British Metal Music

In the old days when vinyl ruled bad albums were melted down and used for ashtrays. Uriah Heep releases were anticipated soley for this reason. To like Uriah Heep is to say:
a. You smoke to much
b. you do not like rock and roll.
If you did like rock and roll you would be listening to The Strokes and the Hives and The White Stipes not this self indulgent bore.

Proving that 1995's amazing comeback, "Sea Of Light", was no one-time fluke, 1998's "Sonic Origami" puts forth a convincing case that Heep are not just revitalized, but back at the top of their game. This CD features some of the best songs of their career: songs like "Question", "Change" or "Everything In Life" rank up with anything they've done over the years, but they aren't even the strongest tracks on it; that honor is reserved for the epic, orchestral "The Golden Palace", and the opening track, "Between Two Worlds", dedicated to the memory of their deceased former singer David Byron and bassist Gary Thain; the first time I heard the latter track, I got chills up and down my spine at the resemblance of singer Bernie Shaw's voice to David's, and the sheer emotion of the performances and lyrics.

"Sea Of Light" was their best album since 1977's "Firefly". This is their best since 1973's "Sweet Freedom". An absolute essential.

Occasionally one falls in love with a group. You follow them through their successes, their failures, their 'commercial successes' that are failures, and their 'commercial failures' that are successes. Rarely has the 'HEEP' had their cake and ate it, too. Now is a time when younger people are looking for a source of 'outer inspiration'. If you fall into that 'searching period', this is a must have! Not only do have the pleasure of listening to a band that began with a bang in 1970, but hung-in-there during tough times until they were struck by a bolt inspiration with a big 'I'. Not the ego (i), but that Light from which all good things emerge. Musically and lyrically, this is a very 'High' album. Most of us would do well to listen to the wisdom that it offers. And, I assure you, there couldn't be a more enjoyable way to learn. The essential understanding about "unity vs. division" can be had for 15 bucks and an 'open mind and ear'. Forget anything you might have heard about the HEEP in the past. I met guitarist Mick Box right after they released 'Sea of Light'. If you were to talk to him for 10 minutes, you would understand the statement that "Age is a State of Mind". I think that the 'boys' have been touched by a 'Timeless Energy". The Moody Blues (truly inspired) were in search of 'The Lost Chord'. The HEEP has found IT!

An 'okay' 1999 release by Uriah Heep.Not really so bad,just too generic sounding,I thought.All I can say is that hardcore Heep fans would likely get more out of this CD than I did.Decent cuts here to check out are "I Hear Voices","Perfect Little Heart",the prog-like "In The Moment"(almost sounds like Asia)and the uptempo "Everything In Life".I got to see Uriah Heep play just once,on their 'Different World' tour.Guess they don't tour the states like they once did.I'd still go see them play just to hear the classics.I'm sure I'm not alone on that.

In 1994 Uriah Heep roared back to life with their first truly great album in arguably 17 years ... and many would say longer still, but for me, 1977's "Firefly", not 1973's "Sweet Freedom", was the last truly great Uriah Heep album. In spite of the fact that in an earlier review here at Amazon I gave 1980's "Conquest" five stars, it wasn't "great" in the way that Heep's material from the time of the classic lineup and their first release with John Lawton were... Conquest is purely, 100 per cent enjoyable, hence the five star rating, but fails to capture my imagination in the way the other albums I've mentioned do. But I digress already, not even having started! 1998's "Sonic Origami", the album I'm **supposed** to be writing about here today, continues the tradition set by the album that came before it, presenting us with still more great music that's every bit as enjoyable as the material we heard on the previous album.

Uriah Heep had a hard time throughout the eighties... with a constantly shifting lineup and a difficult time finding a record company that would actually promote them, they vanished away into obscurity for most of the music-listening public, who promptly forgot about them altogether, and to this day remain a very obsure band, listened to only by those who know about them already and are willing to seek them out (fans like me have, therefore, a responsiblity to spread their message to the "ends of the earth", forgive the pretention). This is a tragedy, because it means that a majority of the fans of music today have no awareness at all not just of Uriah Heep, but of the extremely high quality their most recent material has been. Even with the current lineup, formed in 1987 (I think) and stable ever since, started off with a pair of pretty-good-but-still-not-great albums... something happened between the years of 1991 and 1994 that revitalized their creativity, which anyone who hears either this album or 1994's "Sea of Light" will immediately become aware of.

