DIO-KILLING THE DRAGON

Review by Simon Cantlon
Ronnie James and his latest version of Dio roll out another collection of songs on Killing the Dragon, steeped in the requisite medieval imagery he loves to use. The songs and the sound remain the same throughout, and as far as Dio is concerned this can be both good and bad. From the beginning he takes listeners down a familiar route with "Killing the Dragon," which begins with a sinister intro and quickly kicks in with a classic metal guitar riff -- formulaic yes, but definitely rocking. The song's subject is the computer ("small gods with electrical hearts"), referred to as the dragon, and how it is now "time to be killing the dragon again." Dio's voice is in fine form, as is the musicianship of his current lineup, including the latest addition of Doug Aldrich on guitar, who successfully captures the classic Dio sound. This release occasionally treads in too-shallow water, trying to sustain the magic on songs such as "Push" and "Guilty" with overly simplistic lyrics and hollow melodies. However, with songs such as "Along Comes a Spider," "Before the Fall" (a forceful rocker with great keyboard additions by Scott Warren), and "Rock & Roll" (a melodious ballad inspired by the September 11th tragedy that is very Sabbath-like in its pacing), Dio remains in classic form. "Throw Away Children," a song about runaways and child abuse that includes the requisite children's chorus, tries to mark the same vein as Pat Benatar's "Hell Is for Children," but ultimately is unsuccessful. The song was originally supposed to be used for Children of the Night (an organization that rescues children from street prostitution), but the lyrics were deemed too depressing. One could easily accuse Dio of being formulaic and unchanging, and while that is oftentimes true, it is also his consistency that gives him a quality of sound that fans know they can depend on. At one point he sings, "Kneel and behold your new king" -- same as the old king but still worthy of the metal crown. This is a welcome addition to any fan's collection.


1

Killing the Dragon
2

Along Comes a Spider
3

Scream
4

Better in the Dark
5

Rock & Roll
6

Push
7

Guilty
8

Throw Away Children
9

Before the Fall

10

Cold Feet

http://rapidshare.com/files/397545536/DIO-2002_-_Killing_The_Dragon.rar

DIO-MAGICA

Review by Bret Adams
Dio's rock-solid 2000 concept album Magica would have better fit the musical climate 15-25 years beforehand, but a good album is a good album. Ronnie James Dio's band's previous studio effort, 1996's Angry Machines, admirably addressed modern, non-traditional heavy metal topics. But the musically superior Magica is rooted in the dark, mystical themes he perfected on Rainbow, Black Sabbath, and early Dio albums. One important factor is the solid lineup, particularly the return of Craig Goldy, the best guitarist Dio's had in his band besides Vivian Campbell. Bassist Jimmy Bain and drummer Simon Wright also return. Dio seems inspired, and his vocals are more textured than usual. Magica is a detailed fantasy epic about the struggle between good and evil. Several elements are similar to J.R.R. Tolkien's beloved Lord of the Rings novels, which themselves rely on traditional literary archetypes such as heroes, villains, and mythic quests. "Lord of the Last Day" builds slowly with Goldy's dirge-like guitar and Dio's menacing vocals augmented by strings. "Fever Dreams" is tightly arranged and geared for rock radio airplay with Goldy's crisp, snapping guitar and Dio's smooth, slightly edgy vocals. "Turn to Stone" is effective, traditional heavy metal based on slow, heavy rhythm guitar and drums. The most musically complex song is "Feed My Head" due to the hypnotic chorus, multi-tracked harmony vocals, clean guitar and cymbal interplay, slashing strings, and Dio's smooth vocal interlude. Although "As Long As It's Not About Love" has some of the characteristics of a basic power ballad, the arrangement is more detailed and flexible. The album ends with "Magica Story," Dio's 18 1/2-minute spoken narrative; the liner notes include a separate sheet with the complete short story. His warm, rich voice is enhanced with a little bit of echo and faint synthesizer touches occasionally add drama

1

Discovery
2

Magica Theme
3

Lord of the Last Day
4

Fever Dreams
5

Turn to Stone
6

Feed My Head
7

Ebeil
8

Challis
9

As Long as It's Not About Love
10

Losing My Insanity
11

Otherworld
12

Magica
13

Lord of the Last Day
14

Magica Story

http://rapidshare.com/files/397413224/DIO-2000_-_Magica.rar

DIO-INFERNO LAST IN LIVE

Review by Alex Henderson
Ronnie James Dio never sounded more inspired than he does on Inferno: Last in Live, an outstanding two-CD set recorded live on his band's world tour of 1996-1997. The goth metal singer was always known for going that extra mile on-stage, and he does exactly that with an excellent band that includes drummer Vinny Appice, guitarist Tracy G, bassist Larry Dennison, and keyboardist Scott Warren. The material falls into three main categories: 1970s classics from his years with Ritchie Blackmore's Rainbow ("The Man on the Silver Mountain," "Long Live Rock & Roll"), gems from his three years with Black Sabbath ("Heaven and Hell," "The Mob Rules"), and songs he had recorded with his own band, Dio, since 1983 ("Rainbow in the Dark," "Don't Talk to Strangers," "Holy Diver," "The Last in Line"). As blistering as much of the material is, Inferno points to the fact that the singer has always been an expert when it comes to combining rich melodies with brute force. Inferno is an essential release that no metalhead should be without.

