Evil or Divine?

After a huge success with “Holy Diver”, Ronnie James Dio and his newly formed solo band had to find a way to match that success and that came into the form of “The Last in Line.” While a strong album in its own right, this album is just a step below the legendary debut. “The Last in Line”, along with the aforementioned “Holy Diver”, and “Sacred Heart” have recently been released as deluxe editions with improvements in sound and loaded with extra content. “The Last in Line” comes with some live b-sides as well as a concert from the Pinkpop Festival in 1984.

“The Last in Line” mainly draws upon the formula from the debut. “We Rock” could be seen as a brother to “Stand Up and Shout” with its empowering lyrics and up-tempo joys. “Eat Your Heart Out” is the child of “Straight to the Heart” and “Egypt (The Chains Are On)” invokes a familiar atmosphere and ends the album on a brooding note like “Shame to the Night” did. Last, but certainly not the least, there is the epic title track slotted as song two.

The main problem with these comparisons is that the “Holy Diver” tracks are superior. That’s not to diminish the merits of these songs because “We Rock” is a sterling opener is a top Dio track and I actually find the song “The Last in Line” better than “Holy Diver.” The lyrics in the chorus are some of the greatest examples of Dio’s writing ability and his use of metaphors is truly impressive.

“Mystery” is the most commercial song and one of the singles off this album. The song remains one of my favorite DIO songs because of the enchanting keyboards provided by Claude Schnell and has one of Dio’s best lyrics with “Is the wise man always right? No, he can play the fool.” The accompanying music video is also worth a look too. Dio gets to fight with a sword again and he makes awesome gestures with his hands.

Rounding out the territory is “I Speed at Night” complete with attitude and some resounding guitar work from Vivian Campbell. Thanks to the improvements in the sound, the jumping notes of Jimmy Bain can be clearly heard as well. “Breathless” stays on the mid-tempo, but floats in the generic realm and “One Night in the City” has a cool riff to keep attention while Dio tells a story about a couple young kids.

The extras piled onto this deluxe edition are live b-sides of “Eat Your Heart Out”, “Don’t Talk to Strangers”, “Holy Diver”, and “Rainbow in the Dark.” All are solid listens that don’t deviate much from the studio versions and it is nice to have a live version of a song that is not talked too much about in “Eat Your Heart Out.”

However, the meat of the extra content is the concert from the Pinkpop Festival. It is an excellent set list, but unfortunately this concert seems to be a bootleg and there is this buzzing, static noise that permeates the sound. It is a big distraction, but if the ambitious listener can look past that then there is a load to latch on to. Dio’s stage banter is in full effect and not cut out and there is a rousing version of “Heaven and Hell” that is over 13 minutes long. The band is in tight form and it is easy to surmise that they are enjoying themselves. A live version “One Night in the City” is on here and that song is not heard much on the live stage and it’s never a bad thing hearing “Man on the Silver Mountain.”

As with all the other deluxe editions, there are extensive linear notes on the development of the album as well as some neat photos of artwork and the band. The sound upgrade along with the bonuses should provide enough nourishment for a DIO fanatic, and while the sound of the extra concert is disappointing, this is still an entertaining deluxe edition. I suggest you don’t be the last in line for a purchase.

Worthy of Classic Status

 

 

Ronnie James Dio has a way of making a first impression. He dazzled listeners when he joined up with Richie Blackmore in Rainbow and then rejuvenated Black Sabbath’s career with “Heaven and Hell.” The man had a lot to live up to when going solo and he did not disappoint with “Holy Diver.” The album is widely regarded as a classic and must have for any metal head and for good reason. This album, along with “The Last in Line” and “Sacred Heart” has recently undergone the deluxe treatment from the Universal Music Group and is loaded with some nice extras. Along with the original album, “Holy Diver” includes some live b-sides and also a live concert from the King Biscuit Flower Hour.

The main upgrade from the original release and as well as the 2005 re-release is the improvement in the sound department. Listening to this deluxe version almost felt as if hearing the album for the first time again. The instruments have a strong clarity and Dio’s voice shines like a bright ray of sun. Vivian Campbell’s riffs have an extra burst and the bass provided by Jimmy Bain have the edges rounded on and is clearly established within in the songs. The classic, iconic songs like the title track and “Rainbow in the Dark” sound just as fresh as they did in 1983.

