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│ METAL CLASSICS ARCHIVE │
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│ P R E S E N T S │
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│ + Riot - Fire Down Under-(CANDY371) + │
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│╔═════════════════════╗ │
│║ Release Information ║ │
│╠═════════════════════╩══════════════════════════════════════════╗ │
│║ ║ │
│║ Release Date.Dec-08-2019 Encoder......L3.100 -v0 ║ │
│║ Genre........Heavy Metal Graber.......EAC ║ │
│║ Year.........2018 Khz/Bitrate..44,1/ Br ║ │
│║ ║ │
│║ Ripper.......anthem Songs........16 ║ │
│║ Covers.......Yes Url... www.areyoureadytoriot.com ║ │
│║ ║ │
│╚════════════════════════════════════════════════════════════════╝ │
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│╔═════════════════════╗ │
│║ Release Notes ║ │
│╠═════════════════════╩══════════════════════════════════════════╗ │
│║ ║ │
│║ Artist : Riot Rating : You Decide! ║ │
│║ Album : Fire Down Under-(CANDY371) Label : Rock Candy ║ │
│║ ║ │
│║ ║ │
│╠════════════════════════════════════════════════════════════════╣ │
│║ ║ │
│║ Description : ║ │
│║ ║ │
│║ RockCandy remastered edition of Riot thirg ║ │
│║ studio album with six bonus tracks. ║ │
│║ ║ │
│║ ------------------------------------------------ ║ │
│║ ║ │
│║ What is it exactly that makes this album so damn ║ │
│║ fun? That very question has had me scratching my ║ │
│║ head for years, because honestly I just don't ║ │
│║ know. I can point out certain aspects that ║ │
│║ surely contribute; there's Guy Speranza's top- ║ │
│║ shelf vocals, the unbelievably catchy ║ │
│║ songwriting, and performances energetic enough ║ │
│║ to power a fleet of flux capacitors. At some ║ │
│║ point however the whole somehow becomes far more ║ │
│║ than the sum of its parts, and what we get is ║ │
│║ that special kind of magic that I can only call ║ │
│║ "greatness". And boy did Riot have both the ║ │
│║ stomach and the appetite for greatness. ║ │
│║ ║ │
│║ As with many great albums, Fire Down Under has ║ │
│║ quite a story behind it. After Narita and a ║ │
│║ tour, Capitol Records were done using Riot as a ║ │
│║ tool to make Sammy Hagar seem hip with the ║ │
│║ younger generation, and they dropped Riot like a ║ │
│║ used condom; followup Fire Down Under was ║ │
│║ apparently commercially unacceptable, but the ║ │
│║ label didn't want to let Riot out of their ║ │
│║ contract either, stranding the album in legal ║ │
│║ limbo. Yet even that wasn't enough to stop Riot. ║ │
│║ The band told their fans, and the fans got ║ │
│║ righteously pissed. In the UK they went so far ║ │
│║ as to engage in noisy, violent public protests ║ │
│║ (or something) in front of the offices of ║ │
│║ Capitol's parent EMI, until finally the label ║ │
│║ buckled and let the band out of the contract, if ║ │
│║ only to get those annoying British kids off of ║ │
│║ their lawn. Fire Down Under was promptly ║ │
│║ released on Elektra Records, even going so far ║ │
│║ as to break into the Billboard Top 100, quite a ║ │
│║ feat considering Riot no longer had major label ║ │
│║ muscle behind their promotion. ║ │
│║ ║ │
│║ Listening to these songs, is it really any ║ │
│║ wonder the Brits were going apeshit over them in ║ │
│║ 1981? People characterize this album as ║ │
│║ "American NWOBHM", and really that hits the nail ║ │
│║ on the head, if the "American" is understood to ║ │
│║ refer to character as well as location. Rather ║ │
│║ than sounding much like Judas Priest or Black ║ │
│║ Sabbath or punk rock, the name of the game here ║ │
│║ is bluesy hard rock from bands like Led ║ │
│║ Zeppelin, Deep Purple, Thin Lizzy, and Rainbow ║ │
│║ (bands from the UK, true, but with roots lying ║ │
│║ squarely in American blues rock); but unlike ║ │
│║ Riot's first two albums, for the third the band ║ │
│║ started playing a whole lot louder and a whole ║ │
│║ lot faster, making full use of the twin-guitar ║ │
│║ attack (possible evidence they had noticed ║ │
│║ Tipton & Downing after all). Even so, Saxon at ║ │
│║ their most energetic and Raven at their most ║ │
│║ polished are Fire Down Under's closest cousins, ║ │
│║ I think. I do not exaggerate when I put Guy ║ │
│║ Speranza at his best on the same level as true ║ │
│║ greats like Halford or Dio; the man has the full ║ │
│║ frontman package, evincing incredible skill and ║ │
│║ talent while simultaneously dripping with ║ │
│║ charisma. Speranza reminds me of Glenn Hughes in ║ │
│║ a lot of ways, with a similar sort of high clear ║ │