1

Intro
2

Jesus, Mary & Holy Ghost
3

Straight Through the Heart
4

Don't Talk to Strangers
5

Holy Diver
6

Drum Solo
7

Heaven and Hell
8

Double Monday
9

Stand up and Shout
10

Hunter of the Heart

11

Mistreated (Catch the Rainbow)
12

Guitar Solo
13

The Last in Line
14

Rainbow in the Dark
15

The Mob Rules
16

Man on the Silver Mountain
17

Long Live Rock and Roll
18

We Rock

http://rapidshare.com/files/397034724/DIO-1998_-_Inferno_Last_In_Live.rar

JANIS TSOPLIN-GREATEST HITS

Biography by Richie Unterberger
The greatest white female rock singer of the 1960s, Janis Joplin was also a great blues singer, making her material her own with her wailing, raspy, supercharged emotional delivery. First rising to stardom as the frontwoman for San Francisco psychedelic band Big Brother & the Holding Company, she left the group in the late '60s for a brief and uneven (though commercially successful) career as a solo artist. Although she wasn't always supplied with the best material or most sympathetic musicians, her best recordings, with both Big Brother and on her own, are some of the most exciting performances of her era. She also did much to redefine the role of women in rock with her assertive, sexually forthright persona and raunchy, electrifying on-stage presence.

Joplin was raised in the small town of Port Arthur, TX, and much of her subsequent personal difficulties and unhappiness has been attributed to her inability to fit in with the expectations of the conservative community. She'd been singing blues and folk music since her teens, playing on occasion in the mid-'60s with future Jefferson Airplane guitarist Jorma Kaukonen. There are a few live pre-Big Brother recordings (not issued until after her death), reflecting the inspiration of early blues singers like Bessie Smith, that demonstrate she was well on her way to developing a personal style before hooking up with the band. She had already been to California before moving there permanently in 1966, when she joined a struggling early San Francisco psychedelic group, Big Brother & the Holding Company. Although their loose, occasionally sloppy brand of bluesy psychedelia had some charm, there can be no doubt that Joplin — who initially didn't even sing lead on all of the material — was primarily responsible for lifting them out of the ranks of the ordinary. She made them a hit at the 1967 Monterey Pop Festival, where her stunning version of "Ball and Chain" (perhaps her very best performance) was captured on film. After a debut on the Mainstream label, Big Brother signed a management deal with Albert Grossman and moved on to Columbia. Their second album, Cheap Thrills, topped the charts in 1968, but Joplin left the band shortly afterward, enticed by the prospects of stardom as a solo act.

Joplin's first album, I Got Dem Ol' Kozmic Blues Again Mama!, was recorded with the Kozmic Blues Band, a unit that included horns and retained just one of the musicians that had played with her in Big Brother (guitarist Sam Andrew). Although it was a hit, it wasn't her best work; the new band, though more polished musically, was not nearly as sympathetic accompanists as Big Brother, purveying a soul-rock groove that could sound forced. That's not to say it was totally unsuccessful, boasting one of her signature tunes in "Try (Just a Little Bit Harder)."

For years, Joplin's life had been a roller coaster of drug addiction, alcoholism, and volatile personal relationships, documented in several biographies. Musically, however, things were on the upswing shortly before her death, as she assembled a better, more versatile backing outfit, the Full Tilt Boogie Band, for her final album, Pearl (ably produced by Paul Rothchild). Joplin was sometimes criticized for screeching at the expense of subtlety, but Pearl was solid evidence of her growth as a mature, diverse stylist who could handle blues, soul, and folk-rock. "Mercedes Benz," "Get It While You Can," and Kris Kristofferson's "Me and Bobby McGee" are some of her very best tracks. Tragically, she died before the album's release, overdosing on heroin in a Hollywood hotel in October 1970. "Me and Bobby McGee" became a posthumous number one single in 1971, and thus the song with which she is most frequently identified.

http://rapidshare.com/files/397028989/Janis_Joplin_s_Greatest_Hits.rar