Dio Info Article

By Brian Coles

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Nobody really knows how old Ronnie James Dio is.  Well, maybe Ronnie and a handful of close family.   But few celebrity age debates have persisted for so long without a definite answer.   Oh sure, some claim to have birth certificates to prove his age, and perhaps they are authentic, yet many still find it hard to believe the man nears 60 years of existence.   Of course, I too am only guessing.

The point?  It's quite simple really.  Ronnie James Dio is a mystery as magical as any lyric he's penned over his three decades plus career.  His voice so powerful, yet his build is slight and short.  He creates young, energetic, thunderous music, yet is thrice (or more) the age of many a fan.  He has been in legendary groups like Rainbow, Black Sabbath and his own successful outfit Dio.  While Rainbow has influenced countless power metal bands, Dio-era Sabbath filled stadiums.  Dio's own band was such a strong draw in the mid '80s they out grossed even Madonna and U2 in 1985.  Yet today, the average pop music fan is hard pressed to connect the name to a face or song.  Dio, the man, has been praised for his gentlemanly ways and ripped apart for being arrogant, depending on who's telling the story (for the record I've never had a negative experience with Ronnie myself, nor has anyone else I've spoken with who has met the man.) 

Perhaps the mystery lie in the contradictions.  It is fitting then, that his latest opus, Magica, will bring not only a return to fantasy, but a futuristic angle as well.  But we'll get to the new album in chapter three.  Chapter one's business, as always, is to delve into the past.

During the '60s, while sewing his rock 'n' roll oysters, New Yorker Ronald Padavona changed his identity and fronted Ronnie Dio and the Prophets.  Unlike his most notable output, Dio's Prophets were far from hard edged, influenced by the Beatles more than anything else.  Dio enjoyed the thought of writing his own music rather than copying the trends of the era.   Most successful pop groups of the time did not author their own music, but instead drank from the gravy train of packaged hits (and misses).  The Beatles proved a spark for the impressionable young vocalist.  From Seconds magazine in 1997: "Of course, we all copied the Beatles songs---but it gave us a purpose.  You could be a nasty little brat and write great music.  When Purple and Zeppelin came along, that's what I wanted to do.   The early days were the best because I saw everything through new eyes."

The mighty   Zeppelin and doomful thunder of Sabbath moved Dio into a heavier direction, along with the legendary Deep Purple.  After several incarnations, Elf occupied Dio's early '70s days, forging a hard southern sound that has few comparisons.  Somewhat of a cross between Southern rock and Uriah Heep, Elf also demonstrated Dio's fascination with fantasy themes, which would become his most fulfilling lyrical inspiration.  "Nevermore"  from the band's self-titled debut showcases the proto-metal vibe the band had experimented with from the get-go. As a four piece, Dio also played bass guitar.  The rest of the band comprised of David Feinstein (guitar), Gary Driscoll (drums) and Mickey Lee Soule on piano.  Although Elf was ignored by the charts,  the band benefited from a slew of prominent opening slots with the likes of Uriah Heep, Slade and Deep Purple.  It was Purple that would have the biggest part in advancing Dio's career.  Not only did Purple's bassist Roger Glover produce the band's three albums, but it was Purple who would ultimately provide Dio with his new direction.

Although Carolina County Ball and Trying to Burn the Sun were solid albums, Elf wasn't making a dent.  It was an unjust situation for a band that was so versatile and full of energy.  Songs like "Do the Same Thing" and "Streetwalker" showcased the band's strength for hard rock coupled with a rumbling piano.  But it would be the their soaring vocalist who would move on to find success with a bigger and more enduring act.

Ritchie Blackmore, the volatile and eccentric guitarist extraordinaire for Deep Purple, was in the market to create his own project called Ritchie Blackmore's Rainbow.  Purple had taken upon a funky leaning by 1975 and Blackmore wanted nothing to do with it.  He also needed a band and vocalist to do it.

