DIO - Killing the Dragon
In 2000, DIO released Magica, a return to the sound of the glory days, or so it was touted. And, for the most part, it was better received than Angry Machines, a hit and miss attempt and modernizing the Dio sound. In actuality, many critics and fans adored the concept album about a futuristic battle for a book of amazing power. Yet, perhaps due to the lumbering rhythms and Craig Goldy's dry playing, many fans were expectign something more spry and immediately melodic. Magica simply demanded too much for the impatient ones. It seemed very few were willing to give it the extra and needed listens it deserved.
Okay, its 2002 and Goldy is out with Doug Aldrich (Burning Rain, Hurricane, lion) taking over the guitar duties. Jimmy Bain (ex-Rainbow), thank God, is still on bass and writing as well. Simon Wright (ex-AC/DC) is back, growing even more comfortable behind the kit, while Scott Warren remains a pseudo member as do many keyboardists it seems. Well, he made the publicity shot this time around!
The difference? Killing the Dragon is, arguably, the most Dio sounding record since Dream Evil and the most forcefully so since Holy Diver. While Magica dipped into the past, it held onto a modern Sabbath sound more often than many seemed to acknowledge. "Killing" simply lets the whole 80s "Guitar shop" paradigm hang out there as if Dio has decided to shrug his shoulders and give us what we really want.
Yet those expecting a carbon copy of 1983 will be surprised. Instead, this is a collection of ten songs giving subtle nods to different periods of the Dio band, mostly pointing to the 80s lineups. The title track charges out of the gates with a galloping riff similar to Maiden meets "Light Out", wrapping itself around a defiant team assault from the band. Dio is dramatic and gruff, giving the song a special legitimacy. "Along Came a Spider" is a tasteful, up tempo piece that, though ignoring the chorus (save for a repeat of the song title) is a solid track that could have made the "Lock up the Wolves" album with its bluesy yet powerful groove. The highlight it is the stellar solo work by Aldrich who infuses a subtle organic flare amidst the speedy soloing. He is precise yet human enough to give us a little adventure. "Scream" is the obvious choice for the single and live set. A massive gothic riff and perfect Dio vibery leading up to the titanic chorus makes everyone happy, even if Dio sounds pissed! Very much a piece worthy of the 83-84 period.
"Better In the Dark" has a fun, frenetic path with Dio riding the rhythm like it was a long time anthem. A bit silly when he talks of monsters but it is wide-eyed throwback to his commercial yet still respectable side. "Rock n Roll", frankly, might take some getting used to for those expecting a surging assault or cheap thrill. It is a dark, chugging song with a splash of progression, making it the only track similar to the Angry Machines period. Yet, upon repeated listens, one accepts the unexpected take and should find much to like about it. The restrained power is rather impressive.
"Push" is breezy fun at its best. Quick but not frenzied, it relies on a huge chorus and good time riff. Completely surface based, this is one you jog to. Could have made "Sacred Heart" a better album. "Guilty" recalls early Dokken but slower and simply not very involving. The only true filler track here. Even Dio sounds like he's going through the motions. It is as if they needed one song at this tempo for balance, so they through it together and sandwiched it between two great tracks so no one would notice. The other great track is "Throwaway the Children", a moving and impressive epic, siding with the ballad yet willing to give the big guitar sound a moment in the spotlight come the chrous. Sort of like "Stars" yet more serious. The song deals with the issues of youth being ravaged by street prostitution.
"Before the Fall" has a meaty riff and flurry of action for all involved with a special highlight being the Hammond solo that simply steams it up a notch. While the riff isn't easily memorable, the energy is prime Dio. "Cold Feet" is a strong finisher, stealing the playful swagger of ELF and "When a Woman Cries", melding a fun riff with some keyboard ambience. A little long in the tooth and in search of a crescendo, but still fun to hear because Dio hasn't done something like this in ages.
Dio hasn't let down his hair like this in a long time and its refreshing in its retro nature. Wright's drums sound a tad compressed but the production, overall, is more vibrant than Magica. Everyone's work is done with meticulous love for the song at hand, letting each stand on its own. In many ways, more enjoyable than other DIO records because of the variety and festive spirit. - The Rock Devil
41/2 Bolts
Editor's Note: Unfortunately it looks like The Electric Basement will be closing down in the next month or so. It evolved into quite an on lone source for heavy metal and good old rock and roll...it will be missed--KEN