"Sonic Origami" is a nice blend of hard rockers and gentle acoustic tunes (with a dash of symphony, believe it or not), mixed perfectly together without ever growing tiresome. It always has something to offer you, no matter how many times you've heard it or how well you know it. There is some really beautiful music here, and every time I listen to it, even the songs I wouldn't consider favorites are looked forward to once they've begun and are recognized by me. Everything that makes Classic Heep is there... the distinctive harmony vocals (they were doing the choir thing before Queen), Mick Box's wah-wah guitar, thought-provocing lyrics, and excellent musicianship all around. It's a little more laid-back than it's predecessor, so I might say that it compliments "Sea of Light" in the same way that "The Magician's Birthday" follows up it's own predecessor, 1972's "Demons and Wizards" (which will forever be my favorite Uriah Heep album).

"Sonic Origami" roars into a great beginning with a tribute to past band members David Byron and Gary Thain, members of the classic lineup who have both sadly passed away, and takes us from there on a lengthy journey through an endless variety of ideas, sounds, and feelings. There is one cover song (seeing a cover song on an album from a favorite band always disappoints me at first... no matter how good the song is or who the band is, it's just my initial reaction), "Across the Miles", a beautiful song about distance separating two lovers, which I can immediately relate to, and it's so well done that I forgot to be bothered by the fact that it wasn't **really** theirs. Plus, to compensate for the cover, an extra unlisted original bonus track is included so we can still honestly say the album gives us 13 brand-new Uriah Heep songs.

Rather than go into a song-by-song review, which would take a lot of time I don't have and waste precious space here on the Amazon server (aren't I nice to them?), I'll just leave it at that. There's not a bad or unoriginal song to be listened to here (with the one exception, and it succeeds in being wonderful anyway). Buy it today, and heed this word of advice... to fully appreciate the majestic masterpiece that finishes the album (the bonus track is a nice epilogue or extra), the symphonic "Golden Palace" listen to it in your car while driving through a snowy countryside in February, under an overcast sky. It's beautiful.

Carry on Carry on,

MN

I'll actually give it 3.5 stars for including some tracks from "Lightning to the Nations", but this album ultimately disappointed me. I already owned "Behold the Beginning" when I bought this, so I was familiar with Diamond Head's music. I read in a guitar magazine that their second album, "Borrowed Time", was a classic, so I decided to buy this. Well, I guess this is what I get for placing my trust in a guitar mag covering old metal.

Tracks 2-5 are pulled "Borrowed Time", 1,7,8 come from the "Lightning.." debut, and I'm guessing "Dead Reckoning" was a single or song taken from the "Canterbury" album.

Nevertheless, the early work is what holds the weight here, as it's clear Diamond Head's move to MCA records dictated a change in sound. "Heat of the Night" and "Don't You Ever Leave Me" have a Zeppelin/early Whitesnake feel to them, much tamer than the expansive riffs and tempo changes abundant in Diamond Head's early songs. And while the "Borrowed Time" material is generally fairly good, it lacks the power and originality of, say, "Am I Evil?" and "The Prince", among others.

Metallica fans will probably want to stick to "Behold the Beginning" or try hunting down (no exaggeration) a version of the classic "Lightning" album.

You have to approach this one with an open mind. They intentionally go in non metal directions on a few tracks. It is a pretty good album though, give it a few listens. The chemistry of the original line up was unique, and this cd actually has some real standouts. "To the Devil His Due" is classic DH, and the limited edition has bonus materials such as the extended version of "Makin' Music" and "Sucking My Love" live. Original bassist Colin Kimberely and drummer Duncan Scott exited after tracking their parts, marking the end of that era. It took me forever to find this album, without the 100 dollar out of print/import price.

This album took Diamond Head into another sound, one that is clearly a forerunner of Alice in Chains "Dirt," particularly the song "Would" which has its beat lifted from a track on Canterbury. Shame the original band broke up during the recording. Their lyrics were never great but that would not have stopped them from sharing the stage with the heavy metal/MTV scene to come.

by no means this album re-issue is representative of the band's material. for someone looking for an summary of the band's early years (and even some of the later), it is best to choose "Am I Evil?: Anthology" Am I Evil?: Anthology, while the re-issue of the first album, "The White Album"/"Lightning to the Nations" is also a very good output by the early Diamond Head. still, this album does have a few great songs (which again, can also be found in the anthology), such as "Ishmael" and "Knight of the Swords". the last bonus track is an interesting interview with Diamond Head's lead vocalist, Sean Harris. unlike these bonus-tracks-interviews, which tend to be too long and too boring, this one actually gives an extra value. I found out that it seems like Diamond Head's leading forces are not in the same mind as you'd expect from a heavy metal band. it's interesting to hear Harris' influences and his ways of working, writing, and producing music.

