Artist: Doro
Label: Koch Records
Release Date: 9/12/00
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Title: Calling the Wild Artist: Doro Label: Koch Records Release Date: 9/12/00 |
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Abyss's Review:
Although Doro Pesch hasn't really taken any time off, those of us in the States will view this as a comeback album due to the fact that very little of her 90s works has made it to our side of the pond. Most of us know her from Warlock, but this time she's alone. Well, alone except for all of the guest appearances that are utilized. Seems while most Americans have forgotten about Ms. Pesch, none of her musician friends have.
First off, in order to enjoy this disc at all you have to be in an 80s state of mind. As much as the bio tries to depict this as an updated version of true heavy metal, the truth is that it reminds me mostly of early eighties metal (Def Leppard's High and Dry seems to be a direct influence), and late-80s glam. This isn't necessarily a kiss of death, but I have to admit it is a little too retro for me to jump fully on board.
"I have to admit it is a little too retro for me to jump fully on board." This isn't to say this is a terrible album, and those who miss hard radio rock from way back when will most likely find a great deal of worthwhile material on this album. The most easily accessible song is an adequate cover of Billy Idol's "White Wedding", but given the choice I'll probably go back to Sentenced's version. The way in which Ms. Pesch is most successful is in the fact that she uses a vast array of different sounds on this album, and while her vocals (which haven't seemed to lose much with age) remain retro, the music below is mostly down-tuned and very modern production-wise (but not really in the execution). Lead off track, "Terrorism" has a Drain STH vibe to it, and this is just a few tracks away from the early Def Leppard-inspired intro to "Love Me Forever". Many different sounds mixed into one style.
Despite the fact that the music seems a bit more up to date than the vocals, I find my favorite parts to this album have to do with Doro's knack for oddly catchy melodies come chorus time. What I mean by oddly is that they don't seem like the most obvious of hooks, but I find them going through my mind at the weirdest times. The best example I can give is the chorus of "Pain". Other songs on the album I kinda dig are "I Give My Blood" and the Slash-assisted "Alone Again". These songs, unfortunately, stand out on an album of mediocrity and derivatives ("Kiss Me Like a Cobra" starts out sounding just like KISS' "Hotter Than Hell"), and the lyrics are often so cliched that they border on parody. The worst example being the worst song, "Fuel", which boasts the lyrics "I need fuel for my engine of love". First Metallica and now Doro, I guess it's impossible to make a good song with that word for a title.
"Those who long for a trip down memory lane should find enough on this record to keep them happy." Now while I can't actually recommend this album, those who long for a trip down memory lane should find enough on this record to keep them happy, but I think the average American metalhead will feel a little too much of a timewarp to appreciate this.
Death's Review:
I like Doro, although I haven't heard anything form her since Warlock (I remember seeing her play a gig with... am I remembering this correctly? Twisted Sister and Sanctuary at the Palace Theater in Albany, NY? Perhaps 1988?) Anyway, I basically missed her March Metal Meltdown set, although I think it was cool that she played there. But I chatted her up a bit at the Dio record release party in NYC earlier this year, and I realize that she is a true metal warrior and a pretty cool person to boot. She soldiers on in the name of metal. Not trying to be alternative or extreme, and not trying to cultivate the mainstream. Rather, Doro just rocks, always has, and probably always will.
Her new record, Calling the Wild, is a pretty cool collection of mid-tempo heavy metal/ hard rock. Truth be told, I was a bit surprised at the heaviness of the downtuned riffing on some of the tracks. The opener, "Terrorvision," being one of them, is one of the catchiest numbers I've heard in some time. Her high pitched sound in the pre-chorus shows off the quality of her voice (admit it, she sounds a bit like 2112 -era Geddy Lee here, doesn't she!) Her cover of Billy Idol's "White Wedding," something that sounds like a potential disaster of embarrassment on paper, is actually interesting and quite good, and should have a shot at radio airplay in an alternate universe where artists like Doro actually have a chance. Her multiple collaborations with Motorhead's Lemmy are also some of the album's finer moments, reminding me a bit of Lita Ford and Ozzy hooking up for "Close My Eyes Forever." All in all, the record is a good effort and a nice, solid return to American shores.
"A pretty cool collection of mid-tempo heavy metal/ hard rock." Problem is, who is this record for? It isn't heavy enough for the death, black or grind sets, not modern enough for the teenagers, not fantastic enough for the Demons & Wizards set, and not commercial enough for AOR rock radio. Yes, Doro plays traditional heavy metal, and does so without compromise. Her upcoming tour with Dio and UFO should reintroduce her to American fans of that style, and should give her a solid platform. Here's hoping for the best for one of metal's true class acts and veteran warriors.
Hel's Review:
The indomitable Doro returns at last to American shores with a star-studded new record. Longtime fans will no doubt wonder how the new songs are, and newcomers will most likely wonder who Doro is, and what all the hubbub is about. Ultimately, I'm aiming this review right down the middle of that spectrum, with an assumption that you, the reader, have some idea as to Doro's identity, yet not going in-depth as to where this release lies within the spectrum of her discography.
She has a wonderfully versatile voice, and her songs are extremely expressive. After absorbing her Metal Update interview (which, by the way, includes an excellent overview of her career from Doro herself), I went back and listened to Calling the Wild looking toward her perspective of doing each song for itself. This strategy works well for her, and all of the songs evidence quality and integrity.
"She has a wonderfully versatile voice, and her songs are extremely expressive." I mentioned stars - there are multiple collaborations / participations from illustrious folk, like, Al Pitrelli's entrancing guitar work on "I Give My Blood (Dedication)". Other contributions include Slash's axe slashing (sorry, I couldn't resist) on "Now or Never", which finds itself a strong contender for the fastest, heaviest song on the record. Her collaborations with Lemmy are inspired. Her "Love Me Forever" duet with Lemmy is brilliant; their voices blend amazingly on the chorus. "Alone Again" highlights their great vocal harmony. And yes, the much talked about flamenco solo by Lemmy is really cool.
And I'm sure it's no big surprise that she does "White Wedding" better than Billy Idol. It is more dramatic somehow, the Doro way. There is truly fantastic stuff on here, and is worth a listen by any self-respecting metalhead. The only limitation, for some may be intolerance of lyrical topics, such as, hope, perseverance, love, love lost, and other overtly introspective subjects. This, unfortunately, is my personal weakness, being of the pessimistic persuation. Doro is so optimistic, it almost would come across as perky, except she's too tough for that to really be the case. And the optimism - quite deserved in this case.
"There is truly fantastic stuff on here, and is worth a listen by any self-respecting metalhead."
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