As for the other tracks, there is not much more to say then what has already been said. Dio has a way of making the listener feeling empowered with his lyrics. No song embodies that more than the opener, “Stand Up and Shout.” Filled with a rich, up-tempo riff, this song is the essence of making even the most pessimistic fellow to rejoice and raise your fist in the air.

The deeper cuts are also done very well as “Straight Through the Heart” shows Dio at his most demanding with a mean riff that slices to the bone. The final track, “Shame on the Night” has some doom qualities and ends the album on a much darker note.

There is only one tune that does not live up to the billing at that one is “Gypsy.” It is the least inspired and has by far the weakest vocal line and guitar playing. After the one-two punch of “Stand Up and Shout” and “Holy Diver”, “Gypsy” drops the bar down.

The second disc of the deluxe edition is where things become interesting. There is an alternative version of “Evil Eyes”, which would appear on the next album, as well as some live b-sides. However, the extras to sink your teeth into are the concert from the King Biscuit Flower Hour.

This concert is the Dio band in its truest form. They are young, hungry, with Dio trying to establish himself as a solo artist. “Shame on the Night” sounds just as devilish as the studio version and serves as a calming effect after an energetic opener with “Stand Up and Shout.” As the band was still in its fledlging stages, Dio dived into his past ventures with “Children of the Sea” and “Man on the Silver Mountain.” The latter stands out because the band breaks into “Starstruck” in the middle and features impressive drumming by Vinny Appice. “Children of the Sea” is my favorite Dio-fronted Black Sabbath track and Campbell does a stellar job capturing the somber spirit with his guitar work.

Besides the concert are the song “Evil Eyes” and two live b-sides in “Stand Up and Shout and “Straight Through the Heart.” With “Evil Eyes”, there is not much difference in the version that would appear on “The Last in Line.” There is a little more run time with the riffing on this take, but overall there is not much being missed. The live tracks are steady versions with “Straight Through the Heart” retaining its nastiness and “Stand Up and Shout” is similar to what is heard from the concert provided here. This is luckily such a great song that it is not an annoyance hearing this song twice on the same disc.

This is the definitive version of an iconic album and is certainly deserving of having a deluxe edition. The advancement in the sound and the live concert are enough reasons to warrant a purchase. “Holy Diver” is a classic for a reason and this edition is the perfect opportunity to re-experience this great album.

Eternally Eighties

“The Eternal Idol” is a funny album. Going into the recording for Black Sabbath’s 13^th album, the unlucky number foreshadowed what was about to happen to the group’s ranks. It started out with Tony Iommi on guitar as always along with Ray Gillen donning the microphone with Eric Singer and Dave Spitz on the drums and bass respectively. By the time the Idol was finished, Spitz and Gillen were out and the reliable Bob Daisley and little known Tony Martin would wrap up the recording sessions. With the sudden line-up changes, Iommi still managed to make a cohesive record with heavier guitars than “Seventh Star.” There are some elements of glam thrown in as well, letting it be known this is indeed came out in the eighties. The 2010 deluxe edition comes with two b-sides as well as the demos with Gillen before he departed.

The most notable aspect is the new comer behind the microphone with Martin. He is blessed with the powers to resemble Ronnie James Dio at times and nail all the high notes. His ominous tone in the title track can send shutters down your spine and the grandmaster Iommi provides the necessary tools in “Ancient Warrior” to let Martin’s voice shine.

“The Shining” opens with an acoustic part that bursts into electric gravity with a riff easy to headbang along with complimented by solid vocal lines and chorus. The aforementioned “Ancient Warrior” is a standout track because Martin’s voice travels with the rhythm wonderfully and the synth effects provided by Geoff Nicholls are a nice touch.

The idol loses its luster with “Hard Life to Love.” This song would not sound out of place on a Dokken record. Dokken rocks, but a band like Black Sabbath should not be hopping the glam train. The offense would be committed twice more with “Lost Forever” and “Born to Lose.” The latter always makes me think of Motorhead because of the title and this song receives a pass because it is hard not to appreciate the riff and Eric Singer’s drumming stands out.