You can be forgiven if, after hearing leadoff single Makin' Music, you have to check the liner notes to make sure this is in fact a Diamond Head album. The band's third album - 1983's Canterbury - is pretty far removed at times from the New Wave of British Heavy Metal (NWOBHM) sound they are so well known for.

Canterbury is actually a pretty interesting mix of upbeat AOR songs (Makin' Music, Out of Phase, I Need Your Love) and incredibly powerful, almost progressive metal songs (the Kingmaker, Knight of the Swords, Ishmael). What's surprising is that the band does both styles so well. Sure, the metal songs are better, but you can totally see the band succeeding with the Foreigner-type stuff. Well, you could if more people had been paying attention to Diamond Head at the time. The AOR songs are tight and melodic, and the metal songs are downright epic. It's an odd combination, but I can't argue with the end result.

It's not another Lightning to the Nations (The White Album), but Canterbury is still an impressive, if uneven, British metal album. Diamond Head and British metal fans should definitely check it out, especially now that it has been remastered.

NOTE: Metal Mind reissued Canterbury in 2008, giving the album a much needed sonic upgrade. In addition to the digitally remastered sound, the album features three bonus tracks - an extended version of Makin' Music, a live version of Sucking My Love, and a 16-minute interview with vocalist Sean Harris. The reissue comes in a numbered digipack with expanded liner notes, and is limited to 2000 numbered copies.

Many people heap scorn on "Canterbury." I wonder if they've given it more than a single listen. No, it's not "Lightning to the Nations," or even "Borrowed Time," but that's what makes it good.

The recording has a bright, punchy mid-1980's sound, courtesy of producer Mike Shipley (who engineered for producer Mutt Lange of AC/DC, Def Leppard, Cars fame). Some of the keyboard tones have not aged well, but Brian Tatler's guitar is crisp and Sean Harris' voice is clear. Arguably overwrought backing vocals fit well on some cuts, but are distracting on others.

Track review:

Makin' Music - Grade B: The first U.K. single release from the album. Lyrics full of "rocking for the good of mankind"-type cheese; like a mild version of "It's Electric" off LTTN, but the chiming guitar intro and odd ascending riff leading to what is essentially an "a cappella" chorus make this tune unlike anything Diamond Head had done before.

Out of Phase - Grade B+: Jangling acoustic guitar intro joined by Harris's heartfelt voice, then everybody else piles on, including overbearing backing vocals. There must be a half-dozen time and key changes in this little ditty. The second single released in the U.K., it'd get an "A" if not for the obnoxious backup singing.

Kingmaker - Grade B+: It takes a few listens to fully appreciate this one. The sound of a castle drawbridge or something like it opens this slow but complex track; complex almost to a fault. The lyrics contain possible historical references, but with only a handful of lines in the entire song it's hard to know for sure. Time changes and turns abound and the backing vocals actually work here. Even better, Tatler burns a hole right through the middle with an extended, Schenker-esque solo. Essentially progressive rock and bravura guitar workout, this might as well have been an instrumental.

One More Night - Grade A-: The a-grade is for pure nerve. This is Diamond Head's take on dance hall swing. The only thing that's missing is a horn section. The lyrics cover honest emotional ground seldom trod in the NWOBHM and the music reveals a band willing to try anything.

To the Devil His Due - Grade B-: A remarkable vocal performance and surprising time/key changes can't quite save the weakest track on the disc. Just as Tatler starts to really lift this dirge with some tasty solo work, the song fades to a close. Oh well ...

Knight of the Swords - Grade B: If you like DH's "Borrowed Time" disc for the Rodney Matthews cover art and Elric-inspired title track, you'll love this. Another song with lyrics based on author Michael Moorcock's work - this time it's Corum, fighting to restore balance between law and chaos in an up-tempo tune that sounds like minimalist Iron Maiden, especially in a galloping solo section. Strangely, it never really seems to get where it's supposed to go, like they left out a verse or something.