Impressed by Elf's powerful frontman, Blackmore asked Dio to join his camp.  At first it seemed that Ritchie's new band would include all the members of Elf minus their recent guitarist Steve Edwards, yet in the end Blackmore would only retain Dio.  The Elf members did appear on the first album, but were quickly ditched soon after the recording.  It was a difficult decision for the budding vocalist who left behind childhood friends in Elf.   But then again "the opportunity came and it was too good to pass up."

Thus, a scrappy and hesitant first album was released in 1975.  Entitled Ritchie Blackmore's Rainbow, it didn't exactly move mountains, but possessed a charm for it's laid back, bluesy rock feel.  This is not to say it lacked classic writing.  "Man on the Silver Mountain" remains one of the greatest riff based metal anthems of the '70s.  "Catch The Rainbow" is a beautiful piece embracing the gentler side of the metal movement while other tracks furthered Dio's craft of writing medieval lyrics.

It would be the band's second studio effort that would define their sound for the rest of the decade.  With a new supporting cast of Jimmy Bain (bass), Cozy Powell (drums), and Tony Carey on keys, Rising (1976) would prove monstrous.  Although the band had a tough go of it in the disco-crazed States, Europe embraced the gothic rumble of material like "Tarot Woman" and the epic masterpiece "Stargazer").  Rising's power was enhanced by legendary producer Martin Birch (Iron Maiden, Deep Purple), where the mix was given more authority than on the debut.  The album cover art said it best, with a fist grasping a rainbow as if to say "look out, here we come."

Touring with a giant light-up rainbow that overlooked the stage,  Blackmore's year-old band was quickly becoming a distinct and premiere metal act.  Yet at the same time, Blackmore didn't abandon Purple material altogether, allowing treats like "Mistreated" into the set.  This was all fine with Dio who always admired Purple.

A live album was released soon after.  On Stage not only came with a bland title, but the mix seemed rather thin compared to other live albums of the day.  This was an injustice, for Rainbow was a legendary live act that ripped through their set's with unparalleled power. 

The band, still very much Blackmore's, would see another lineup change for Long Live Rock 'n' Roll. Dio philosophized on how Ritchie worked with others: "The hardest part for me was dealing with someone as volatile and strange as Ritchie.  He didn't like Ian Gillan (Deep Purple vocalist who left the band due to conflict's with Blackmore) and Ritchie would take the piss out of him every time he could.  He would try to upstage and embarrass Gillan, but he never did that to me.  My attitude was "Don't fuck with me!"   Ritchie respects people who have respect for themselves.  If you let Ritchie take advantage of you then you're going to get trod upon.  I always got along with him.  He was gracious and a good friend and we made great music together."

Although Dio would remain in the band for another year, Bob Daisley took over bass and David Stone handled the keyboards.  Long Live Rock 'n' Roll was another strong effort.  The title track and speedster "Kill the King"  remain classics.   The album was also the most successful for the band to date.

Unfortunately, Blackmore would crave a more commercial sound that Dio could not support. Rather than a personal conflict,  the two parted ways due to "artistic differences."   While Rainbow went on to commercial success, Dio would revitalize a struggling legend...

Ronnie James Dio's vision of swords and sorcery irked Ritchie Blackmore.  Frustrated with poor U.S. sales,  Blackmore wanted to switch the lyrical and musical emphasis in a more pop-y direction.  While the new Rainbow did achieved increased commercial success with their next album Down to Earth (Graham Bonnet on vocals),  Dio also found the split quite advantageous.

The story is well documented, so details will be short and concise.  Ozzy Osbourne and Black Sabbath had simply fallen from grace by 1979.  A minimal commercial and popular force compared to their early '70s glory years, the band was in turmoil.  Guitarist Tony Iommi and Osbourne had already went their separate ways for a few months before giving it one more run during a tenth anniversary tour in '79.

