Lizzy Borden Visual Lies Album Review

 

There are a few things one has to take into account to avoid an immediate bias against Lizzy Borden. For one, they were 'glam' in the sense that they wore big hair and trashy 80s metal gear like Kiss or Poison. Second, they were a very theatrical band, and they liked their women in leather with hair as big as their own. Third, Lizzy himself, the vocalist, has a voice which can sooth like a crystal scream or wail like a siren, an obstacle for some.

That being said, they are one of the best metal bands ever produced in the United States of America, with a pretty spotless discography. With all that hairspray, I didn't want to believe it either. Sitting at the peak of this body of work, alongside the rock opera of Master of Disguise, is the excellent Visual Lies. This record has a lot in common with Menace to Society or Love You to Pieces, but it's got a cleaner, accessible sound that in no way hinders the marvelous songwriting.

Every track on the album is loaded with memorable riffs and charming vocal melodies. The guitars are expertly crafted: every hook, every melody, every lead, no wasted notes. "Me Against the World" is power metal lite, deriving its energy from the constant, steady thump of its rhythm guitars and big NWOBHM chorus. In fact, Lizzy's entire style is like a beautiful dedication to the masters of NWOBHM who paved the road for 80s hard rock. "Shock" is another another mid paced track with the huge vocal hooks and delicate, memorable guitars. "Outcast" starts with a great riff, and slows for an emotional, acoustic verse. This verse alone has better vocals in it than many bands have on their entire records...and of course, another of those amazing chorus hooks that should have ensured this band would have dominated radio play if the $$ weren't changing hands for other bands to do so. "Den of Thieves" picks up speed at just the right time on the record, and the guitar work during the verse is simply stunning, with some kickass leads to boot. This is one of my hands-down favorite Lizzy tunes, and for the power metal's fans time and money, the one you want to hear the most on this album.

The title track "Visual Lies" uses some gentle melodic picking lines to create an incredible atmosphere before the swollen, glorious vocal hooks that could easily have given Cinderella or Def Leppard a run for their money. "Eyes of a Stranger" may not be the equal to Queensryche's track of the same name, but it's an excellent melodic mid paced fist pumper. "Lord of the Flies" once again picks up the pace for some more extremely memorable speed metal. It's almost a shame that so many of the songs on the album are slower, not that they're bad by any means, but it would have been a pleasure to hear an entire album where Gene Allen and Joe Holmes were allowed to just go off. "Voyeur (I'm Watching You)" also has some delightful licks but based off more of a blues hard rock vibe. The album ends with the great "Visions" and its swinging hooks and rollicking percussion.

Visual Lies is easily the best produced album of 1987 (having veteran producer Max Norman at the helm definitely made the difference), I don't hear many albums in the 21st century that come close to sounding this good. Every note is at the perfect level and no element of the music dominates another. With a vocalist this graceful and talented, that's not an easy feat. The guitarwork deserves an award for both its restraint and the sheer amount of quality found in every track. This album is a major achievement and it's a crime the band doesn't get the credit it deserves. While not as directly heavy, the material is easily as catchy as a Primal Fear or Hammerfall, in fact it's superior.

SCORE: 5/5

Released: September 5, 1987
Studio: Long View Farm
(North Brookfield, MA)
Genre: Heavy metal, glam metal
Length: 41:50
Label: Metal Blade

Players:
Lizzy Borden - Vocals

Gene Allen - Guitars

Mychal Davis - Bass

Joe Holmes - Guitars

Joey Scott - Drums

Produced by veteran metal producer Max Norman (Ozzy Osbourne, Savatage, etc.)

King Diamond The Eye Album Review

 

It has always surprised me a little to see King Diamond's solo albums praised more on the media review front than his work with Mercyful Fate, since the earlier band was arguably more influential for the metal scene, appearing as they did at the time when many of the more extreme subgenres were emerging. The solo work represents a slightly simpler, certainly catchier take on the free-flowing melodic metal genre, generally approaching the NWOBHM sound from the angle of Angel Witch or Satan and adding even more campy drama and lead guitar exuberance. This album is probably the least progressive and innovative of all the early albums featuring King, though it is widely attested as one of the best examples of pure heavy metal played with feel, flair, and instant appeal.

Now there is no denying the storytelling capabilities of Mr. Diamond but this album is a bit of a departure for him, I'll elaborate, his two prior concept albums (Them & Conspiracy) had been told from the perspective of the protagonists; this one is told from the view of a narrator. The themes of Christian atrocity with the persecution of alleged witches and sexual abuse against nuns are present.

The story starts off with an unnamed character finding a necklace called "The Eye", that allows him/her to see the events the necklace was witness for in the past. They see an accused witch named Jeanne Dibasson being tortured and burned at the stake. Next they see two little girls finding the necklace in the ashes at a stake, and what they see when they look in the eye kills them. Finally there is the story of Madeleine Bavent, a nun working in the Louviers convent, who finds the necklace and decides to put it on. After being raped by Father David, she uses the necklace to kill him by making him look into it. Shortly after, the new Chaplain, Father Picard, arrives and starts bringing everyone to communion. He winds up lacing their communion wine with some substance that lets him control their minds, and uses a group of nuns including Madeleine to ritually torture and kill children. In 1642 all are arrested and imprisoned.