Ishmael- Grade A+: What a freaking great song. Unusual time signature and unusual subject matter wrapped in an Arab motif, it's practically world music. We're talking Peter Gabriel territory on this one. "Ishmael" stands in stark contrast to speculation that MCA was pressuring DH to write hits. It's not a commercial song by any stretch of the imagination, just a breathtaking piece of music.

I Need Your Love - Grade A: An amped-up, streamlined counterpart to "One More Night" that drops the big band pretense and tightens the attack. Quick, efficient and listenable, it could have been a hit.

Canterbury - Grade A+: A personal favorite. I mean, how many musicians in any genre have written a song about Thomas Becket? Heavy prog-rock influence on this one - like something Queen could have done. Admittedly pretentious, but a total blast and a perfect way to close the disc.

Summary: When considered alongside "Lightning to the Nations" and "Borrowed Time," "Canterbury" demonstrates Diamond Head's musical growth, sophistication and depth; attributes too rare in hard rock/heavy metal, then or now.

This 2004 mini-LP replica of the landmark 1975 Queen effort contains a great 2001 remastering(by Peter Mew at Abbey Road) that surpasses all the previous versions-including the 1991 A Night at the Opera,the 1998 one contained on the Crown Jewels box set The Crown Jewels- and sounds smoother and bassier,if not as loud, than the recent domestic 2005 A Night at the Opera (30th Anniversary Coll. Ed) [CD/DVD Combo].Also the mini-LP replica looks sweet too.Get it at a cheapest price if you can!

No doubting that this is Queen's best ever album. Both critics and fans agree on this and it's easy to see why. Great songs and great performances from a band of consummate musicians each expert at their chosen craft coming together to make classic track after classic track and the harmonies! Wow! Now this classic, one of the best rock albums of all time comes housed in a gatefold mini-lp replica sleeve that looks very cool and has been remastered in 2001 which makes it sound very good too. Very well worth the price if you are a fan and this is the best sound quality-wise version of this disc that's out there. Highly recommended!

Overall, "III" is an awesome album. "Bron-Y-Aur Stomp" is probably my fave Zep track of all time. BUt... this album si brought down by a few boring tracks like "Tangerine" and one or two others.

I love zepplin, at first I didnt really like this album as much as I did others by them but finally I sat down and listend to the whole cd and it is amazing! a must buy!

This release is a very different from earlier releases by Led Zeppelin. The first side is very heavy, with one of the brilliant vocal performances by Robert Plant on "Immigrant Song", that is possibly his best work. The next cut, "Friends" features an unusual tuning with Indian scale influences. "Celebration Day" is an unusual time signature starts with a sliding guitar riff. "Since I've Been Loving You" is a slow blues number that showcases Page's and Plant's blues roots. "Out On the Tiles" is a classic Zep song, with power guitar chords set against strong drumming and a tight snare. What was originally released as the second side of the vinyl allowed a different view of the heavy metal pioneers. "Gallows Pole" had hurdy gurdy, acoustic guitar, tabla drums and an ironic tale of barter. The following song "Tangerine" is a lovely acoustic number with harmonies that carry the chorus. "That's the Way" is another stripped down acoustic number with more layered choral harmonies. "Hats Off to Roy Harper" is the closer, an anthem to a friend and musical footnote, famous for singing lead on the Pink Floyd cut, "Have a Cigar". Unusual looped vocals, compressed effects and sliding dobro make this one of the more interesting Zep takes on standard blues changes. In all, this is a different release, which showed the acoustic side of a previously metal band.

the cd starts off with a bang with the awesome "immagrant song" but other than "tangerine" & "hats off..." there is reall nothing on here that really grabs me musically...i like that they mellowed out a little with the acoustics and all but this song list overall just isn't very good at all to me

just imangine,if,hey ,hey,what can i do, traveling riverside blues,and the girl with the black wavy hair were included on this album???....someone sure missed the boat big time

I was sent this collection from the IM fan club so I think I`m the only reviewer who owns it. The collection includes a CD, a mini poster, and a IM wristband. The tracks on the CD are: No More Lies, orchestral versions of both Paschendale and Blood Brothers, an electric version of Journeyman and a hidden track of Nicko`s version of Age of Innocence. This CD is for BIG fans and/or collectors but excellent nonetheless

i feel so lucky, i just ordered it the official iron maiden website, the price is very low and its in a limited stock so everybody who wants it go!!! you cant let this opportunity .
so.. for all the maidens fans who were unlucky to discover that amazon was out of stock...here's your last chance cause i dont think it will last very long.

go check it out!

an epic power metal anthem that will bring a big grin to the face of any Maiden fan who might have been slightly let down with the Brave New World album. "No More Lies" is strong on the melody, tight with the performance, and generous with the catchy hooks. a tasty peek into the excellent Dance Of Death record.

