Here is a copy of the recent August 2002 Metal Maniacs Article.
It was typed out by: OriginalDesire@webtv.net (Kyle Robertson) HE ROCKS!!!

DIO - Still Slaying Dragons After All These Years by Vincent N. Cecolini

Ronnie James Dio is a legend.

Sure, the term "legend" is tossed around much too often these days, but it certainly applies to the diminutive multi-talented vocalist who, during an unparalleled career, has fronted such influential acts as ELF, Rainbow, Black Sabbath and Dio. Following the success of 2000's Magica, heavy metal's greatest voice returns with Killing the Dragon, arguably the best album released under his surname.

Dio's longtime fans laugh at critics who refer to Magica as a comeback.
While many of the enigmatic vocalist's would be peers continue to make excuses about their declining careers, he has not lost a step.

Dio has accomplished so much during the last 30 years that his latest creation is drawing comparisons, not to the works of other heavy metal heroes, but to his own classics, including Holy Diver (1983) and The Last In Line (1984).

With energy, drive and determination that would fatigue those a third his age, Ronnie James Dio not only refuses to slow down, he will not look back on what he has achieved.

Like a master chess player, Ronnie James Dio is already contemplating his next series of moves. The dragon slain, Dio and his bandmates are in the midst of an exhausting worldwide touring schedule with the dream lineup of Deep Purple and The Scorpions.

Metal Maniacs: What is the concept behind "Killing the Dragon"?

Ronnie James Dio: The dragon symbolizes those who perpetrate injustices against us. In fantasy tales, dragon's were notorious for stealing children and feeding them to their babies. During the first part of the song, I sing, "Someone has taken a child." The second part is about a cruel feudal lord. The third part is about "electronic serfdom."

MM: You believe that the computer has become a god in modern society?

RJD: It is a small god with an electrical heart. It is time to rebel against it.

MM:"Along Comes A Spider" joins the long Dio tradition of songs about manipulative woman.

RJD: Spiders eat their young and their mates. The song is about guys who believe that they've gotten over a relationship but are inevitably dragged back into it.

MM: You often write about romantic betrayal, including "Don't Talk To Strangers" (Holy Diver) and "As Long As It Is Not About Love" (Magica). You identified so much with Deep Purple's "Mistreated" that you took the song and made it you own.

RJD: You get repetitive after awhile.

MM: That is not what I meant.

RJD:That is exactly what I mean. It becomes difficult after awhile when you have done so many damned things. It is especially difficult when you have tunnel vision as to what you want to write about. I don't want to write mere love songs. I want to write something that lets the listener use his or her imagination. I often get painted into a corner, however, and someone will complain that I've used the word "rainbow" again. I finally decided that this is what I have in me and this is what you are going to get.

MM: Your love songs are about betrayal and heartbreak rather than lust and the objectification of women.

RJD: I try not to get into the intricacies of it all. The word "love" presents a broad canvas. I don't like to paint directly at it. Relationships are personal things. How am i going to make someone understand relationships by singing about "Rosie And Bob" or "Jack And Diane"? I'd rather work with a broad landscape when dealing with the subject. I usually write with a lot of innuendo so that [ the listener ] can make up his or her own mind about what is being said. If I point too directly at the subject, it becomes my song and I don't want that to happen. I want it to be our song.

MM: Is "Scream" about schizophrenia or is it an anthem for outsiders?

RJD: We put movie stars, athletes and rock stars on pedestals. When we look at these celebrities, we see only the good, only their happiness. When they go home, however, they are exactly as we are. Behind their smiles, they scream. [The moral is] don't let someone else be your guide. Direct yourself. Sure, there are always guidelines, good people who we can emulate. At the end of the day, however, even Gandhi screamed.

MM: Is "Better In The Dark" about finding comfort in the dark where the monsters lurk?

RJD: It is actually about a woman who is so ugly that the only time she can get laid is during the night, so she tends to run around with other monsters. She always leaves before the sun rises because you might not want to ever come back if you see her during the day.

MM: We metal fans are often thought of as freaks. I thought the song was about finding a place to belong.

RJD: That is part of it. When I wrote the song, however, I was thinking about some of the ugly women I have known. They all looked good in the dark, but when I saw them in the morning, I wished they were pizzas. I think most things are better in the dark. Heavy Metal is better in the dark.

MM: It is strange how our world was supposed to be evolving into this new paradise, this violent-less utopia. Since the dawn of the new millennium, however, we seem to be heading backwards. The world is a hurling jalopy about to fly apart at the seems.

