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- 1A perfect record by a perfect lineup at a perfect moment in metal to release this - one of the purest assemblages of metal talent in its prime. Dio on vocals, Blackmore at his most metal, and Cozy Powell delivering arguably the greatest recorded metal drumming on album. Martin Birch capturing every note with dead on gravitas (OK, so maybe Do You Close Your Eyes isn't technically gravitas, but the song still kills). Rising doesn't necessarily have all the best Rainbow songs either - tho there's no weak tracks. Half the songs never even made it into their live show, though Rainbow live were very prone to drawn-out soloing and jams, and I guess it's hard to wedge a whole new album into a 10 song 90 minute set when that is the case. No, there is just something about the sound, the feel of this record that perfectly distills the essence and power of Metal. Maybe it is the drumming that just takes it over the top. Sad that we have lost both Cozy and Dio now, and with Blackmore off in Renaissance Fair-y-land, it's safe to say we'll never experience the likes of this again. Even the album cover screams "power"; "metal". I get the chills just thinking about listening to Rising. I tend to save it for when i really need it. Easily in my Top 10 alltime metal studio records, maybe Top 5.
- 2Dio strolls in, shakes up the Sabs, Geezer delivers the songs, Tony brings the dark. Bill Ward is still in the band on the album, though he bails on the tour (or is kicked out).
Late Night Molten Metal at its finest.
- 3Dio had something to prove and must have been holding some songs back - or he got them from Jimmy Bain or new guitarist Vivian Campbell, who never killed again the way he did on this record. Campbell's guitar sound was a revelation here. Back in the early 80s every few months a new hard rock guitar god would emerge, though most of them (John Sykes, Jake E Lee, Warren De Martini just off top of my head) peaked on their first few records. But I digress - anyhow Holy Diver is a killer pound-for-pound slab of metal genius - the music still too fresh to slide into cartoon-land, as Dio's work would become soon enough. This is one of those records that decades later, I'll listen to one of the "lesser" tracks like Gypsy or Invisible and still get a total charge - the guitar and vocals are still so fresh, the energy bristles out of the speakers.
- 4When this came out (pre-Metallica, more or less pre-Venom), it was just about the heaviest thing on earth. Contains 2 anthems of thrash - Turn Up The Night and The Mob Rules - proving that Iommi could riff fast and loud (he literally invented slow and doom, but until this record the closest the Sabs came to thrash were Paranoid or maybe Symptom of the Universe) with the best of them. For some reason Mob Rules hasn't gotten the respect that Heaven and hell got - but what I like about it is how different it is from its predecessor. Also has by far the best album cover either Dio or the Sabs have ever been involved with (granted, that's not saying much, except for Rainbow Rising, LLR&R and Live Evil).
On StageSome ears might find it a bit meandering and sloppy - when I was younger i didn't appreciate the slower passages as much - but this is a pretty epic live album. Yardbirds cover Still I'm Sad is epic, as is the version of Catch The Rainbow, and Mistreated. And the Kill The King opener . . well . . . kills.
- 6A great debut, but this band really hit their stride live (check out Kill The King in this live version embedded here, as well as Still I'm Sad and Catch The Rainbow on On Stage), and on their next studio record. Still, the studio version of Man On The Silver Mountain is as good as it gets.
- 7The lyrics are starting to veer towards cheeze (We Rock is a monster of a song otherwise), but this band is still in their prime, and the tour with the Egypt theme was hella great (I couldn't say that about the tour the next time around with the dragon).