History - Heavy Metal Chapter 1 (Part 4 of 4)

While a number of heavy metal bands cemented their reputation as rock giants for years to come, certain bands would begin taking another highly popular form of music, progressive rock, into a heavier direction. Bands like Pink Floyd and Genesis had remained most of the time outside the heavy metal realms, while others like Jethro Tull, Yes, and King Crimson flirted with it more often on songs like "Aqualung," "Heart of the Sunrise," and "21st Century Schizoid Man," respectively. Characterized by complex song structures, odd time signature arrangements, and a highly technical and virtuous use of instruments, progressive metal would nevertheless not come truly into being until the creation of Rush. On its debut album, Rush, the band had not yet acquired a tendency for the progressive; but by the time of Fly By Night and the acquisition of drummer Neil Peart, the band had changed its approach and become more ambitious lyrically and musically, driving its progressive outings to their furthermost limits on albums like A Farewell to Kings and Hemispheres. Most other progressive bands throughout history, such as Emerson, Lake, and Palmer, Focus, Asia, IQ, and Marillion, only flirted with metal through their years of existence.

Rainbow - Kill the King

Unfortunately, metal was to stagnate completely in the late Seventies. Aerosmith, Thin Lizzy, and Black Sabbath were digging their own graves due to their drug-consuming habits, Kiss had lost its charm because of over-commercialization, Deep Purple faded out through its never-ending personnel changes, and Led Zeppelin ended with the death of drummer John Bonham; only Judas Priest and Queen remained almost intact during these times. And not only were the greatest bands dying slowly, but every new band was just ripping off the old glory; metal was on its dying bed.

AC/DC - Jailbreak 

Only a few bands were still thriving among the ruins, among them AC/DC and Rush; the former taking over the world with its three-chord attack, guitarist Angus Young's lunatic careening on stage, and Bon Scott's hell-raising screams; the latter inspiring new generations of musicians with its progressive brand of music. Ted Nugent, formerly of the Amboy Dukes, also released hyperactive gems like Cat Scratch Fever and Double Live Gonzo to much acclaim during the last half of the Seventies, and would be another of the few surviving musical groups. Blackmore's Rainbow was the last of the great rock giants to die or metamorphose by the end of the Eighties, after Ronnie James Dio left the band amidst a flurry of clashing egos which had earlier produced melodic epics on albums like Rainbow Rising and Long Live Rock n' Roll.

Rainbow - Rising

One of the most Underappreciated hard rock outfits ever, Rainbow were, in their heyday, one of the most talented and interesting bands of the '70s. Though its impossible to not compare them with Deep Purple (due to their guitarist's credentials,) and though they share many similarities with the groundbreaking band, they are an entity of their own.

When guitar hero Ritchie Blackmore departed Deep Purple in 1974, he met a then unheard of singer by the name of Ronnie James Dio. The two would form Rainbow soon after, then consisting of the two men and bandmates from Dio's band Elf. Their debut, while fairly inconsistent, did sport some incredibly promising songs such as the anthem Man on the Silver Mountain and the beautifully dreamy ballad Catch the Rainbow. But immediately after the albums release, Dio and Blackmore fired their lineup, replacing it with a much more talented one.

Consisting of Dio on vocals, Blackmore on guitar, Jimmy Bain on bass, Tony Carey on keyboards, and Cozy Powell on drums, this lineup is certain to raise more than a few eyebrows. Jimmy Bain would appear on Dio's massively successful solo debut Holy Diver, as well as many other of the singers albums. Tony Carey would go on to some moderate solo success, and Cozy Powell (previously of the Jeff Beck group) is hailed as one of the greatest hard rock drummers of all time, and would go on to record with numerous artists.

The album itself is by far Rainbow's best. Its balanced between direct rockers (Run With the Wolf, Starstruck, Do You Close Your Eyes) and longer, more progressive tinged pieces (Tarot Woman, Stargazer, A Light in the Black,) all of which fair well. Every member shines equally on here. Dio's trademark growls and wails (as well as sometimes cheesy, sometimes mystical lyrics) are present even at the start of the singer's career. Blackmore's classic stratocaster tones tare through massive solos and riffs. Bain is always audible, and plays some pretty catchy basslines. Carey draws upon a bevy of synth's to provide a partner to Blackmore, and Powell's drumming is nothing short of fantastic.

A good one and a half minutes of spacey synthesizer introducing the listener to the album, before Blackmores strident riffs rip into Tarot Woman. Dio's vocals are his usual powerful best, and his catchy chorus of " Beware of a place/A smile on her bright shining face/I'll never return, how do you know/Tarot woman/I don't know, I don't know" sets the tone for Rainbow's signature sound, and will be stuck in your head for weeks. Blackmore's solo is quite effective to boot.

Tarot Woman gives way to the bluesy groove of Run With the Wolf. With memorable guitar licks and bass lines, combined with rhythmic organ, steady drumming and a signature Dio chorus, the quality of the album can't be denied.

The same groove is carried over to Starstruck, which openings with one of Blackmore's most catchy riffs. This is easily the most Deep Purple-ish of the tracks on here, with organ and vocals that could have come compliments of Jon Lord and Ian Gillan respectively.