RJD: I never thought I would see the fall of communism in my lifetime, but the Soviet Union has dissolved. I have not looked at [ the current ills of the world ] in terms of the millennium. To me, dates do not matter. There is no importance in the turning of the clock. Things are certainly getting worse. The World Trade Center tragedy certainly proved that. Being 3000 miles away from New York City
[ at the time of the attack ], everything seemed surreal. Here is this city that I know so well and two of it's most beloved buildings are being leveled.

MM: In late September, I walked down Canal Street near Ground Zero and I was met with this smell of sour burning metal that I will never forget.

RJD: What bothered me most were the stories of people with cell phones on the planes and in the buildings who called loved ones to say goodbye. Maybe those people wanted to hear the voices one last time, but I would not have wanted to get a call from my brother, sister, father or mother saying, "I am about to die." I wouldn't want that voice lingering in my head for the rest of my life.

MM: The trademark Dio anthem "Rock & Roll" was inspired by the aftermath of September 11th.

RJD: Like all Americans, I was devastated by terrorist attacks. A native New Yorker, I wanted to reach out to it's residents, to let them know that I would be there in any way for anyone who needed me. When I phoned "The Eddie Trunk Show" [ a New York City-based hard rock and heavy metal radio program ] to express both my outrage and condolences, I learned that "Holy Diver" and songs by Black Sabbath had been temporarily pulled from the airwaves. Our rock and roll had been banned because some terrorists from a little place had committed these heinous acts against us. How can you be castigated for something that nothing to do with you? It stunned me. And pissed me off so much that I decided to write a song about it. There is a line in the song, "If you are there when the walls come tumbling down." The walls are obviously the Twin Towers. Then we sing, "Warrior." Anytime anything happens we shout for the soldiers. People don't want the soldiers around when everything is good, but as soon as something bad happens, we want to bring the warriors in, the firemen, policemen and soldiers who go off to foreign lands to fight for our freedom. "Yes, you have to go off and fight, but I forgot to tell you, we are also going to take your Rock'n'Roll away from you." It was important for me to say, "How dare you try to take our music away." What about poor Anthrax?

MM: Anthrax is proof that bad publicity does exist. The band's career was in a tailspin for years and the spreading of the disease through the U.S. postal system only brought them more negative attention.

RJD: The band did not choose the name because [ it's members ] knew that it would be used as a pollutant last fall.

MM: "Throw Away Children" was originally written for "The Children Of The Night" charity, which you are closely associated with. The charity's mission is to rescue children from the ravages of street prostitution. You originally intended the song to be recorded in the same fashion as "Stars" [ heavy metal's answer to "We Are The World" ], with various vocalists sharing the versus and guitarist sharing solos, but "the powers that be" deemed the song too depressing

RJD: The song has to portray the truth and the truth is that children are out there being pimped, getting addicted to drugs and dying of AIDS. It is a heartfelt song that I had to include it on the album.

MM: The song includes an appearance by the King's Harbor Church Children's Choir.

RJD: I wanted kids, to be part of this song because it is about children. The title was suggested by one of the Children Of The Night, who has since passed on. He said, "No one wanted us, so they threw us away." The choir was a great bunch of kids. The funniest part was that their parents came to the recording and they were saying things like, "I saw you with Sabbath and Rainbow" and "I saw Dio at the L.A. Forum." The kids were so talented. When they began singing, the hair stood up on the back of my neck and our drummer Simon Wright, had a tear in his eye.

MM: In addition to Wright, the current Dio lineup includes bassist/longtime comrade Jimmy Bain as well as guitarist Doug Aldrich, who recently replaced Craig Goldy. You have worked with. on and off, for more than 27 years. RJD: I have only been as good as the people I have worked with. Jimmy and I first played together in 1975 [ on Rainbow Rising ]. Besides being one of the top 5 bassists I have ever heard, he is as steady as a rock, the backbone of the band. He leaves his baggage at the door and never arrives wearing a sour face. Jimmy comes in with superior confidence and support! He was born with roller skates. He does not plod through life, he glides through it. To have Jimmy back in this band is not only fulfilling for me musically, but personally, because I know what he has gone through during the last five years. I know what a hard road it has been for him. He had a reputation for being someone who imbibed too much. He is now on the top of his game and no longer abuses himself. I am happy that he is a working human being again. Now I have the best of both worlds; a great player who is also one of favorite friends.