The main parts of the stories told on this album are true, and took place during the French Inquisition, 1450–1670. All of the following characters are real and from that period of time:

-Nicolas de la Reynie (spelled "Nicholas de La Reymie" in the lyrics): Head investigator of the Christian Burning Court (Chambre Ardente), in Paris, France.

-Jeanne Dibasson: Supposed witch.

-Madeleine Bavent: 18-year-old French nun who entered the convent at Louviers in 1625, after having been seduced by a priest. Died in 1647 in prison.

-Father Pierre David: Chaplain of the convent at Louviers till his death in 1628.

-Father Mathurin Picard: Chaplain of the convent at Louviers from 1628 to his death in 1642.

As an album 'The Eye' is much more accessible after the tangled structures and longer songs of 'Conspiracy', which comes as a relief for me, having found that album somewhat of an impenetrable endurance test at times. 'The Eye' also improves on the conceptual oversight of '"Them"', which began to turn into pure theatre at the expense of the music. The concept for this album seems more apt for use as the storyline for a heavy metal record, the Inquisition having already the requisite sense of drama and savour of truth that the haunted house/ghastly family concept never achieved. What that means is that 'The Eye' serves as a good introduction to King Diamond's work and has the potential both to initiate newcomers and alienate older fans of the heavier, more knotty material. For me, it's a very pleasurable album to listen to, since it doesn't take any effort to appreciate, despite some of the old problems with this band's output.

In the first place, the guitars on this record sound wonderfully smooth, which isn't a compliment often thrown about in heavy metal. If one thinks of Dave Murray's (Iron Maiden) classic lead tone and glazes the surface of that tone with ambrosia, we get pretty close to what Andy LaRocque and Pete Blakk sound like here. There isn't really any crunch or grit to their riffs or leads, but they float and flash and scamper playfully over the top of Snowy Shaw's more decisive drums and the bass of Hal Patino, which is sometimes energetic, sometimes subdued. King is also less abrasive than some of the earlier albums displayed, showing almost a knack for subtlety (gasp!) and also using smoothness admirably to create some beautiful atmospheres and reflective moments, for example in the quieter parts of 'The Meetings'. He goes through all the voices and has a crack at narration in 'The Trial (Chambre Ardent)', though he sings in a notably measured way that complements the music slightly better than before. There are still moments of excess, such as the overdone keyboards on 'Two Little Girls', which doesn't contain much of musical merit, as well as Jeanne's voice in 'The Trial', which just sounds silly.

For the most part though, we are treated to an album full of feeling. The emotional range that this concept provides is welcome for those who tired quickly of the constant shocks and creepiness of the previous 4 albums, while the exceptional lead guitar work is a masterclass in melodic detail. I've always thought that LaRocque was slightly too reliant on effects for his solos on 'Abigail' and the likes, so it's great to see him and Blakk chill out a bit and paint with notes, rather than blitzing the listener with everything through the pedals. The swell and roll of a solo like that of '1642 Imprisonment' is gorgeous, particularly when balanced by King's varied vocal lines giving more pace and power to the gentle riffs. That word gentle might be a warning sign for some metal fans, though there are faster and heavier moments in 'Behind These Walls', 'Into the Convent', and 'Burn', which features one of the most appropriate combinations of guitar and violin in classic heavy metal. When this band get going, as with 'Behind These Walls', they sound like a force to be reckoned with, yet there is something slightly unsatisfactory about the preponderence of lighter sections, which makes the album feel almost relaxed at times. However, you can still turn the volume up, so...it's up to you really.

As I mentioned, I find this album very pleasant to listen to and it can suit many moods, but it's not quite gripping enough at times, subsisting at a comfortable medium between Mercyful Fate's raw heavy metal and the fluidity and timelessness of Iron Maiden's late 80s work. Therefore, despite addressing some of the cheesiness and lack of focus that beset King's earlier solo material, 'The Eye' allows itself to slide back by staying just a little too laidback and well-rounded. For me, I have nothing particular against this album, yet I can't exactly say I love it either, for me it does lack the punch of previous works because of all the digital additions (up front keyboards, digital drum pads, slightly sterile production). Thus, I can merely give it a warm recommendation and declare it a strong addition to the music of King Diamond's discography.

Score: 4/5

Released: 30 October 1990

Genre: Heavy Metal 

Length: 43:53

Label:Roadrunner

Producer: King Diamond

Players:

King Diamond - vocals, keyboards

Andy LaRocque - guitars

Pete Blakk - guitars

Hal Patino - bass

Snowy Shaw - drums

Roberto Falcao - keyboards