OH wait, amazon decided that they would not tell me that they aren't even getting any until 2 days after it was 'released'.

Sure glad I pre-orderd a month in advance.. just for amazon to screw me over at the last minute. Thanks so very much.

Now I will be lucky if I can find it anywere... It's pretty much sold out everywhere else.

But I can sure tell you it would have been awsome. No More Lies the song, is amazing, one of the best off Dance of Death. I was also very excited about the electric version of Journeyman, the studio acustic version is very solid. And the wristband and booklet would have also been very cool.

Thanks so much Amazon.

The dip in quality gets higher and higher. Poor sound and vocals by Dickinson and not very audible bass combined with awful song selection: all designed to rip off their fans. (And 2 cd's with just 16 tracks? Maiden's songs are not THAT long.) Yet another Maiden live album (4th in 12 years) ONCE AGAIN featuring Hallowed Be Thy Name, Fear Of The Dark, Number Of The Beast, Run To The Hills, The Trooper, Wrathchild and Iron Maiden. And since Maiden understand that the best musicians improvise and add something new to a performance *heavy sarcasm* I'm sure we're all delighted to hear these songs again! To add to the miserable selection from the Classic Iron Maiden Song Book we have five songs from the worst album in Maiden history: Wildest Dreams, Rainmaker, Dance Of Death, Paschendale and No More Lies. If you want to know what's wrong about these songs check out the Dance of Death review page.

Fact about Dickinson, he cannot sing Dianno era songs in the raw, rock fashion it was meant to be. Wrathchild, Iron Maiden are not meant to be sung in heavy metal operatic vocal style.

Lord Of The Flies and Journeyman are quite good here but otherwise the album is just terrible.

Yeah, once again there's live versions of the songs Maiden plays every show. And? Why is this a bad thing? It sounds terrific. Would the people complaining rather have a mini-release of just the new stuff live? Its an entire concert, and Maiden has several songs you will hear live every time. The old stuff still sounds great, and with the 3 guitar lineup I think it sounds even better than prior recordings of the older material.

The new stuff is what this release is all about though, "new" meaning material from Maiden's most current studio release, the material from Dance of Death.

This stuff just sounds amazing live. Paschendale is quite possibly the best song the band has ever recorded, and it will blow you away here. Wildest Dreams kicks it off in grand style, then after some vintage songs they kick into the title song of their last release, Dance of Death. Can I use the word "amazing" enough here? Probably not. Right from there it goes into an excellent version of Rainmaker. A brief journey back to 2000 for Brave New World and then Paschendale live. Again, just amazing. Iron Maiden has always been tight live, but this is just ridiculous. Paschendale is a powerful song just on the cd, but live? Amazing. Then after a painful reminder that Blaze Bayley used to be in the band (Lord of the Flies) they pound out No More Lies, another great version of a solid song. The last new song is the first encore, Journeyman. This song was Maiden's first attempt at an acoustic song and it was a winner on the cd, but it just takes off live.

All in all a great recording of a great concert. As I mentioned, Iron Maiden has always sounded great live but the storytelling of the stage show as they play the songs is one of the many reasons to see them live. The dvd release of this concert can't come soon enough, I can't wait to see the theatrics involved with classics like Dance of Death and (especially!) Paschendale.

Again, I don't understand the complaining about duplicate songs from past live releases. Would you want to go see Maiden live and not hear Fear of the Dark, Trooper, etc? The new material alone is reason enough to get this cd, and to me the old material still sounds fresh because of the 3 guitar lineup now. This is definitely a must-have live compilation if you like metal or even if you just like outstanding live recordings.

Live After Death, Live at Donnington, Real Live One, Real Dead One, Rock in Rio (and Maiden Japan)..... Good sound, same material including the Dance of Death stuff. No such thing as bad or too many Maiden live albums, but these guys are pushing it.