MM: Why was Craig Goldy replaced?

RJD: While we were on a European tour with Manowar and Motorhead a couple of years ago, Craig met a girl. Upon our return to the States, he married her. His wife, who came along with two pre-teens, quickly got pregnant. Craig's focus and responsibilities changed. He now had five mouths to feed. When his attention shifted to his new family, Dio [ the band ] took a back seat. That is fine. I was happy for him. But his change in focus made the writing of this album very difficult for me and Jimmy. Craig would only give us a couple of days of his time each week. How can you write a record with a part-time guitarist? Everything worked so well with Magica that I thought things would be that easy again. Jimmy and I asked Craig if he still wanted to do this and he said "yes," so we continued. But that was a lie and we eventually had to say goodbye. I am not saying that he was wrong but he should have made a choice. He shouldn't have led us down the wrong path, not when it affects someone's life's work. That is unforgivable. We have since made our piece, but we will never work together again.

MM: Doug Aldrich, who joins a legacy of Dio gunslingers that includes Vivian Campbell and Craig Goldy, previously worked with House of Lords, Hurricane and Lion.

RJD: Doug first auditioned for Dio in 1990, but when he was offered the gig he declined because his loyalty was to Lion. I next saw him 5 days before he joined this band. We met for drinks then went to my home where I showed him what Jimmy and I had been working on. I asked him if wants to do it and he said yes. I am happy to be working with someone who is honest.

MM: I saw you perform with Rainbow and Black Sabbath. Most people fail to realize that Sabbath has a following comparable to the Grateful Dead.

RJD: It is very good analogy, because Sabbath has become like the Grateful Dead and to do so they needed to reform with Ozzy Osbourne. With me "As a frontman" it could never be that. Black Sabbath created the genre, just as the Dead created their genre and people will cling to it forever. Sabbath has reached that iconoclastic level where they are more than a Rock'n'Roll band.

MM: Unlike most successful bands who've changed a recognizable frontman, Sabbath was able to sustain itself when you left.

RJD: It comes down to the inner action between the people who are making this music. When you enter such a situation, you have to be a phycologist. You have to examine the people you are working with because each group of people will become a different being. Unless you start dealing within the parameters of those beings you'll be an outsider. None of your opinions will be accepted or taken seriously. Luckily, I came from the same working class background. I love Tony Iommi, Geezer Butler Bill Ward. They're my favorite people in the world. I love the music we made together. That is why it worked "In the beginning."

MM: Throughout your career you have worked with extreme personalities.

RJD: Once you work with Ritchie Blackmore, it is easy to adapt to personalities of other people. He was certainly the most extreme person I have worked with, but we shared a love for classical music - Bach was our hero. Deep Purple was my favorite band. I think of Tony Iommi like that. I brought a Deep Purple/Rainbow edge to Sabbath. At the end of the day, that band is where it should be.

MM: Would you perform with Black Sabbath if the band was inducted into the Rock'n'Roll Hall of Fame?

RJD: I would never be asked, but absolutely not. The band has tried to sweep anything I have ever done with them under the rug. With Black Sabbath, it is as if I've never existed. The only people who know that I ever existed in that band are the people who love the records I recorded with them. I will never be asked to do anything that smacks of Black Sabbath. It has nothing to do with Tony or Geezer. They do not have anything to do with that band anymore. I don't even lay things at Ozzy's footsteps. Ozzy is who Ozzy is and I don't think Ozzy has a hurtful bone in his body. There's something else happening there that does not deserve a mention. I was happy to be in that band and I am more than happy with the success that we enjoyed. My goal at the time was to bring Black Sabbath to where they once were. I think I accomplished that. I thought I would be in Black Sabbath forever. Obviously, that is not the way it worked out.

MM: The fans lucked out when you left Black Sabbath and recorded the classic Holy Diver.

RJD: I have been lucky to be part of three landmark records: Rainbow Rising, Black Sabbath's Heaven and Hell and Dio's Holy Diver.

MM: You have already begun planning your next album. It will complete the storyline you started on Magica.

RJD: Magica was a labor of love that gave me a chance to write prose. The hardest thing on Earth is to write album's like Heaven and Hell, Holy Diver, The Last In Line and Killing The Dragon. You do not have a template. You have to ask yourself, "Well, what do I want to write about now." Magica was a return to what people expected from Dio. It struck a chord. The next albums will be Magica 2 and 3.

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