A Preview by Ken Boyd

Whenever a new album by Dio comes out I always have to ask myself: "How do I approach this?"

A good question, and I always finding myself answering the same each time, as well:

With caution! Yeah, likely a good idea too, because I just think music (more art than science) should be evaluated in the subjective rather than the analytical objective--which is funny because of the fact that I am about as analytically minded as they get! LOL!

I always listen to a new disc about four or five times all the way through then I let it sit, stew and simmer (just like a good recipe!) then come back to it with a different mind. This often counters any initial thoughts of "Oh, I hate that tune!" or I LOVE IT -itice! It keeps me from damning any tracks prematurely, or elevating any others above a status they really should fall to, beyond first observances.

I have never been one for rating albums X out of 10 or calculating intricate formulae to bring about an accurate score to the nearest hair--too subjective. But then again, that is sure as hell what ANY review is, now isn't it? SUBJECTIVE!

So, here is my subjective view of this new Dio studio release, Killing The Dragon.

I hope you enjoy reading it as much as I did writing it!

See you in Thirty--KEN

To kick things off, I have to say I have long anticipated this album—a return from the concept direction to a rock and roll Ronnie himself termed Holy Diver meets Dehumanizer.

Well, in truth, I find it hard to see Holy Diver in there, but it proves to be a very competent album none the less.

As quoted from the official board JackRipper (jackripper@aol.com) said this:

“I kind of got my hopes up that it would be the Holy Diver/Dehumanizer album that Ronnie and Craig said it would be. Doug also said it was like early Dio and so did a lot of the previews and reviews. The first song, KTD, sounds exactly like Holy Diver/Dehumanizer but the rest so far are nothing of the sort.”

I have to agree here that there are very few elements of Holy Diver--though there seem to be a great many looks back at Dream Evil, Sacred Heart, and more especially Strange Highways.

So, let's see if that is a good or a bad thing, shall we....

Killing The Dragon

The introduction is certainly in the vein of  Holy Diver, but not quite there--though mysterious and interesting, it does not quite convey the same quality that builds anticipation like the introduction to Holy Diver or E5150. And quite honestly this one has more of a Magica sounding feel to it than anything else.

As the song itself opens, we listeners are greeted by a measure of great loping guitar rhythms, held in place nicely by the steady playing of Jimmy Bain and Simon Wright. There are also some nice dancing leads bouncing right and left of track to enhance the strong guitar rhythms, quietly just at the edge of perception. It reminds me of some of the initial Dio album's production.

I have a feeling they had a really great time using Pro Tools this time out the gate on this album. Truthfully they did not seem to over do it. I can only imagine what Dream Evil might have come out as should they had digital technologies more available to them on that album.

Lyrically and vocally this track is rather forceful, referring to past, sign of the cross, digital dreams, wolves at the door etc. But it also does not over do it, making for a nice experience to actually have thought provoking lyrics again.

Lead solo—more relaxed and suited to this song than some of the other solos on the album, ascending, scaling nice and not overdone;  Likely the best on the album

Time to kill the dragon seems to speak not about retirement, but knocking some people on their ass with some return to a great product—rising to the challenge in the face of adversity.

I like the thought and this was a great one to pick as the title track. It stands as the flag ship for the rest of the tracks.

Along Comes A Spider

This tune opens up with a a great intro that sets you up for one thing then throws you off right away. It kicks off with a Strange Highways feel that is very much reminiscent initially of Evilution. It is slow and plodding, but very quickly kicks into a nice head shaking guitar riff.

It is a bit "riffy" oriented, but the chorus really rocks, proving itself catchy and memorable.

Though this is not one of my favorites per se, what I really love about this song is the opening line “Remember when you only needed no one?! Every day’s tomorrow and it’s alright!” It just screams YOUTH!!

The bridge also is in this same vein of youth gone wild: “Don’t ask why it’s the long way around, just go wild!” is a really great lead into an aggressive guitar solo.

The ending is abrupt, but hat is okay--there are so many other songs on this album with fade out endings (I will elaborate more on these in appropriate areas) that this one is actually nice to have a slamming door close to the song.