This is a decent live album. There are better live releases from this band out there... but if you like Dance Of Death, and want to hear songs from that cd performed live, pick this one up.

They left out a lot of good songs in my opinion, and why did they have to include "Lord of the flies"? That song sucks.

Overall a pretty good cd. If your a fan of iron maiden, you'll like it.

"Steve Harris once again took weeks personally editing the footage and like Rock in Rio this means thousands of cuts right into the heart of the action."
Steve Harris needs to quit making thousands of cuts and let us viewers just watch the show without all of the cuts. Maybe focus on the stage as a whole. It gave me a freakin headache trying to follow the cameras when I tried to watch Rock in Rio. I think it's very, very annoying when the camera will focus on a member of the band, then every 2 seconds the camera moves to someone else. Steve Harris, stop with the damn constant cuts.

When I say "only for Dio-era Sabbath fans", I really mean it. If you are a hardcore Ozzy fan, this live album is not for you.

I will start by saying that I am a big fan of the Ozzy and Dio era Black Sabbath. I first heard Sabbath around 1982. Mob Rules was one of the first Black Sabbath records I had ever heard. I think that's why I'm caught in the middle of the whole Ozzy, Dio vocalist war.

As far as Dio's singing goes on the Osbourne era songs, he sings Children of the Grave very well I think and makes it his own. The same goes for the song "Black Sabbath". I feel he totally captured the feeling of this particular tune and molded it to the time period in which is was performed. Iron Man, in my opinion, was also done very well. On the other hand, songs such as N.I.B., War Pigs, and Paranoid leave the listener with much to be desired. Are they horrible? No, but they just don't capture what Ozzy captures when he sings those classic songs.

As far as Dio's own material with the Sabs, it is great. Heaven and Hell is by far one of the band's best songs ever and the extended version of this classic contained here is a testament in the annals of all metal. I will admit that the guitar solo by Tony Iommi is a bit lengthy at the end of the first part of Heaven and Hell but it just shows how good he is. I would have liked to have heard the whole version of the Sign of the Southern Cross but, it flows into the second part of Heaven and Hell nicely. Voodoo has a bit of an extension which is different from the album version but rocks just as well. Neon Knights is pulled off as a great opener and is a great intro to the world of Dio whilst in Black Sabbath.

As far as production on this album goes everyone who knows anything about Sabbath knows what was going on at the time. It has been said that Iommi and Butler were in the studio one day messing around with the mix behind Dio's back. The same has also been said about Ronnie. I don't know for sure but, the sound on this album could have been better. It's not too bad, though. Don't let that stop you from buying this most important part of Black Sabbath's long and turbulent history. This is one of my favorite live albums.

All reviews are mostly very prejudice, if the reviewer likes the particular album that he or she is reviewing. I like this album a lot. I grew up on it as I did with Ronnie and Ozzy. I have always owned this album in one version or another whether it be a tape, record or CD. I feel that this is a good live album of Sabbath. It represents them at the time (1982).

The album cover is really cool. It is a painting of all the songs included on the record.

If you are a fan of anything Dio has done like I am then you need to get this.

I first heard this album in 1984, and this was my favorite album until I heard Rainbow Rising in 1986.

I'll explain: I've always loved what I term the "mystical" atmosphere in exceptional heavy metal. Black Sabbath started it, Judas Priest capitalised on it, and practically the whole of Ronnie James Dio's astounding career expanded upon it. I myself even explore mysticism (as allegory) in my own project, Lyraka.

This album features an astonishing amount of mystical atmosphere to it, this despite the fact that it's a LIVE ALBUM. I realize that many assert this album is part "studio-ed", but that doesn't take away from the effect. Even the most hard charging tracks here exude a "so-black-its-purple" otherworldliness.

The entirety of the extended "Heaven and Hell/Sign of the Southern Cross" is most representive of what I described earlier. One is literally transported during this song, even more so than by the spectacular studio version. Dio's dramaticisms, combined with Iommi's foray into Elite Guitar God-dom., add up to a ferociously satisfying experience you'll never forget.

The rendition of N.I.B. here completely overshadows the original (and any other) version. Dio completely immerses himself in the part, sounding as though even falling in love couldn't change the devil. Whereas Ozzy's nasal whine made the Lucifer in this tale sound castrated, Dio's is everything a horror fan could ask for. Geezer Butler's bass work provides a fascinating counterpoint as always, but most noticeably during this track.