│║ tenor, but with a soulful edge that comes and ║ │
│║ goes at will. Unlike Hughes however, Speranza's ║ │
│║ got more youthful energy than ten boys in a ║ │
│║ bottle, like an Ian Gillan with the rough edges ║ │
│║ sanded down, and that makes listening to the guy ║ │
│║ a whole hell of a lot of fun. If you listen to ║ │
│║ one of the live albums from the time or watch ║ │
│║ any videos of Speranza's old shows with Riot on ║ │
│║ Youtube, you can see that he did a fantastic job ║ │
│║ in a live environment as well. ║ │
│║ ║ │
│║ Fire Down Under is a perfect example of classic ║ │
│║ pacing done right; right out of the gate we're ║ │
│║ hit by "Swords and Tequila", a fast number about ║ │
│║ drinking and playing with weapons that gets you ║ │
│║ up out of your seat and keeps you there. Next we ║ │
│║ have the title track, which turns things up ║ │
│║ another notch. It's even faster than the first, ║ │
│║ practically speed metal, and it has what might ║ │
│║ be the catchiest chorus on an album full of ║ │
│║ catchy choruses. The former clocks in at just ║ │
│║ over three minutes while the latter lasts just ║ │
│║ longer than two and a half; Riot know how to ║ │
│║ keep it short but sweet. Just as you'd expect ║ │
│║ from the pacing, "Feel the Same" slows things ║ │
│║ down with a brooding, bluesy feel and Speranza's ║ │
│║ expert crooning. While the first two songs were ║ │
│║ about kicking ass and having fun, "Feel the ║ │
│║ Same" is much more heartfelt, the yearning of a ║ │
│║ man who desperately wants to establish a ║ │
│║ meaningful connection with his woman, but seems ║ │
│║ chronically unable to understand her. ║ │
│║ ║ │
│║ Midpaced rocker "Outlaw" spins a melancholy yarn ║ │
│║ of a gambler on the run from the law, until ║ │
│║ finally he is betrayed by a woman and runs out ║ │
│║ of luck. "Don't Bring Me Down" ooches the pace ║ │
│║ up another little bit and lightens the mood ║ │
│║ substantially, as Guy Speranza berates the girl ║ │
│║ who left him, featuring classy lines like "You ║ │
│║ call me a wimp, you say I'm a chump/Well your ║ │
│║ face is bent, and you smell like gorilla dump." ║ │
│║ Good one, Guy. Luckily, the track is ║ │
│║ intentionally fun and silly enough that the ║ │
│║ lyrics don't come off as too out of place. ║ │
│║ "Don't Hold Back" has us up to full speed again, ║ │
│║ but ironically it sees Riot holding back, with ║ │
│║ understated verses and most of the burden of ║ │
│║ heaviness carried by the rhythm section. Even ║ │
│║ so, it works quite well and the gang shouts ║ │
│║ really drive the chorus's point home. ║ │
│║ ║ │
│║ However, none of that has prepared you for ║ │
│║ "Altar of the King". This is Riot's take on ║ │
│║ Rainbow's epic style, approaching the ║ │
│║ transcendence of something like "Stargazer" in ║ │
│║ only about half the time but with a much more ║ │
│║ positive color. The song opens with a quiet, ║ │
│║ vaguely medieval-sounding acoustic guitar piece ║ │
│║ before slapping you with that main riff that ║ │
│║ bounces along like a runaway jackhammer. The ║ │
│║ rest are good as well, with the two guitars ║ │
│║ splitting into separate but supporting parts on ║ │
│║ the verses, one repeating a single fast chord ║ │
│║ while the other lets the same chord ring out, a ║ │
│║ technique that creates considerable tension ║ │
│║ which builds toward the chorus. To the altar of ║ │
│║ the king! Over the top of this Guy Speranza ║ │
│║ sings his heart out, with lyrics encapsulating ║ │
│║ the song's theme of striving toward greatness ║ │
│║ and accomplishment through ambiguous epic ║ │
│║ pronouncements that would make Dio proud. ║ │
│║ "Evening's burning skies/Reflect upon my ║ │
│║ eyes/Out in the distance/Utopia, resistance." ║ │
│║ Then a fantastic melodic solo that takes its ║ │
│║ time and bends notes like Thor bends iron bars ║ │
│║ with his teeth. "Altar of the King" is clearly ║ │
│║ the strongest track on the album, and one of my ║ │
│║ favorite hard rock/heavy metal tracks of all ║ │
│║ time. I liken it to the righteous conviction of ║ │
│║ the young men who lied about their ages to ║ │
│║ enlist early during WWII, so eager were they to ║ │
│║ fight Nazis. If "Altar of the King" were used in ║ │
│║ a recruitment campaign, I'd join up no matter ║ │
│║ the cause. War with the Lilliputians, you say? ║ │
│║ I'm on a boat right now with a pair of stompin' ║ │
│║ boots. ║ │
│║ ║ │
│║ Unfortunately, the album doesn't ever get back ║ │
│║ to the greatness of the previous song, but then ║ │