Scream

Right off I have to say that this song would make one kick ass opener!

There is no doubt that this is my own personal favorite off the new release. The opening guitar riff screams for attention—yelling DOUG ALDRICH is a man to be reckoned with.

One of my favorite lyrics from all this album opens the tune with:

“You've made it through another day
Driving past the back roads of your mind
You could have turned the other way
And break out of the sanity you'll find inside you”

Absolutely back to those really great interpretive lyrics of old that mean something different to each and every one of us. I think that is what appealed to me initially to Dio all the way back when. He never TOLD you what to think or imagine about his songs, only put it forth and let your own mind and experience filter and shape it to you!

Ronnie tells the fans about this particular track: ““We put movie stars, athletes and rock stars on pedestals,” explains the vocalist of “Scream.” “When we look at these celebrities, we see only the good; only their happiness. When they go home, however, they are exactly as we are. Behind their smiles, they scream.”

The chorus is catchy and has a nice vocal hook without getting stuck in a rut, while the guitar work tells us right off Mr. Aldrich has talent—and of the specific kind we Dio fans love to hear. The solo is really energetic, hard, fast and evidencing an intricate skill.

The final features that I find appealing about this particular track are present even to the end of the song. As the music makes its way to a close the fade out: “Again, again, again…” is just so awesome tied in with the guitar fading out and leaves you hungry for more—this reminds me of old Dio in this respect. You get the distinct impression that you are going to miss something, just as the music is nearly out of hearing range the solo seems to really kick into some elaborate playing....YES, makes you SO hungry for the next track!

Better In the dark

A thunder of building drums brings us into this tune. Tied in with a guitar riff that creats a feel that this song is gonna kick your ass!

With the exception of one of my favorite lyric on the whole album “I just shot the sun” (harkening back to Trying To Burn The Sun and Born on the Sun--even if in title alone) the lyrics bug me: “Running with monsters in shadows, and monsters always know…it’s better in the dark”

Rowan Dio (rowandio@hotmail.com) had this to say on the official board:

“Better in the dark, I am so disappointed! This song has nearly the same exact riff as long live rock n roll. Jimmy Bain can be heard jamming his stuff on this song; which sounds great. Doug's solo is real cool ; it reminds me of the blazing solos of holy diver. The lyrics are about monsters; which is a tad corny for me.”

This tune holds a nice beat, though I have to disagree here with Rowan Dio only on this one point, as I do not hear Long Live Rock and Roll in any exactitude. In addition to this the rhythm section features a really nice bass standout! GO, JIMMY, GO!

Jimmy and Simon solid rhythm section, and in fact I see this as the best aspect of the entire song.

The guitar solo is nice and keeps your attention—some good fast work & works well.

Another nice return to some old methods of doing thins Dio style are the multi track voicing of Ronnie--I really like it, and have missed this particular aspect from the past several album.

Rock & Roll

Wonderful intro—acoustic guitar and Ronnie’s vocal intro: “If they take way your song, you can finally hear the voices of the ones that don’t belong” YES!!

Right off this takes us back to some other old traditions of Dio's song writing. The soft intro that is simply BLOWN out the window by a hard hitting change up! This is reminiscent of Don't Talk To Strangers, The Last In Line and even some old Sabbath tunes like Children of the Sea.

Something hard and pounding is what replaces the softer voice and acoustic introduction. Doug's guitar is stomping and angry, and I really like this. It really makes me wonder just what Doug could do with the Strange Highways / Angry Machines materials!

Another great aspect of this song that sticks is the mood setting key flow behind with “Gloria/Warrior” angry backing voice. This is something that I is indicative of this whole album as a work. There seems to be quite  a drive to make the bulk of the work riffy and memorable--this, in my mind, is also troubling, as it seems to leave behind some of the intellectuality of the prior Dio material we are used to appreciating.

Chorus is the weakest part of the song—maybe it is simply too anthemish. But in spite of, or perhaps BECAUSE of, this fact this will be GREAT live one!