With a massive riff, and hugely strong vocals Do You Close Your Eyes is also the shortest and most direct of the songs on Rising. It rocks with a powerful groove. But its the next track, Stargazer that really shows off Rainbow's potential. With a hugely technical and hectic drum intro, tasteful synth arrangements, Dio's huge vocals, and a wonderful guitar solo this track clock in at a full eight and a half minutes, the longest on the album. Its easily one of the best tracks Rainbow has pulled off, an mini masterpiece in itself.

The albums finale, another eight minuter, A Light In the Black is just as powerful as Stargazer. Blackmore's unforgettable intro riff and Bain's great bass lines set the tone for Dio's vocals, and some truly amazing synth and guitar soloing. By the time the song has run its course, its certainly made more than a minor impression.

Rising is a startling brief record, however, clocking in at about thirty three minutes in length, but this is an easily forgivable flaw. While Tarot Woman, Stargazer, and A Light in the Black are easily my favorites on here, all the songs are great. Unfortunately, Rainbow's next record, while certainly a stellar offering in its own right, was not as good as this would be. Even when Dio departed the band to do a stint fronting Black Sabbath, Blackmore would take the group down a surprisingly poppy road, before the guitarist returned to Deep Purple. But all that was in the future, at the time it was released, Rising was an unconditional triumph.

Never Say Die! 1978

Black Sabbath – Never Say Die!

Autumn and Winter for me is the season of Butler, Iommi, Osbourne and Ward.  Their music symbolises the atmosphere of a changing season and the drawing of darker evenings. A lot has probably to do with the ‘Black Sabbath’ debut cover showing a grainy Autumnal scene.  However I have been listening to the lesser of the eight Ozzy fronted studio albums of late whilst walking through darkened woods and forgotten paths and thus have reappraised them.  Of course when I talk about the lesser albums I refer to 1978s ‘Never Say Die!’ and 1976s ‘Technical Ecstasy’.  To my mind ‘Sabotage’ and ‘Sabbath Bloody Sabbath’ are two of the greatest albums of all time with the first four not far behind.

Well ‘Never Say Die’ is a fantastic album.  The title track was the last song that I ritually listened to when I was about to head out to the disco (of all places) at the weekends (for courting females of course) when I was 16 - 19 years old.  It’s pumped up testosterone driven mania filled one with the confidence to take on the world back in 1986 – 89, and remember this was the ‘Thrash’ years, so there was plenty of testosterone driven mania to be found in my album collection during that period.

What makes this album so special on reappraisal is its diversity.  I love diversity in music and this has it all.

On a track by track basis my views are as follows:

Side One (As of the original Vinyl)

Never Say Die – Classic, simple catchy powerful song.  This hits the right spot.  It’s what Rock ‘n Roll is all about.  There is a confidence and aggression to this song.

Johnny Blade – Keyboards at the start followed by a driving drum pattern and another speedy riff.  It’s the drums on this track that make it.  In fact I love the drum sound on this album.  They are really to the foreground, but again different rhythms in each song.  The diversity factor again.  Ozzys’ vocals to me are urgent and unusual.

Junior’s Eyes – One of the more unusual tracks.  Drums fade in along with Geezer’s swinging Bass.  This track has a Jazz feel with Iommi’s wah wah sounding guitar.  The chorus (if it can be called a typical chorus), is heavy and powerful.  Iommi has a lot of interesting guitar overdubs on this track which adds to the atmosphere.  It’s what I love about Sabbath, the creation of atmosphere.

Hard Road – Iommi riff, overdubbed vocals.  This has to be the most upbeat and optimistic sounding songs on the album.  Not in the pop sense.  Slightly  ‘Quo’ overdubbed like vocal sound.  However this is not a pop song.  If you are feeling down listen to this.

Side Two – if side one did not cheer you up well?

Shock Wave – The shape of things to come.  This reminds me of the style applied to some of the tracks of ‘Heaven and Hell’.  One of the weaker tracks.  A simple riff, melody and vocal.  However gets interesting towards the end with a slightly left turn doomy riff with plenty of band participation ‘ohohohoing’.

Air Dance – The albums real curveball.  I love it.  A Sabbathian progressive rock song.  Starts with a driven melody followed by again jazz rhythms and piano.  Iommi captures some real atmospheric guitar and delicate solos.  The vocals and lyrics reflective and emotional.  To my ears an unappreciated classic.  Towards the end it heads for undisputed elements of jazz in every sense.

Over To You – Again similar to

Hard Road

in that it has an optimistic feel to it.  The chorus includes some elaborate piano.  Fantastic melody and vocal from Ozzy.  Similar feel to ‘Sabbath Bloody Sabbath’s’ ‘Looking for Today’.  This song again drips with emotion and atmosphere.  This however is no light weight song.

Breakout – An instrumental – Has a swing feel to it.  Warning contains brass instruments and some jazz saxophone.  Another curveball – Doom laden jazz?

Swinging the Chain – A doomy riff by Iommi within a very low mix.  Another odd sounding track with Ward singing?  Again one of the weaker tracks.

The conclusion is that this album, as diverse as it is, is a better attempt than ‘Technical Ecstasy’. It has an upfront sound, clear guitar and drum mix, however given the context of the band situation at this time; it is an interesting, diverse, atmospheric and challenging piece of music.  One interesting fact is that the cover for ‘Rainbow’s’ ‘Difficult to Cure’ album was meant to be for this album.

Listen without Prejudice, with headphones, whilst walking at dusk in a lonely Autumnal forest.