If the hardened listener is gawking for true Black Sabbath from the Ozzy Osbourne days then “Scarlet Pimpernel” and the title track may provide the answer. The former is a little acoustic number with Iommi putting some light notes together and it serves as a change of pace and a breather for what is ahead. The title track has the gloom and doom that provides a sense of despair that permeates the atmosphere. It’s a startling ending to an album that is pretty upbeat throughout.

There are two extra songs on the first disc in “Black Moon” and “Some Kind of Woman.” “Black Moon” would reappear on “Headless Cross”, but the single version is different as there are no added vocals near the end of the song and not as much put into the lead guitar from Iommi. It still is an enjoyable tune and the verses give Martin room to deliver his message. “Some Kind of Woman” seems like an answer to Van Halen’s “Hot for Teacher” with some blistering guitar effects and theatrics and fast paced singing. It is not that great a song though and ultimately forgettable.

Disc two has the Gillen sessions and the one thought that prevailed was that was his album. “The Eternal Idol” suited Gillen’s strengths and he sings effortlessly and flawlessly. It is a shame that he did not stick around long enough to have his voice on the record. This is by no means an affront to Martin because he does a great job on here and he is to be commended for coming in on short notice, but Gillen has more the glam image to him and lyrics about love and women seem more believable with him singing than an ugly dude like Martin. If there was any doubt that Gillen could not conceive demons in his voice than look no further than to the title track to dispel any doubt. His voice soars in “Glory Ride” and the chorus lines seem so natural to him.

If you are going to purchase this album, then this is the way to go. The deluxe edition is more expensive, but it is hard to deny the extras. On the other hand, if you already own this then its best to decide the worth of wanting the Gillen demos and the two b-sides. As for the album itself, I point to what Alex Milas wrote in the linear notes as he basically states this no classic, but is a mark of a band trying to survive and hang on to its legacy. That sums the album up perfectly.

Featuring Tony Iommi

 

This has to be the goofiest title of a band ever. Seeing “Black Sabbath featuring Tony Iommi” is like if “The System Has Failed” had the title “Megadeth  featuring Dave Mustaine. There is no one else anyone would expect being associated with these groups so I can imagine the bewilderment or laughter when metal connoisseurs saw this record when it first came out. It is understood this was supposed to be an Iommi solo record, but Warner Bros. wanted the Black Sabbath stamp on it. With that fact, this is not your typical Sabbath affair with heavy guitars and doom laden lyrics. It actually has more an eighties feel which works at times and also does not while also showing Iommi’s blues background. The addition of another former Deep Purple singer, Glen Hughes, is welcomed and delivers a great performance. A deluxe edition was made available in 2010 and features a concert from the Hammersmith Odeon in England with Ray Gillen on vocals and it all bundles up as a nice package capturing a tumultuous period in Black Sabbath.

In addition to Hughes, Iommi armed the rest of the band with a couple of young guns in drummer Eric Singer and bassist Dave Spitz as Geezer Butler had enough and Bill Ward could not be found. The combination of the four all lead to this varied selection of songs on “Seventh Star.”

To all the hardened fans that keep a skeptical eye on this product, I urge to remove the veils and take this for what it is. This album is not going to conjure up memories of “Sabotage” or “Heaven and Hell”, but it holds up well in the lengthy and varied Sabbath discography.

“In for the Kill” is quite literally the killer opener with a low riff and Hughes declaring his prey by commanding “Thunder shattered the dawn.” This bit of lyric tingles the senses and I love the way Hughes delivers the lines. In fact, Hughes delivers an awesome performance on this record. The way he laments on “In Memory…” and conjures up images of ancient Egypt in the title track is remarkable and is attention grabbing.

This is all possible because of the other major player and who this record features in the guitar god himself with Iommi. It is hard not to appreciate the riffs on display and the song arrangements leave plenty of room for Hughes to do his magic. The title track stands out as a top song because of the gloomy atmosphere and once the background hymns kick in with the chorus; it never fails to send a shiver up my spine. Iommi lets his blues background shine in “Heart Like a Wheel” and the combo to round out the album in “Angry Heart” and “In Memory…” leave memorable guitar parts. The former also has some acceptable keyboard parts provided by Geoff Nicholls and the build-up of the riff to the vocal lines is impressive. I love the contrast provided as it segues into “In Memory…” with the depressing acoustic guitar and the way Hughes says “It’s still haunting me” really makes the listener feel his pain and regret.

