Motorhead - World Is Ours, Vol. 1: Everywhere Further Than Everyplace Else CD

World Is Ours, Vol. 1: Everywhere Further Than Everyplace Else songs 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 ...

World Is Ours, Vol. 1: Everywhere Further Than Everyplace Else buy CD music Most people think of the legendary Ronnie James Dio as one of heavy metal's sage elder statesmen, but when his newly minted namesake band performed at the 1983 Castle Donington Monsters of Rock Festival, fresh off the release of their soon-to-be seminal debut album, Holy Diver, they behaved like fresh-faced upstarts with everything to prove. Don't believe it? Well then, consider the fact that, despite his already enviable track record at the helm of Elf, Rainbow, and Black Sabbath, on that hot August day, Dio and his charges found themselves crammed fifth on the bill, warming up the crowd for Whitesnake, Meat Loaf, ZZ Top, and Twisted Sister! But, as you'd expect from the indefatigable vocalist (already 41-years-old that day!), his professional standards never fell short of headlining status as he guided his handpicked bandmembers -- faithful Sabbath partner, drummer Vinnie Appice, former Rainbow associate, bassist Jimmy Bain, and white-hot guitar prodigy Vivian Campbell -- through an energized set of past and future heavy metal classics. With only 45 minutes allotted to them, the band blazed through the newer Dio cuts ("Stand Up and Shout," "Rainbow in the Dark," "Holy Diver") in the concert's first half before embarking on a medley of established fan favorites combining portions of "Stargazer," "Starstruck," "Man on the Silver Mountain" (all Rainbow standards), and the Sabs' "Heaven and Hell," which, when stretched out to include an audience participation section, nearly brought down the ol' Castle. Final verdict: all killer, no filler. Four years later, Dio were invited back to Donington, sans Campbell (recently replaced by Craig Goldy), but tellingly slotted second only to headliners Bon Jovi on a bill also featuring -- get this: Metallica, Anthrax, W.A.S.P., and Cinderella -- a testament to the group's great success during in the intervening years. But, in contrast to this, Dio's performance felt a little less inspired and spontaneous (more like clockwork than hungry to please) due to the many years they'd spent grinding it out on tour -- not to mention churning out steadily diluted original material like "Dream Evil," "Rock and Roll Children," and "Naked in the Rain" (remember that one? Neither do we). "The Last in Line," at least, still held sway with magnificent gravitas, and, as always, the Rainbow and Sabbath nuggets were interspersed amid these cuts, oftentimes in truncated form, making for alternately confusing and entertaining combinations that ultimately sent the punters home happy. Now, decades on, these two landmark performances finally see the light of day as the first release issued by Dio's own Niji Entertainment Group, but, tragically, the double-disc set arrived just a few months after the great singer's passing following a short but typically spirited battle against stomach cancer. Nevertheless, Dio's music will obviously live on forever. ~ Eduardo Rivadavia Recording information: Total Access Studios, Redondo Beach, CA. Photographers: P.G. Brunelli; Alex Solca; Gene Kirkland; Neil Zlozower; Jenny Raisler. Unknown Contributor Roles: Wendy Dio; Sarah Turner; Marchele Mallari; Anthony Turner; Lynne Platt; Diana Deville; Omar Gimenez; Melanie Alcorn; Carmen Hornbuckle; Dean Schachtel. Personnel: Ronnie James Dio (vocals); Craig Goldy, Vivian Campbell (guitar); Claude Schnell (keyboards); Vinny Appice (drums). Liner Note Author: Dante Bonutto.

World Is Ours, Vol. 1: Everywhere Further Than Everyplace Else album for sale Recorded in London during 1995, HOLY DIVER LIVE finds revered metal vocalist Ronnie James Dio recreating his classic '83 solo debut in its entirety onstage. Opening with the barnstorming "Stand Up and Shout," Dio leads his proficient band through each track of the album, garnering a huge crowd response with the hard-rock anthem "Rainbow in the Dark." The second disc of this set finds the leather-clad one delivering another strong batch of tunes that draws largely on his stints with both Rainbow ("Gates of Babylon," "Man on the Silver Mountain") and Black Sabbath ("Sign of the Southern Cross," "Heaven & Hell"), making this an essential concert release for Dio diehards. Liner Note Author: Dave Ling. Recording information: Astoria Theatre, London, England (10/22/1995).

