Album Review: Rainbow - Ritchie Blackmore's Rainbow

Rainbow - Ritchie Blackmore's Rainbow

Ploydor - 1975

10/10

In a series of three albums that came together in a relatively short amount of time, I find it interesting how drastically different they are from one another, despite barely tampering with the general formula. Of course, I am talking about the first three Rainbow albums, showcasing the results of what I'd call my favorite vocalist and favorite guitarist coming together for a brief point in history. It's gotten no easier over the years to decide which record holds the most heat, before arriving at the conclusion that the answer is all of them. With just a small look beneath the surface, it becomes easier to understand that the debut, simply titled Ritchie Blackmore's Rainbow, was a rather elementary idea that just happened to work perfectly, and is easily the most removed from the other two. This is nothing short of the next evolution of the American hard rockers Elf, with the now massive Ritchie Blackmore of the U.K.'s Deep Purple handling the the leads, before all of Elf short of Dio would get the shaft. 

By now, most are familiar with the story of Blackmore wanting to cover "Black Sheep Of The Family" and turning to Ronnie James Dio and co. to make it a reality. However, I think that's a crucial part of the whole puzzle that's often overlooked as just a fun fact, considering that the nature of both covers here paved the path for how the song structures would go. Chris Farlowe's 1970 hit would all but kickstart the general aesthetic of mythology, history, and general struggle that this entire record represents. With just a dash of heavy metal added to the equation, it's easy to see how it would birth the likes of "Self Portrait," "Sixteenth Century Greensleeves," and the likes. Both tunes follow a narrative of hardship and uncertainty, with one simply told in the first person, and the other in the third. Musically, they carry a mellow and somber tone that still utilizes Dio's range to the fullest, and implement's Blackmore's heavy desires in "Black Sheep" for some solos coated in emotion.

Continuing in with the calmer sections, that emotion sneaking its way into the music as wonderfully as it does with the vocals is one of  Ritchie Blackmore's Rainbow's strongest feats. The licks that make up the foundation of "Catch The Rainbow," coated with majestic keys create a sad atmosphere that fits the vibe even before vocals are introduced; we love when the guitar can sound as sad as an actual human. The way they all come together in such a harmonious chorus is immaculate, especially when the drum kicks pick up the pace to see us out. This is pulled-off in a less dramatic way in "Temple Of The King," another favorite that still follows the medieval themes and a somber attitude (I have to assume a Chinese tale, in the use of referencing a year named after an animal).

But these medieval kicks around the struggles of a being work wonders in what we'll call the heavier tunes too. Though I struggle to call much of this album heavy metal, there's no denying the early parallels with Judas Priest or Scorpions. "Man On The Silver Mountain" is a mean opener for its time, setting the stage for powerful vocals and masterful melodies that sport the right amount of muscle. Further, "Snake Charmer" works in the band's ability to add speed to the formula, being another mythical laced number that still retains the general feel. To close things off, an instrumentalized cover of The Yardbirds' "Still I'm Sad" almost acts as a closing act meant to bring everything into a heavier outburst of man's struggles still following him, after all this expression around sadness, emptiness, and labor. If nothing else, we're meant to relate to the material in all of these songs.

The sole reason why I genuinely think this was all an accident is because of the inclusion of "If You Don't Like Rock 'N Roll." When two covers fit the general sphere of melancholy, strife, and the rough go in medieval chronicles better than one of your original tunes, then you know it was simply thrown in with the rest; the other six originals just happened to flow wonderfully out of the vibes of said cover. Don't read me wrong, I still love this tune. It's a fun, upbeat ditty with a great piano lead and more strength in the realm of faster tempos, but comparing it to the rest of Rainbow's debut feels very out of place, if that description alone doesn't make it stand out. This is an album of somber ballads and rock 'n roll grit, all of which formed by chance from different acquisitions of talent. 

Thus, I seriously don't think there was a lot of effort put into making everything work together so wonderfully, it just did (except with one song), and I'm completely here for it. Moving forward, two more records would evolve this effort into streamlined identities, as Blackmore would bring in his own hired guns, and they would cement something more aligned with what we call heavy metal. Regardless, Ritchie Blackmore's Rainbow holds just as much merit, and mood depending, it can be the preferred album. Ignoring some of these weird nuances that give it a less locked-in feel, there's not a single track that leaves me hanging. It just boils down to whether or not you want a compilation of short stories, or a full-on novel.

Album Review: Fortress - Don't Spare The Wicked

Fortress - Don't Spare The Wicked

High Roller Records - 2021

8/10

The California based band Fortress are one that somehow completely missed my radar a couple of years ago, but as they say, better late than pregnant. Having gained some mild traction with an EP leading up to that, it was 2021's debut full-length that really made an impact on me. Titled Don't Spare The Wicked, this is a solid slab of heavy metal that's here and gone before even touching the thirty minute mark. We love a band that can make an impact in such a small frame of time.