What I do really like about this particular track is the message: “Song police, piss off!” LOL! “Someone’s always there." And in light of the 9/11 event--and that is what Ronnie indicated the song was inspired by--the banning of certain tunes on public radio is an outrage to the American way of life. I applaud Ronnie for such a message chastising such sanctioning.

Thought the song features a pretty good solo, and there is a nice move back into the stomping rhythms, I really like the crying leads as the chorus rolls out the song. Very nice way to take us out!

Push

Well I should start off by saying that I think I am in the minority on this one, because according to Spitfire Records, Push will be the video and single for release off of this album. And just of that, I am happy--it has been a VERY long time since a Dio video was made and it is well past due!

Now, claimed by a number of other fans already as album filler, I don't know that I would call it filler, but I DO think that Push was intentional in its nature--despite the fact that I care for it very little, I also think that it is just what the band/Ronnie wanted it to be. It seems to be a foot forward into something more radio friendly.

The song itself starts off with a techno effect echo and a poppy riff, accompanied by a straight forward drum beat. The song initially seems to be lost until: "Before you’re in a corner, can’t get away…”

The feel of the songs turns catchy, but so commercial (if that even applies anymore) and reminds me far too much of the message in Shoot, Shoot—Hell I HATED it the first time!

I do have to say that the guitar solo shows some redemption for the song—though not my favorite on the album.

Guilty

This song lyrically reminds me of Between Two Hearts.

Drums bring us into this song, the guitar quickly sets us up…What is next? It makes us ask.

Ronnie’s vocals tied to a Sabbath style riff and heady bass pull us in and hold us to this particular song. The only thing I don’t care for in this regard is the echo/reverb depth the production placed on Ronnie’s voice—it gives a strange texture to the song.

There is a lot of multi-tracking of Ronnie’s voice in the last chorus that makes the song into something of depth.

The chorus, “Guilty, Liar, liar” catch and memorable-definitely sticks!

As the bridge takes us to “Broken Promise...” there is a time change and a different feel to the song that again makes you ask where this is going, then BLAM!

Into guitar solo is a nice part of this song, and there is some more of the multi-tracking of Ronnie's vocal that gives it some VERY nice texture as song closes out with another lead/solo by Doug.

Again, a wind up as the song makes its way through the fade out—we’re missing something! Doug is just getting started, you can hear it...drawing you, DEMANDING you move onto the next track to see where it went!

Throw Away The Children

This is a GREAT piece! Of of the best on all of the disc, and one of the best Dio tracks ever, I think.

Simon’s drum work really stands out on this one. And you can tell that he had a part in writing much of this album. The rhythm section just is solid as a rock and seems to move where it needs to take you without being pushy.

A screaming key opens (something out of Dream Evil, Faces in the Window, I think?!) thumping drums and keys with guitar—very discordant. It is, without a doubt a warning cry! You question immediately, intrigued Where is this going? It has such an epic downtrodden feel that you KNOW wherever it is, you will be along for one hell of a ride!

The lyrics on this track are absolutely breath taking, and forge a statement that is unmistakable—BRAVO!

The chorus proves to be very powerful! It is the "stuff of this song" a mantra of wrong doings and unfairness in the world--and not a damned thing you can do about what is being experienced every single day in the real world about us!

The guitar solo (one of my favorite on the whole album) proves to be a really nice transition with a metaphoric talking of the guitar, trying to tell something with the lead notes!! Trying to pass on a message that MUST be told and that maybe it CAN be changed. With this said it blends back in with the rhythms coming out of the solo and back into an even MORE potent chorus.

At this point the choir turns to such a WONDERFUL contrast to the piece—sweet/innocent at first lending with Ronnie and the choir adopted for this single track, then building more and more powerful! The children's voices cry both the harm as well as the potential salvation.

WOW!

The choir is the King’s Harbor Church Children’s Choir. “When they began singing, the hair stood up on the back of my neck and our drummer, Simon Wright, had a tear in his eye,” admits Dio from a press release on Spitfire Record's web site.