Awash in drugs and a severely strained friendship, Iommi and Osbourne indeed made it final (for 2 decades anyway) when the second parting took place.  With the split, Iommi considered many options, including disbanding Sabbath and starting his own band.   Yet the possibilities of working with a more talented and melodic singer like Dio doesn't come along very often.  And as luck would have it, Dio was a huge Sabbath fan.  Dio had actually been contacted after the first Osbourne departure but this time it would be for real.The first track the new Sabbath banged out was probably "Die Young (RealAudio)," according to Dio's recollection.  The ferocious speedster embraced a fresh, polished, yet still powerful sound for the Sabs.  It resembled much of what Iron Maiden and a handful of other New Wave of British Heavy Metal bands were doing at the time.  Yet it has been suggested that Maiden was listening to Dio-era Sabbath when they recorded their first album with Bruce Dickinson in 1982!   Regardless, Dio's mystical vision found a perfect home in Sabbath's doom riffage and medieval imagery.

The band headed into the studio with legendary hard rock producer Martin Birch, famed for his work with both Rainbow and Deep Purple, who later went on to produce a slew of Iron Maiden albums.   What resulted was a smashing success.  A new generation of metal fans couldn't help but be lured into the newborn Sabbath, who tweaked their sound just a bit to accommodate modern metal stylings while remaining true to their fierce low-end rumble.  Heaven and Hell, released in 1980, spawned several AOR classics.  The title track (click for "Heaven and Hell" in RealAudio) and the propulsive Neon Knights (RealAudio) represented the best gothic metal had to offer.  To this day, the intro to "Heaven and Hell" remains a stellar moment in rock 'n' roll history.   The lyrics that precede this chapter open the song with a slow march before leading into a monster chorus.  The song ends with a blistering, galloping finale complimented by truly tasteful playing by Tony Iommi.

Dio not only helped keep Sabbath afloat, but injected new life into both album and tour sales.  The album went top 30 and sold over a million copies.  Meanwhile, the band was selling out stadiums again.

To this day, Heaven and Hell remains Dio's proudest artistic output.  Perhaps a worthy follow-up would seem impossible, but the band headed to Southern California amidst huge pressure and recorded The Mob Rules.  Many changes occurred during this time period.  Bill Ward had left the band on the Heaven and Hell tour for personal reasons, allowing Axis drummer Vinnie Appice a role on skins.

Another metamorphosis was apparent.   The band was not in a "nothing to lose" situation anymore.  Although the Mob Rules was a solid effort, it smacked of a band trying to repeat itself.   Save for the unoque, steamrolling title track (click here for to listen to "Mob Rules" in RealAudio), the album carefully reenacted the ebbs and flows of the previous.  It even left off with a bluesy piece, "Over and Over", as did Heaven and Hell with "Lonely is the Word."  Of course, as with most Sabbath fans, more of the same was nothing ot complain about.  Sales for the album were once again very solid, allowing for a Gold Record award for selling over 500,000 copies. 

You've taken the lead and fronted two of metal's legendary bands, only to to leave dissatisfied with answering to other band members who are volatile or don't share the same vision you do.  What's next?  Well, the answer was quite simple in Dio's case.  Start your own band, drawing on the songwriting strengths you honed with your previous cohorts.  Actually, why not go a step further and bring along a couple former band members while you're at it, securing credibility and the sound you'll want to formulate.

With Mob Rules drummer Vinnie Appice joining ex-Rainbow bassist Jimmy Bain, Dio's new solo project was almost ready to launch.  This time, he would shy from relying on a known guitarist who would conflict with his vision.  Instead, youngblood Englishman Vivian Campbell was brought on board.  The flashy axemaster would not only compliment the veterans with new blood, but inject a cockiness in the guitar playing Dio would demand in his live shows.

Dio's debut effort, Holy Diver, was released in 1983 with a boom.  The cover, featuring Dio's very own demon mascot "Murray" giving a priest an unholy bath, was clearly a full embrace of the mystical themes he so wanted to explore without hindrance.  Both Blackmore and Iommi had problems with his lyrical focus on wizards and rainbows.  Now, it wouldn't matter what anyone else thought.  It was his time to do what he wanted. 