The only clunker is “No Stranger to Love” with its cheesy synths, cheesier lyrics, and sounds very eighties. This has no place on a Sabbath record, Iommi record, or any record for that matter. The guys are much more capable than this. Funny enough, this deluxe edition includes a bonus track of this song presented as an alternate version. The song is worthless in both formats, but the music video is good for a chuckle.

The other songs that resemble the eighties are “Turn to Stone” and “Danger Zone.” They are both straight ahead rockers that some would say have a glam edge, but the songs have some delicious riffs. “Danger Zone” is the stronger song due to some awesome drumming by Singer and complimented by a trademark solo by Iommi. The way the guitar jumps out the riff in the middle is a nice touch added.

“Seventh Star’s” second disc is a concert taken from the Hammersmith Odeon with Gillen on vocals along with Spitz and Singer. Gillen took over for Hughes because of his massive drug problem and he suffered an injury which caused him to not be able to sing very well. This concert is basically a glorified bootleg, so the sound isn’t strong, but it is nice to have Gillen featured on a Sabbath release and the guy has a great voice.

Gillen has the energy and passion of Ronnie James Dio, but he also can conjure up demons and doom like Ozzy Osbourne could. He sounds more natural on the Dio songs as songs like “Mob Rules” and “Neon Knight” seems more suited to his style. However, on the tracks “War Pigs” and “Black Sabbath” he sings with a higher tone because of his wide range, but he makes it work and keep the spirit of the original intact. In fact, his performance on “Black Sabbath” is remarkable because he sounds strangely similar to Osbourne in the beginning and the way his voice changes with a slight growl in when the song picks up shows he can be very diverse.

This extra concert is also a neat extra because you can hear two songs that will most likely not be heard in concert again in “Danger Zone” and “Seventh Star.” They work well in the live setting, especially the latter song. The keyboards are also more prominent in these songs as well as the whole concert.

Black Sabbath was in a time of great change in this period, but it still results in a good album. It is not Iommi’s best, but it has a lot of strong songs to take great enjoyment too. The deluxe edition also has plenty of pictures and the story of how this record came to be. The live concert with Gillen should provide extra incentive to procure this copy. The sound has been improved a little bit, though the bass could have been nudged up, but the sound levels are consistent and retain its balance. This would not the last collaboration between Hughes and Iommi as his guitar playing along with Hughes’ voice are a perfect match. The title on the cover is strange, but any Sabbath fan should take a dive into this album that features Tony Iommi.

Reborn Again

 

Black Sabbath was back into rebuilding mode after the mighty Ronnie James Dio and drummer Vinny Appice left the band due to some miscommunication and poor handling of the “Live Evil” album. Tony Iommi went into his bag of tricks and turned heads with the announcement of Ian Gillan coming into the Sabbath fold. Purple and black mixed together sounded intriguing and it culminated in the release of “Born Again” with the one of the most infamous artwork ever created. The demon baby from hell is definitely eye catching and may also induce vomiting, like Gillan stated when talking about the cover. Finally, after all these years of trying to find a reliable copy, a deluxe edition was bestowed upon the masses in 2011 with the baby in all its glory along with a studio outtake and a live show from the Reading Festival in 1983.

The most noticeable aspect of the original release of “Born Again” was the poor production which had a very flat sound and muddy guitars. The deluxe edition remedies the problem as much as it could as the original tapes could not be found, but there are some noticeable improvements as each instrument is distinguished as the drums give a sharper snap, bass lines are  recognized, and Iommi’s guitar is clearer.

As for the songs themselves, it’s like Sabbath received a shot to the system. Ozzy Osbourne and Dio never really used their voices wildly like Gillan does here. He carries an attitude and does not use his screams judiciously. In the opening moments of “Trashed”, Gillan sends a shriek to announce that he means business. The track itself is a solid opener featuring a driving riff with Gillan seeming to enjoy himself singing about how he took Bill Ward’s car for a joyride and wrecked it.

Iommi pays back Gillan’s eagerness by conjuring up some of his most sinister riffs. The crashing cymbal and snare provided by Ward act as a crescendo to Iommi’s hellish guitar in “Disturbing the Priest.” Gillan laughs like a madman and provides some vocal theatrics to one of the standout tracks. Iommi provides another gem with the most famous song from this album, “Zero the Hero.” The song seems like the successor to “Iron Man” as they both have that signature riff, interesting characters, and are very memorable.

