedly some of the changes he made were a response to that. If that’s indeed the case, then Lock of the Wolves came as a total shock. These songs feel even less finished than any Dio album before.
Dio had completely revamped his band. Craig Goldy (guitar) was the first one to leave. Apparently Vinnie Appice, Jimmy Bain and Claude Schnell didn’t care for Goldie, but they all ended up departing too. Ronnie was no longer happy with the writing process nor the dischord that had set into the making of Dream Evil. Because of these circumstances he was able to revamp the entire Dio lineup but not by choice.
Ronnie took on a young and international crew: Swedish Jens Johansson on keyboards (ex-Yngwie Malmsteen), new York kid Teddy Cook on bass, ex-AC/DC skin-pounder Simon Wright, and the young 17 year old Scot, Rowan Robertson as his new guitar wizard. Robertson won the role after a cattle-call resulted in 5000 tapes sent to Dio for his consideration. The end combination was a band of skilled players, but lacking in road-tested chemistry. Plus the pressure was certainly on Robertson, having guitarists like Vivian Campbell and Richie Blackmore writing the solos you were going to be playing.
About half the album was written when Bain and Appice were still in the band, and they appear on several writing credits. Robertson has a co-write on every song, and Jens Johansson has two, while new bassist Cook has one. Regardless of the numerous writers, the album is very singular in its direction. That is to say Lock Up the Wolves is a painfully sloooowww Dio album.
I was very disappointed that there are only a couple fast rockers to keep the blood pumping. The first track, “Wild One”, fools you into thinking this album will be a rocking good time full of tasty guitar hooks and wicked Dio lyrics. However, “Born On The Sun”, while boasting a great chorus melody, sags and droops. “Hey Angel” and “Between Two Hearts” are more of the same. I kept waiting for another fast song, or just something different to keep me awake. I had realized that Lock Up the Wolves is loaded with boring pseudo-bluesy riffs, slow to the point of coma-inducing.
The only slow tunes that really have spark of any kind are the monstrous title track (over 8 minutes of drama) and the ballady “My Eyes”. “My Eyes” is my personal favourite track on the album, and perhaps worth the price of purchase if you can find the album cheap. It’s also fun to play the game “How many of Dio’s other song titles are in the lyrics?” with this one. The CD-only bonus track “Why Are They Watching Me” is the only other serious fast rocker on the album, and I have no idea why it was the CD-only bonus track, because the album desperately needed a kick in the pants.
And that is Lock Up the Wolves in a nutshell. Approximately 50 minutes of slow, pseudo-bluesy guitar and dull rhythms. About 10 minutes of heavy metal. That’s it.
I do love the cover art.