Straight Between The Eyes ($5 SPECIAL)

SKU: 3145473662
Label:
Polydor
Category:
Hard Rock
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Remastered edition.

"Straight Between the Eyes undoubtedly has one of the worst album covers in rock history, but the record is an unexpected return to form from the journeyman hard rockers. Just a record before, Rainbow sounded as if they were verging on Billy Squier territory, but here, they reverse course and deliver a solid, no-frills hard rock record. It isn't just that the material is stronger, though it certainly is, it's that Roger Glover abandoned his smoothed-out, radio-ready production that marred Difficult to Cure. That's not to say that Straight Between the Eyes doesn't sound dated -- Rainbow was a band that was forever tied to its era -- but the album does have a harder-hitting, muscular sound that is more appropriate for the band. Similarly, vocalist Joe Lynn Turner sounds more comfortable with the group, and the entire band just seems to gel, turning even the generic numbers on the album into enjoyable, straight-ahead hard rock. There may not be any specific showcases for Ritchie Blackmore, but his playing is better heard in this setting, where he's not only soloing, he's propelling the band with his powerful riffs. As always, he's the driving force behind the band, but this is truly a band effort, which is one of the reasons why Straight Between the Eyes is one of the strongest albums the group ever cut." - All Music Guide

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Of course, their trademark frantic rhythmic changes are in full force here, with gripping stop/start breaks on occasion. Similarly, the sharp intertwining patterns of guitarists Paul Waggoner and Dustie Waring are as overwhelming as ever. Without a doubt, though, the single best moment of “The Coma Machine” comes at around the 3:15 mark, when an electrifying new riff crashes in, joined by bells and pounding drums. It’s wholly invigorating and awesome; in fact, it’s one of the best moments on any BTBAM creation. Finally, Giles’ closing bridge is subtle yet very moving.Like a lost gem by Dutch prog metal band Ayreon, “Dim Ignition” sneaks in with an ominous synthesized loop. Essentially, it’s a brief psychedelic interlude in which Giles proclaims foreboding notions over spacey effects and beats. It serves its purpose well and definitely adds to the thematic quality of Coma Ecliptic, but what’s really cool is how the loop bleeds into the introductory, sinister riff of “Famine Wolf” at its conclusion. As for “Famine Wolf” itself, its opening is also among the highlights on the disc. In general, its dynamic juxtapositions aren’t as striking as on some other tracks, but it still balances Giles’ screaming and singing well. The most interesting aspect appears about two-thirds of the way in, when the aforementioned loop returns as Giles evokes the peculiar accent that he used on past LPs. In this way, Coma Ecliptic feels connected to its precursors.Another transition takes place next, as “King Redeem/Queen Serene” starts with a lovely acoustic guitar arpeggio supporting arguably the most touching melody and lyrics Giles has ever sung (“I can’t hear a thing / These waves crash faster”). Every measure comes with more luscious layers until the arrangement breaks into one of the most “prog” moments BTBAM has ever had. After some more heaviness, an essential rhythmic breakdown from “The Coma Machine” comes back, which is very cool, followed by more frantic transformations. Ultimately, the piece ends as it began, so it feels like a self-contained observation.Although all of “Turn on the Darkness” is astonishing in how moves around its various formations, the best part is the chorus, during which Giles brings the concept to the forefront. Following some warm and atmospheric passages, he seizes command by saying, “Welcome to our journey / Please walk with me / I’ll put your mind at ease.” Aside from this, the ways in which the guitar and keyboards echo each other from time to time also help the track stand out. Really, this selection feels like something from The Great Misdirect, which isn’t bad at all.“The Ectopic Stroll” possibly includes the most experimentation aspects on Coma Ecliptic, as Giles’s odd piano chords, coupled with his menacing crooning, make the main parts feel like a malevolent 1940s jazz excerpt. He screeches, “Whoa, can’t get it right!” while sing-a-long harmonies concur, and at first, it’s a bit toounconventional to feel appropriate; but, after a few listens it feels more fitting. Equally, the percussive spasticity and quality feel akin to some of the wilder tones used by Dream Theatre or Devin Townsend. Truly, these risks also show how fearless BTBAM still is in trying new techniques, so they deserve praise for that alone.As its name suggests, “Rapid Calm” is transcendent and lively, with keyboard and guitar outlines dancing around each other as more soothing melodies signal the beginning of the end. In particular, this song is a strong example of how Coma Ecliptic features the strongest emphasis on clean vocals of any Between the Buried and Me record; there’s still plenty of growling throughout, but Giles has never allowed his natural style to shine so densely or prevalently. During the chorus, for instance, he conveys dread and sorrow powerfully, realizing, “They don’t want you there / They don’t want me here / Remember my name / The machine is crumbling.” It’s an exceptional moment, as is the moody intermission near the end, whose somber timbres recall parts of the most recent Opeth collections.Beyond being the standout track on Coma Ecliptic by a mile, “Memory Palace” may be the single best Between the Buried and Me song ever. Each element is just about perfect; from its towering opening riffs and soaring lines to its meticulous and clever shifts, every second is spectacular. The group has never before moved between such drastic deviations with such silky expertise; above all, the leap into what’s likely the band’s most surreal segment yet (“Focus on melody / The sounds under my eyes / Dreaming inside of this / World inside my mind”) is amazing. Furthermore, the way they bring back past moments near the end is sublime. If ever there was a track that single-handedly proved why BTBAM is so special, it’s this one.Luckily, the reprisals continue during the final two tracks, “Option Oblivion” and “Life in Velvet.” The former bursts in from its predecessor with more spellbinding arrays. Brilliantly, Giles brings back a phrase that was first mentioned on “Rapid Calm”:  “A choice of gold or velvet / Do I go on, or follow the crown in the smoke?” A bit further on, he also references “The Coma Machine” by lamenting, “Looking back through the painful tunnel / They taught us what once was.” As for “Life in Velvet,” it continues the symbolic theme of velvet (as a catalyst for spiritual transformation) that runs throughout the album; it’s also lead by a modified version of the chord progression from “The Coma Machine.” Like “Node,” it features Giles singing softly while playing piano, and in doing so, it brings Coma Ecliptic full circle. As a final burst of brilliance, the aforementioned electrifying guitar riff and closing bridge from “The Coma Machine” also makes an appearance. Because of these numerous references, Coma Ecliptic has the most alluring, suitable, and clever conclusion of any Between the Buried and Me record.Coma Ecliptic is an exquisite masterpiece. As with most opaque works, it takes many listens to fully appreciate everything here (including multilayered production, parallel structures, and callbacks to prior parts); however, once listeners understand all that’s going on, they’ll be utterly blown away. Between the Buried and Me have proven time and time again how distinctive, ambitious, capable, and important they are within its genre; no other band can do what they do as well as they do, and this effort just proves that once again." - Pop Matters
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