The meld of Deep Purple and Sabbath comes into play with the final tracks “Hot Line” and “Keep it Warm.” The titles don’t exactly seem something one would see on a Black Sabbath album, but with Gillan penning the lyrics, there are some tongue-in-cheek sexual moments, but it works well with the content. Iommi lets the blues roll on the latter track featuring a great jam at the end with him, Geezer Butler, and Ward letting it fly. “Hot Line” has the as expected energetic vocal performance and a very catchy riff to knock your head to. Iommi nails down a gritty solo to round out a very cool song.

The only truly weak song is the goofy titled “Digital Bitch.” The vocal lines are weak and the guitar isn’t as strong. It does not help both as the chorus is not memorable and hearing Gillan sing these lyrics as well as the song title is too silly to take seriously. The title track also just falls short of being very memorable as it has a slow, dooming atmosphere, but it does not go anywhere. It has potential, but a stronger chorus and more interesting instrumentation could have helped. The last bit of quibbles is the two little tracks of sound effects in “Stonehenge” and “The Dark.” “Stonehenge” has eerie effects similiar to "E5150", and then segues into “Disturbing the Priest”, but serves little purpose and “The Dark” is some low, strange noises that transition into “Zero the Hero.” This leaves only seven actual songs on the album.

Apart from the record is the gem on the second disc of this deluxe edition. There is a studio outtake of a song called “The Fallen” which shows Ward flexing his muscles on the drums and the guitar puts together competent notes when it hits the chorus. An extended version of “Stonehenge” is also included and it’s basically three more minutes of eerie, spacey sounds.

The live concert at the Reading Festival is when business picks up. All I can say is Gillan is a beast singing the Sabbath classics. His performances of “Iron Man”, “War Pigs” and “Paranoid” are stellar. He unleashes spine-tingling screams to go along with the riffs in instrumental parts and injects new life to tracks associated with Osbourne. These moments make me wish that this lineup stayed together, but then “Perfect Strangers” would not have happened.

Bev Bevan filled in for Ward on the tour and does a competent job. He does not have all the groovy fills that Ward provides, but he certainly did not detract from the performance. “War Pigs” gives the indication that he knows what he’s doing.

The “Born Again” tracks receive some good pub too as “Hot Line” comes across well, but I was not too fond of “Digital Bitch” in the set. “Zero the Hero” retains oozy guitar and a wonderful solo from Iommi. In the encore, the boys throw a nod to Gillan’s previous band by pumping out “Smoke on the Water.” I could only imagine how awesome it was seeing the Sabbath guys playing a Purple classic with Gillan. The crowd was electric during this performance and definitely gives that feeling of wanting to be there.

The deluxe edition of “Born Again” also contains notes on the album came into being and also an essay by the man who created that darn devil baby explaining its origin and how it was accepted as the design. The live show is worth the purchase alone and serves as a time capsule for that period of Black Sabbath. Any fan curious of this collaboration and looking to finally get their hands on this album should take the plunge into Purple Sabbath.

Magic and Maiden

The early years of the nineties saw Iron Maiden go through some changes. Guitarist Adrian Smith left the band and Bruce Dickinson recorded his first solo album. Janick Gers, who played with Dickinson on first solo album “Tattooed Millionaire”, replaced Smith and then Maiden soldiered on until the end of Dickinson’s tenure. This culminated in an event broadcast on MTV in North America and on pay-per-view in Britain as Iron Maiden played their last concert with their famed singer. However, this was more than just a concert as illusionist Simon Drake shared a stage with band performing ridiculous magic tricks. It all adds up to some very cheesy and crazy moments, but it’s very fun to watch.

The set list consists of 17 tracks covering all Maiden’s career up to that point. Other than taking in the band’s performance, Drake pulls some shenanigans during some of the songs. The most ridiculous and comical trick is during “From Here to Eternity.” Drake’s assistants kidnap Dave Murray and then Drake proceeds to cut off Murray’s hands. When it came time for the solo in the song, Drake walks with the hands onto the main stage with Murray’s guitar and plays the solo with his hands. It’s so cheesy, but it’s awesome.