│║ that's too much to ask. "No Lies" is another ║ │
│║ song in the vein of "Don't Hold Back", perhaps ║ │
│║ even a little stronger. "Run for Your Life" on ║ │
│║ the other hand is a lot like "Swords and ║ │
│║ Tequila", fast and energetic and a load of fun. ║ │
│║ "Flashbacks" is a bit of a weird outro, longer ║ │
│║ than many of the actual songs on the album. It's ║ │
│║ put together out of snippets from concerts and ║ │
│║ interviews with a guitar solo screaming over the ║ │
│║ top, and eventually it starts to turn into a ║ │
│║ cool song before prematurely fading out. While I ║ │
│║ have to admit it was probably put in there to ║ │
│║ pad out the length of an otherwise very short ║ │
│║ album (33 minutes without the outro), I think it ║ │
│║ does a good job of cementing the mood and easing ║ │
│║ us out. The way "Flashbacks" fades just at the ║ │
│║ apparent beginning of another song implies that ║ │
│║ Riot never quit, it's only the listener who gets ║ │
│║ too exhausted to continue. Maybe there's some ║ │
│║ alternate universe in which Riot play forever? ║ │
│║ ║ │
│║ Though their successes seemed forever tempered ║ │
│║ by setbacks, between Narita and Fire Down Under ║ │
│║ Riot was genuinely on the cusp of breaking ║ │
│║ through and joining the likes of Iron Maiden and ║ │
│║ Judas Priest. Unfortunately, Fire Down Under ║ │
│║ also ended up being the swansong for this ║ │
│║ incarnation of Riot. Disillusioned after label ║ │
│║ shenanigans and general mismanagement, the ║ │
│║ recently married Guy Speranza decided it was ║ │
│║ time to leave the biz forever. The band picked ║ │
│║ up new throat Rhett Forrester and soldiered on; ║ │
│║ while talented, Forrester was apparently a ║ │
│║ difficult and unreliable guy, and without ║ │
│║ Speranza the band's chemistry was definitely ║ │
│║ off. A mediocre followup to Fire Down Under got ║ │
│║ them dropped from Elektra, and after another ║ │
│║ mediocre Forrester album on an even smaller ║ │
│║ label, band leader Mark Reale simply didn't have ║ │
│║ the energy to continue touring in support of big ║ │
│║ names while Riot's chances of being a big name ║ │
│║ themselves, once nearly within reach, now ║ │
│║ receded ever farther into the distance. I could ║ │
│║ lament the end of the Speranza-era Riot, but ║ │
│║ honestly I find it difficult to imagine the band ║ │
│║ topping Fire Down Under, and if you listen to ║ │
│║ the handful of tracks that were recorded after ║ │
│║ this album but before Speranza's departure, they ║ │
│║ show the band making clear concessions to ║ │
│║ commercial demands at the expense of quality. ║ │
│║ These ten tracks right here were unquestionably ║ │
│║ the culmination of their hard rock efforts up to ║ │
│║ that point; one of the first emergences of heavy ║ │
│║ metal proper on this side of the Atlantic, one ║ │
│║ of the few American answers to NWOBHM that ║ │
│║ really carried weight. Under the right ║ │
│║ circumstances Riot might've been able to pull ║ │
│║ off another good album or two in this style, ║ │
│║ sure, and it's a shame they didn't; but after ║ │
│║ listening to Fire Down Under four or five times ║ │
│║ in a row while writing this review, it's really ║ │
│║ hard to feel bad about anything. ║ │
│║ ║ │
│║ ║ │
│║ ║ │
│╚════════════════════════════════════════════════════════════════╝ │
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│╔═════════════════════╗ │
│║ Release Tracklist ║ │
│╚═════════════════════╩══════════════════════════════════════════ │
│ │
│ 01 - Swords And Tequila [03:15] │
│ 02 - Fire Down Under [02:29] │
│ 03 - Feel The Same [04:49] │
│ 04 - Outlaw [04:17] │
│ 05 - Don┤t Bring Me Down [02:58] │
│ 06 - Don┤t Hold Back [03:11] │
│ 07 - Altar Of The King [04:41] │
│ 08 - No Lies [04:16] │
│ 09 - Run For Your Life [03:13] │
│ 10 - Flashbacks [03:56] │
│ 11 - Misty Mornig Rain (Bonus Track) [03:07] │
│ 12 - You┤re All I Needed Tonight (Bonus Track) [02:58] │
│ 13 - One Step Closer (Bonus Track) [02:12] │
│ 14 - Struck By Lightning (Bonus Track) [03:38] │
│ 15 - Outlaw (Remix/Edited) (Bonus Track) [03:15] │
│ 16 - Rock City (Live) (Bonus Track) [04:27] │
│ │
│ Total Length : [56:42 minn │
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│ ╔═════════════════════╗ │
│ ║ Greetings To: ║ │
│ ╚═════════════════════╝ │
│ │
│ Too all people who contributes to make this │
│ archive of good music in a exceptional conditions │
│ │
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│ │
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