Neon Knights is the first actual song here, and it is the best ever version of that track as well. Gripping in intensity, Dio seems to push the entire band to deliver an unsettlingly incredible performance. The guitar interplay toward the end by Iommi and Dio has got to be heard to be believed.

Songs like Children of the Sea and Children of the Grave are are also massive highlights here, Dio and Iommi just shine all over this album. Well, Tony Iommi certainly does, but I have an opinion of Dio's performances of Paranoid and Iron Man.

Dio sounds extremely bored by the last two mentioned songs, and the reason is obvious (War Pigs shows the same problem). Those songs werre basically chanted, not sung, by Ozzy, and they leave no room for an operatic vocalist like Dio. Tony Martin had the same problem. Those songs were bulit with the unique personality of Ozzy' s style. So Dio tries his best as a vocal thespian, but ends up sounding very bored at times.

However, the rest of the Ozzy and Dio tracks are SO good, it's impossible to give this a lower than 5 star rating.

Don't hesitate, it's at a great price now.

Live Evil is one of my all time favorite live albums. This was Sabbath fronted by Ronnie James Dio with Vinny Appice on drums. Truly epic versions of Mob Rules, Children of the Sea, Heaven and Hell, Neon Knights and Voodoo. Plus you get Dio's takes on all the Sabbath classics like Iron Man, Children of the Grave and Paranoid. I still remember how excited I was to get this on vinyl in 1982. It holds up after 27 years. I know most people will tell you Sabbath is only Sabbath with Ozzy on vocals. For me however Sabbath with Dio is Sabbath at its finest. Do yourself a favor and pick this CD up along with Heaven and Hell live at Radio City Music Hall to hear the greatest heavy metal band of all time.

Amazons A to Z guarantee program rests on the promise of sellers who
fail to meet their obligations.
1) The cd I ordered never showed up.
2) Amazon said they were closing my claim because the seller said they
issued a refund.
3) 4 days after the refund was said to have been issued, it still did not
show on my credit card account.

I think that Live Evil is a great CD. My question is: What does "enhanced" signify? I have the origal CD that came out in the early 80's, and the remaster that came out in 2008. A friend brought over his enhanced Live Evil CD. This copy of the cd on amazon says "enhanced". I have listened to all three on a very high end stereo. The original sounds good, the 2008 reissue sounds great, the enhanced sounds marginally better than the 80's release. If anyone knows what "enhanced" means, please reply. There does not seem to be anything that sounds "enhanced". I researched the CD itself, and could find no "easter eggs" or hidden files.

This is the final offering from U.K's finest Heavy Metal outfit. It is by far their best material. If you like screeching guitars high pitch vocals and music with balls and attitude, this is for you!

Beavis and Butthead can make fun all they want, this is a classic metal album. I don't think there is any questiosn that this is their very best effort. I like every song on this CD. I only like a couple of songs on each their previous albums.

Rock You to Hell has big hooks and choruses and great production. There is a powerful hard rocking feel to the whole album. Highlights are: ROCK YOU TO HELL, LUST FOR FREEDOM, WAYSTED LOVE, and I WANT MORE.

This album KICKS AS much as any album ever recorded. If you like up tempo drums and rythym sections this album will blow you away. I wouldn't recommend the other GR albums, but this is a MUST HAVE for anyone that likes face ripping no holds barred R & R. Get it or regret it.

Scott Lineback

Arguably the best metal CD of the 80's. This music is a huge step above their previous efforts. Extremely heavy sound with sharp guitar leads and ear piercing vocals. The louder this CD is played the more enjoyable it is. If you're a Mega Metal fan and have never heard this CD you're missing out."Rock You To Hell" will frighten your neighbors so make them suffer!!

Rock You To Hell by Grim Reaper is the best of the 3 CD's that they released. The first two suffer in some degrees from things like a subpar drummer (on "See You In Hell" - the timing is all over the place), and a poor production("Fear No Evil") yet Nick Grimmett and Steve Bowcott carried on until the band finally released "Rock You To Hell", some of which appears in a B-Grade "Women-in-Prison" movie. The Production on this Disc was done by Max Norman so the production is incredible. For those who don't know the name, Max Norman produced Ozzy Osbourne's first four solo releases among a host of others, including the extremely slick "Eye to Eye" by European band 220Volt.
The writing and the production and the performance finally intersect on this CD, and it is one that every Metalhead should own.