Dio Albums (13)
What The Critics Say
Ronnie James Dio has issued quite a few live albums and videos since departing from Black Sabbath in the early '80s, but as evidenced by its title, 2006's Holy Diver Live is a bit different. Keeping in step with a phenomenon started in the '90s with veteran rock acts performing a classic album in its entirety, Dio revisited his 1983 solo debut, Holy Diver. Recorded at the Astoria in London on October 22, 2005 (not 1995, as the CD booklet erroneously lists), the double-disc set also includes a second disc comprised of highlights from Dio's Rainbow and Black Sabbath days, as well as a pair of tracks from another strong early solo release, 1984's The Last in Line. Dio is in fine voice all these years later (something that can certainly not be said of the majority of rock singers his age who have to rely on backing vocalists or prerecorded tapes), as evidenced by such standouts as "Rainbow in the Dark," "Holy Diver," "Heaven and Hell," and "Tarot Woman." And headbangers worldwide have to be happy whenever the woefully underrated Dio/Sabbath-era gem "Sign of the Southern Cross" gets an airing on-stage. Despite guitarist Craig Goldy not performing on this night (due to an arm injury, Doug Aldrich took his place), Holy Diver Live is quite possibly Dio's finest live album yet -- from both a performance and set-list standpoint. ~ Greg Prato, All Music Guide
What The Critics Say
After the reawakening of Ronnie James Dio to a younger generation courtesy of his two-disc Rhino anthology Stand Up and Shout, the man remained alive and kicking for a year-and-a-half, sharing the road with fellow metal luminaries the Scorpions and Deep Purple. This collection of live recordings is the document of this tour, and it features the grand wizard of darkness in fine performing form, covering all of the well-known anthems like "Holy Diver" and "Heaven and Hell" and throwing in some choice new tunes for a balance of old and new. Dio heads will enjoy having this as a souvenir of the man's recent conquests in North America and Europe. ~ Rob Theakston, All Music Guide
What The Critics Say
There's something about a post-millennium album cover that features a giant blue-horned minion of Satan in pre-pounce with an illuminated crystal ball in its leathery hand that simply warms the soul, and the fact that it adorns a record called Master of the Moon can mean only one thing: Dio. Unlike many in the aging metal community, Ronnie James Dio still possesses the same powerful voice that fueled the genre through its late-'70s and '80s heydays, and the reigning dark prince of Elfdom and two-time Black Sabbath frontman is still capable of writing a killer song or two. MOTM resembles earlier works like Last in Line and Sacred Heart in its ability to buffer those one or two great tracks with seven or eight forgettable ones. Luckily, it's the first one out of the gate, "One More for the Road," that packs the biggest wallop. Similar in attack to classics like "We Rock" and "Stand Up and Shout," it sets a breakneck pace for a record that gives up just minutes after the firing of the start gun. What follows is a series of midtempo rockers outfitted with RJD's generic fantasy lyrics about dreams, evil, and being "stronger than the wind," which flirt with creative arrangements and forward-thinking key changes, only to concede to the dark lord of banality. There are moments that inspire, like the snaky Brian May-like riff that weaves through the title track, and the surprisingly political, melodic, and complex "The Man Who Would Be King" -- in true RJD fashion he references the Middle Eastern community as "the people of the sand" -- is among his most satisfying since 1987's "All the Fools Sailed Away," but Dio's on autopilot for the record's majority, resulting in a mediocre romp through the ruins of a land and a time that hath been long forgotten. ~ James Christopher Monger, All Music Guide
What The Critics Say
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. ~ Simon Cantlon, All Music Guide
What The Critics Say
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. ~ Bret Adams, All Music Guide
'Inferno: Last in Live'
Release Date 2/24/1998
Tracks 18
Label Mayhem
See Album Tracklist and Review
What The Critics Say
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. ~ Alex Henderson, All Music Guide
What The Critics Say
Originally released on Mayhem in 1996, then reissued by Spitfire in 2000, Angry Machines was Dio's first effort away from Warner/Reprise, and it does find Ronnie James Dio looking for subtle ways to push into new territory. The lyrics mostly avoid Dio's familiar medieval-fantasy D&D obsessions, instead directing their attention to more real-world concerns (albeit with the same sense of drama). Similarly, there aren't many of the gothic neo-classicisms present on the band's best-known output; and while there are a few progressive sections, Angry Machines is more of a straightforward metal record, full of pounding rhythms and guitars along with plenty of wailing by Ronnie James Dio. The main problem is that the band often seems to concentrate on sound more than songwriting -- the album sounds good while it's playing, but not enough of the riffs or melodies stick with the listener afterwards to judge it a complete return to form. Yet there are enough moments here to make it worth the time of Dio diehards. ~ Steve Huey, All Music Guide
What The Critics Say
The final Warner Bros. release for Dio after an 11-year run of hard-edged post-Sabbath recordings, Strange Highways is almost a return to early '80s form for a group that hadn't done anything particularly inspiring since 1984's Last in Line. Joining the band's namesake vocalist Ronnie James Dio on this 1994 release is an all-star lineup, including long-time drumming cohort Vinny Appice, bassist Jeff Pilson (most notably of Dokken, and an nice addition to the group, especially live), and unknown guitarist Tracy G. Dio is in fine voice as usual, especially on "Hollywood Black" and the emotive opener "Jesus, Mary & the Holy Ghost." G. provides a nice, generally staccato guitar flow that harkens back to the glory days when Vivian Campbell filled the six-string slot in the group's finest lineup. Original drummer Appice seems to have lost some energy, tone, and sharpness by the time of this release, which is too bad considering that he had formerly personified all those qualities. As a unit, however, Dio prove they can lay down some deadly riffs, as songs like "Pain" and "Firehead" keep a nice momentum going throughout this return to solo work for Ronnie James Dio after a brief second tour of duty with Black Sabbath. Strange Highways is a solid effort with some of Dio's better late-career material, powerful singing, and strong performances from G. and Pilson. ~ Vincent Jeffries, All Music Guide
What The Critics Say
Ronnie James Dio assembled a new version of Dio for Lock Up the Wolves, to no apparent change in the band's sound. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Dream Evil is by no means a departure from the Dio formula that was so successful for his first three solo albums. All of the elements that made them so successful are yet again retained here. However, what makes things different this time around is that Dio has more of a melodious side to him, which he puts use here rather than relying on the riffs and delivery he learned at the school of Sabbath. He even touches on the power ballad (a sure sign that the style had fully infiltrated metal) with "All the Fool Sailed Away." The title track and "Sunset Superman" also proved to be two of Dio's most well-known, and most loved songs in his massive catalog. Not an essential release, but one that diehard fans will be sure to want in their collection. ~ Rob Theakston, All Music Guide