Dio not only handled all the lyrics and melodies, but he also took on production, learning much of the craft from Martin Birch, who produced for Rainbow and Sabbath.  Holy Diver's diamond hard sound was paramount on the stomping title track (click here for RealAudio clip).   Radio play became less of an obstacle once "Rainbow In The Dark" (RealAudio clip) was released.  The keyboard laden piece was not only Dio's biggest "hit", but the most unlikely track to make the album.  Dio had reservations about the track, fearing it would sound to "wimpy."  Anyone whose heard the tune knows it is much the opposite.  It remains a timeless fire and brimstone masterpiece as does the whole album. 

The tour was phenomenal.  For the first time, Dio could perform material from a previous band, with his own set list and personal take on the whole thing.  Classic Rainbow and Sabbath tunes helped fill the space between newer material.  In other words, fans were in for an exceptional heavy metal treat and history lesson. 

To top it off, Ronnie and the boys decorated the set with laser shows, dragons, swords and more during their mid '80s superstardom.  Although Dio was ultimately about the music, the elaborate sets were a draw unto themselves. 

The band raced back into the studio in 1984 and churned out another great album, this time with an Egyptian based cover.  The coincidence is that Iron Maiden also had an Egyptian theme with their Powerslave tour that same year. But any thoughts of competition between the bands would only be positive for they were "all great friends" as Dio remembers.

Like Diver,   Last In Line would also prove radio friendly, with the title track (RealAudio clip) and video getting heavy rotation.    "We Rock" (RealAudio clip) would also prove an anthem for the ages.   In the end, both Holy Diver and Last in Line would reach platinum sales status, selling over one million copies a piece.   Dio's following would prove loyal and huge during these years, seeling out arenas around the world.

Dio's rise to conquer was not easy.   And struggle was brewing on the horizon.  Guitarist Vivian Campbell had grown unhappy with earning a flat fee for his work in the band, while Dio's popularity continued to grow.  Needless to say, the Sacred Heart sessions would prove a rough go of it.  Campbell played half heartedly throughout the recording only to leave by the time a tour was underway.  While Sacred Heart proved a commercial success, going Gold, it was not the inspiring work Dio fans had come accustomed to.  Yet the title track (RealAudio clip) was another solid addition to the demons and wizards library Dio had built his career on.   While "Rock n' Roll Children" and "Hungry for Heaven" may have seemed right for the time, their staying power was limited.  Looking back, the album is far more commercial in both production and feel than the previous two.  A powerful rare track, "Hide in the Rainbow" (RealAudio Clip), which appeared on the Vision Quest soundtrack, may have been a welcome addition to to the polished sounding album. 

The disgruntled Campbell was immediately replaced by another young whiz named Craig Goldy.  The result was an artistic improvement over Sacred Heart. Dream Evil featured a stellar title track (RealAudio) along with other standouts such as "Sunset Superman" and the speedster "Overlove."  However, Dio's loss of edge and adoption of predictability began to affect sales.  Dream Evil was his first solo effort to allude Gold status. 

In retrospect, the metal movement of the late '80s may have had a lot to do with it.  Dio looks back from a BAM Magazine article in March of 1997: "...everyone continued to make the same album over and over.  They thought they were gonna be golden forever.  Now everyone realizes that's not the way it is.  People want change.  They need change.   Someone should've made a change at the time, but I didn't do it either.  I'm as much to blame as anyone.  Well, except I wasn't wearing makeup and playing crappy music!  But I also thought there was this audience who would be there forever.   And that metal would always be huge.  Let's face it, heavy metal became the face that launched a thousand videos for MTV."

As Dio headed for the '90s, he would take a short hiatus from recording, clean house and return to Lock Up the Wolves...