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and simple riffs punctuated predictably and often with syncopated power chording; the result is disjointed, grandiose and humorless—a gothic heavy-metal style.

Dio is certainly the match for Blackmore, in both his relentlessly impassioned warbling vocals and his lyrics, which uncover apocalypse at every turn. "There's a hole in the sky/Something evil's passing by" Dio spits and snarls, but what he is describing is usually called spring fever. Even after Blackmore mounts the most successful musical attack of the album, replete with Who-like slashing guitar chords, all Dio can muster—albeit with exceptional angst—is: "Do you close your eyes/When you're making love?" If this is the denouement, what's all the fuss about?

Blackmore's guitar soloing has always been the saving grace of his compositions. He has a full-bodied, fluid style, most effectively displayed here on "A Light in the Black," and he can stutter and wail with the best blues-rock guitarists. Unfortunately, on Rising the setting is too distracting. In a less gloomily banal context, his playing might shine. (RS 217)

ROBERT DUNCAN