The killer line in this one has to go to: “Yesterday they say she was dying and today I heard she’s dead!” Well executed and heartbreaking.

It is likely the most complex put together song on the whole album, and really love it!

Mark Strype from Dio Fan’s Place had this to say:

“Oh man…what can I say that will do this song justice? A tragic
masterpiece! The hook (and WHAT a hook it is!) is all over this one!
The chorus is simply enchanting and exceptional. Doug's guitar tone
fits the feel of the song very well. This song has a slow steady
rhythm, with a Sabbath feel (especially the guitar solo).
If the words and feel don't make you hate anyone and everyone that
has ever taken advantage of a child…and make you want to donate to
the "Children Of The Night" foundation, then the children's voices at
the end will have you whipping out your wallets so fast you'll have
friction burns on your behind! This song tugs very efficiently at the
heartstrings. It can and does have the tears straining to break free
from the confines of your eyelids…My advice? Let `em flow! And make
sure to visit http://childrenofthenight.org/ and make your donations
to help these poor, unfortunate children who so desperately need our
help! EVERY PENNY COUNTS!!!
The children's chorus has helped Ronnie give this song just the edge
it needs to be one of the most emotional cries for help that this
listener has ever heard. Any cry for help is a sad event, but when a
cry for help comes in the form of a song, such as this one, it does
it's cause justice and helps bring relief…And though the reason for
this song's existence is a sad one, the song is a pleasure to listen
too…this is one that will stay with me for years to come!
Dio said "Let there be a masterpiece of a song", and there was. Dio
looked at it, and saw that it was good! And he called the
masterpiece "Throw Away The Children".”

I don't mean to steal Mark's thunder, but I think this was so well said, and I had one hell of a time trying to chop it down--it all just suits the reviewing of this song so well.

Before The Fall

A straight forward rock and roll guitar riff opens with the drum kicking in and bringing us almost to an immediate 1980s everyday rock and roll sound.

The tune initially reminds me of Dream Evil but that changes pretty quickly as the tune takes a turn to something really expected but also not bad, but…I just cannot get a handle on this tune. It needs a few more spins I guess. It just is not all that remarkable and so doubt it will make my top ten list.

“Somewhere down the line…Just before the fall” A nice catch lyric throughout the song but the usual Dioesque lyric magic is missing here.

Another interesting, and even welcome, surprise proves to be in the place of the traditional rock guitar solo this song features a nicely done Hammond organ solo. I liked it very much and am pleased to see that Scott Warren still contributing to the new project in some manner.

I guess with Jimmy writing and performing all the other keyboard duties--and rather nicely I might add--it leaves me to wonder that Scott will simply be drug along on tour to fill in these parts? Though I am not really surprised, but at least he made it on to the most recent promotional photo--so I guess he will be around a bi longer at the very least.

There are some more soloing of Scott's keys on bringing this song to close. Again, I like this very much—some of the best keyboarding work that Scott has ever done studio wise, I think.

Cold Feet

More riff oriented Guitar and cymbal crash open this one up.

Immediately upon hearing the beat of this song come up, I had to ask myself: This is NOT a Dio song—where the hell did this come from??

Almost something from B Side of Sacred Heart. It reminds me very much of something, but cannot nail it.

Keys make a nice contrast to the rhythm guitar, and the guitar solo is uplifting and interesting—keeps you from losing interest in the song completely.

I really like the closing of the song—both keys and guitar (trading of at some points) really getting on it right at fade out!

Scot Clayton of We Rock had this to say about this track:

“Cold Feet (4:11)
Nice riff with good groove starting, but goes a bit downward for me. Reminds
me of some Sacred Heart outtakes. This is my LEAST FAV tune of the CD!”

So MY rating is a 7 (SEVEN) out of 10 (TEN) [7/10], and before you say anything, let me just say this: That score sure as shit is a passing grade in any of my classes!

Thanks for your time, hope you gained a little insight. For the core Dio fan this album is a MUST, and for the rest, it will still make a very nice addition to your collection.

Head out and get it on the 21st if you don't have a pre-order already.

All The Best,--KEN