And that's precisely what Fortress does. They may stick to the traditional metal backbone for the majority of this run, however I'd be lying if I said power metal influences of the European flavor didn't make their way in. Paired with rhythms ranging from steady to bordering speed metal are an overload of falsetto vocals, as well as the occasional synth-coat for a sweeter layer. For an album of such a short runtime, they also really enjoy baking soft centers into the heavier tracks to contrast the heavier chugs. All of this comes together to work as what feels like one strong narrative under a mythological and historic scope.

I'll admit, some of the shifts in tone can be a bit shaky, and that might have something to do with how much is crammed into the short runtime. The vocals also dominate a lot of this, and while they're extremely competent and sharp, it can feel overwhelming. However, the general idea hits, and it hits hard. "Anguish" is a fine example of jumping all over the power metal sphere in tempo and delivery alike, while opener "Lost Forever" is a more streamlined attack with the leads and synths remaining consistent. To the opposite end, "Red Light Runner" stays in the fast lane (pun intended), emphasizing the ability to crank out speed metal chops without letting up, topped off with several wavy solos. My favorite might be the title track, closing things out on a note that teeters epic territory; I just wish "The Passage" interlude felt a little more connected to it.

It's early in the band's career, but Don't Spare The Wicked is a strong debut that boasts some of the greatest foundations for what could be an incredible record. It's rare that I say an album needs a little more fluff rather than less, but I only mean this in a way that molds things together ever so slightly; what we have is a lot of great ideas that just need to stick together a little better with some fine-tuning. Anybody who digs the channels of early Helloween or the newer acts in line with Starlight Ritual should find something to gain here. If not, at least you didn't spend much time on it.

Album Review: Anthrax - Fistful Of Metal

Anthrax - Fistful Of Metal

Megaforce Records - 1984

7/10

The debut Anthrax record is one of the finest examples of something I have a love/hate relationship with. It's a mere skeleton of the masterful work the band would become known for, and an essential part of my favorite thrash metal band topped only by Overkill. Fistful Of Metal hit the scenes a year after Slayer and Metallica all but defined the genre, and it's equally as charming as it is rough. What it really boils down to is how much chaos you're in the mood for.

Across the board, this works as the final bridge that covers the vague gap seen between speed metal and thrash metal. Within the cracks, I find that everything I like about Fistful Of Metal is also everything I dislike about it. Neil Turbin's unconventional shrieks fuel an aggressive edge that channels so much adrenaline, yet these same shrieks often sound misplaced, needing some fine tuning. The Eric Adams-meets-Paul Stanley approach thrown into overdrive is a nice tactic, but the delivery really could have been better quite often. The stripped down production is a feature I can always get behind, adding extra grit to the stronger numbers while also holding back areas that may have flourished better. The explosive energy of this boosts some songs to nasty proportions, while feeling awkward in others.

Now apply this same formula to the songwriting itself. It's so minimalist compared to what the band would soon use to define themselves, making it lack the hooks that I look for in their albums, yet when they're present, they snatch me every time. Thus, the entire album is a game of picking out what really sticks. "Metal Thrashing Mad" is somewhat the defining tune on the record, being one that Joey would continue using in live shows, and for good reason. The unraveling of the simple riff matches Turbin's outbursts wonderfully, and the rhythmic chops are timed beautifully with the chorus. Further, "Panic" is an explosive ditty with pummeling drums and ferocious solos while boasting some of the most competent vocal work. I'll even throw some praise to "Death From Above" because of its marching leads, elaborate chorus, and progressions along the lines of "Love Gun" by Kiss amplified tenfold.

Yet, for each banger, there's a stinker. I've always found "Soldiers Of Metal" to be an overrated tune for its status, containing the right energy but channeling it nowhere, complete with unnecessary wails. "Subjugator" also had potential but falls short in its awkward delivery, and don't even get me started on the mistake that was including an Alice Cooper cover in "I'm Eighteen." Everything else ranges from serviceable to underwhelming; I find it interesting that the band's title track "Anthrax" basically became a forgotten tune within a year or so thanks to its lack of memorability. Again, not a bad tune, but I'd be lying if I said it had lots of replay value. I'd almost go as far as saying Anthrax had a first-record identity crisis, unsure if it wanted to be the debut Def Leppard and Iron Maiden type, or the Metallica and Slayer type.

I digress, I really have to appreciate Fistful Of Metal for laying out the basis of what would become some of the greatest heavy metal of all time. I'm openly aware of my bias, and maybe if I heard this in 1984 without the context of what they'd become, I'd like it a little better. But revisiting it time and time again as someone who's parents did the deed a decade later than Anthrax's debut, it's missing a lot of what I'm after. The strong points are very strong, but the weak points hold the rest back.