World Is Ours, Vol. 1: Everywhere Further Than Everyplace Else CD music BORN AGAIN is probably the most underrated album in the Sabbath catalog. Featuring the classic lineup with vocalist Ian Gillan (Deep Purple) standing in for Ozzy, BORN is a balls-to-the-wall metal album made in an era when Dexy's Midnight Runners and Debarge dominated the charts. "Trashed" races by with Gillan's hair-raising shrieks. It's said the man sang the album naked in the studio for maximum power and grittiness, and he seems to have achieved it. Sounding nothing like Ozzy Osbourne or Ronnie James Dio, Gillan nonetheless fits the Sabbath sound to a T. "Zero The Hero" features a wicked bass line from Geezer Butler, while "Digital Bitch" contains classic metal soloing from Tony Iommi. The title track is a power ballad that fit that label before bands like Firehouse and Warrant distorted it. If you're a fan of Deep Purple, Black Sabbath, or hard rock in general, don't let BORN AGAIN be the one that got away. Digitally remastered and expanded deluxe two CD edition of this 1983 album from the Hard Rock/Metal legends including a bonus disc containing an additional 11 tracks. Born Again was the band's first album since Ronnie James Dio departed and remains their sole album with Deep Purple's Ian Gillan on vocals. Produced by Black Sabbath and co-producer Robin Black, who had also worked on 1975's Sabotage, 1976's Technical Ecstasy, and 1978's Never Say Die, Sabbath's eleventh studio release would represent a radical departure from the gloomy atmospherics and blackened lyricism that had forged their identity and spawned innumerable descendants. The bonus disc contains a previously unreleased track, an extended version and nine tracks from the BBC Friday Rock Show broadcast of Black Sabbath's appearance at the Reading Rock Festival in August 1983. Sanctuary. Personnel: Ian Gillan (vocals); Tony Iommi (guitar, flute); Geoff Nicholls (keyboards); Bill Ward (drums, percussion). Audio Remasterers: Matt Wortham; Andy Pearce. Liner Note Author: Alexander Milas. Recording information: The Manor Studio, Shipton, Cherwell Oxfordshire, Englan (08/27/1983); The Reading Festival (08/27/1983). Photographer: Ross Halfin. Black Sabbath: Ian Gillan (vocals); Tommy Iommi (guitar, flute); Geezer Butler (bass); Bill Ward (drums, percussion). Additional personnel: Geoff Nicholls (keyboards).

World Is Ours, Vol. 1: Everywhere Further Than Everyplace Else buy CD music It was on the concert stage (or more precisely, their local bar's stage) that the majority of New Wave of British Heavy Metal bands caused an initial buzz in their native land. And one of the genre's most popular live acts at the time was Saxon. Thus far, the group has issued countless live sets over the years, and 2006 saw the latest entry in their ongoing The Eagle Has Landed series. Recorded during various Europe dates circa 2004 and 2005, the double-disc Eagle Has Landed, Vol. 3 contains both blasts from the past and new tracks (disc one focusing on their early days through 1984, while the majority of disc two focuses on 1991 through 2004). Saxon 2006 only sees two original bandmembers still in attendance -- singer Biff Byford and guitarist Paul Quinn -- but Saxon's signature, anthemic metal sound remains intact. With Saxon's '80s era considered by most fans to be their strongest, the first disc is expectedly the better of the two, as it includes "Never Surrender," "And the Bands Played On," "Warrior" (which sounds like Kill 'Em All-era Metallica), and "Crusader." As evidenced by the second disc, Saxon's '90s-era material was certainly an improvement over the group's overly commercial material of the mid-to-late '80s ("Lionheart," "Beyond the Grave," etc.) but wasn't exactly as fist-pumping/headbanging-inducing as, say, "Wheels of Steel." ~ Greg Prato Saxon’s 1979 debut already hinted that a rough diamond was about to emerge. Their second recording, Wheels Of Steel, tuned into a mega seller, as Saxon went on to tour all over the world. The successor, Strong Arm Of The Law, and especially their double platinum release Denim And Leather (1981) reinforced Saxon’s reputation. Tours of America, an appearance at the Monsters Of Rock festival in Castle Donington, and the live album The Eagle Has Landed (1982) (according to Melody Maker “one of the best live recordings of the decade”) followed. Power And Glory (1983) was another classic that caused a stir, particularly in the States. Crusader (1984), oriented towards the US radio charts, was greeted by the odd critical voice that complained about Saxon’s supposed mainstream ambitions. Recording information: Berlin, Germany (2004-2005); Fulda (2004-2005); Hamburg (2004-2005); Kiel (2004-2005); London, England (2004-2005); Nuremberg, Germany (2004-2005); Nuremburg (2004-2005); Paris, France (2004-2005); Stockholm, Sweden (2004-2005); Wacken (2004-2005). Saxon: Nibbs Carter (bass guitar); Doug Scarratt, Nigel Glockler, Paul Quinn , Biff Byford, Jörg Michael. Personnel: Biff Byford (vocals); Doug Scarratt, Paul Quinn (guitar); Nigel Glockler, Jörg Michael (drums).

World Is Ours, Vol. 1: Everywhere Further Than Everyplace Else songs Hearing Iron Maiden fans sing along to a new song like "El Dorodo" with the same ferocity that's applied to classic cuts like "Number of the Beast," "Two Minutes to Midnight," and "Hallowed Be Thy Name" must be invigorating for a group that has toured and recorded steadily for almost 40 years and never had a proper hit, let alone a commercial radio presence. 2010's Final Frontier (their 15th studio album), while by no means earth shattering, offered up further proof that the venerable New Wave of British Heavy Metal practitioners were unwilling to spend their twilight years clinging to the commercial safety of past glories. 2012's En Vivo! (their tenth live album), which was recorded in Santiago, Chile's Estadio Nacional Julio Martínez Prádanos stadium during the Final Frontier tour, finds Iron Maiden solidly straddling the line between both eras, offering up equal servings of material both new and old, and integrating them seamlessly into each other, just they like they always do. ~ James Christopher Monger Director: Andy Matthews. Photographer: John McMurtrie. Personnel: Bruce Dickinson (vocals); Dave Murray , Janick Gers, Adrian Smith (guitar); Michael Kenney (keyboards); Nicko McBrain (drums). Audio Mixer: Kevin Shirley.