This Drake character is something else. He is dressed in a leather jacket with a tough guy shirt on and his hair is a perfect do. He reminded of the Andrew “Dice” Clay minus the sunglasses. The facial expressions he makes are humorous as well as his horror magic tricks. He tortures some members of the audience who anger him. The neatest trick is when he grabs a member of the audience, puts a sack over his head and cuts if off.  The devious Drake then proceeds to toss the head to his assistants and play soccer with it. To finish the trick off, he grabs a mannequin's head and draws a clown face on it. He then puts the head in the sack and on the beheaded victim and then voila, the guy has his head back, but with a clown face on it. It sounds a bit silly, but it's sweet seeing it.

With the band itself, most of the Maiden classics are present like “The Trooper”, “Hallowed Be Thy Name”, “Fear of the Dark”, and “Number of the Beast.” It was especially menacing when Dickinson began “Hallowed Be Thy Name” singing on a part of the stage with a hangman’s noose. It was a nice touch and I give much credit for singing a tough song flawlessly.

Some Maiden bites that are not heard that often like the instrumental “Transylvania” and “Bring Your Daughter…To the Slaughter” were a joy to hear, especially the gliding tones of “Transylvania.” I don’t think there is any way the band would want to play “Bring Your Daughter…” live today. “Be Quick or Be Dead” was busted out as the show opener and the aggression is still in place in the live setting. It’s is a really underrated song too; Maiden needs to dust off in the near future.

The last part of the concert is when the cheesiness is taken to another level. Iron Maiden finishes with the song that bears its namesake and as they are taking their final bows, Drake kidnaps Dickinson. Drake then puts Dickinson in an “iron maiden” and kills him! Eddie comes out with a sword and chops off his head and puts it on a spike right next to Paul Di’Anno’s dome. It’s very ridiculous, but it happens except the part about Di’Anno’s head.

The only improvement this special event needed is the sound. The vocals are way too low in the mix for the first few songs and the guitars are way too loud. There were some parts where I could barely hear Dickinson sing and that was frustrating.

“Raising Hell” showcases Iron Maiden at a time of change and at a volatile point of the band’s history. Dickinson sums up it perfectly at the end of the show when he tells the crowd “Well, we’ll see you sometime.” Drake’s horror magic tricks are good for a laugh and some of it is way over the top, but in the end its magic and Iron Maiden. I would definitely watch that on pay-per-view.

Singled Out

 

 

Yes, the title of this review is a terrible pun, but the collection presented today is anything but. Judas Priest is a landmark heavy metal band. Some regard them as part of the holy trinity of metal bands along with Black Sabbath and Iron Maiden. Columbia Records celebrated the legacy of this band by releasing their single collection starting with “Sin After Sin” and ending at “Painkiller.” In total this collection has 51 songs presented on 20 CDs. This is a must have for any Priest fan and collector.            

The discs are presented as mini-LPs complete with faithfully restored packaging and sleeves just as they were when released as records back in the day. All the CDs fit firmly in the box and are compact and easy to carry around. Going through the single history of the band makes for intriguing listens by seeing what they were trying to do spreading certain tracks to the audience.

The b-sides on these singles are usually other studio songs or live cuts. The live tracks are fruitful listens as there some energetic performances of “Freewheel Burning” and “Exciter.” My personal favorites were the tracks regarded in my hometown of Cleveland in 1978 with “Beyond the Realms of Death”, “White Heat Red Hot”, and “Starbreaker.” The live version of “Starbreaker” is much faster and has more aggressive drums and “Beyond the Realms of Death” shows Rob Halford’s godly vocals. He is the Metal God for a reason.

There is one quirky aspect of this collection though that I don’t understand. After reaching the singles from “Turbo”, the next ones found are for “Painkiller.” The singles from “Ram It Down” are missing. There were four singles from “Ram It Down”, but none are here. In reality, this really isn’t the complete collection and there is no excuse to leave them off.

Besides that omission, to round out the set are a pack of album magnets to proudly represent Judas Priest fandom on a refrigerator and also a booklet detailing each single and the songs found on each along with chart positions and so forth. There are also some neat pictures to stare at to keep each listener entertained.

Even though the “Ram It Down” singles have been rammed out of this collection, do not let this deter a purchase. It is a limited set and since this came out last year, I suggest any Priest fan to pick this up before there isn’t a “single” one left.