Rio - Sex Crimes

What's more fun than commiting some "Sex Crimes"? Rio was 'just another UK' outfit that drowned during the 1980s and dare I say, few noticed their demise. But for the duration of two hot little vinyls they came close to mastering the art of creating a radio friendly 'Journey lite' product on their first offering and then moving on into the uncharted waters of rollicking harder rock. The debut was closer to pop than rock but that came around in full circle for the grittier "Sex Crimes" which manages to find the heart of the heavy for the main course and a generous helping of AOR for a sticky sweet dessert on the side. Sticky sweet and a treat to indulge in. A dash of sugar and spice (but they don't really play nice) and you have something that's delicious and more filling than your average AOR hybrid.

So how does it hold up today? Truthfully, even 'modern' AOR that tries to recreate the nostalgic feel of the 80s might do a damn good job, but nothing, and I mean *nothing* holds a candle to the real thing. There's no subtitute for the original, authentic product and anything that combines the slick feel of Shy's superb "Excess All Areas" with a bit of Dokken in their "Unchain the Night" finest with maybe some Y&T lurking in there as well is definitely something to take a second glance at.

01.] "Pay For Love"
Dancing guitars and the introduction of the 'voice' for the album, Jon Neill, who is a mix a variety of singers, namely bits of Meniketti, alot of Tony Mills and a few other subtle nuances that are difficult to pinpoint and match directly to their owner. Of course the three word title line "Pay For Love" is jammed into one's head repeatedly, being the main slab of the chorus and what all those background vocals are bleating in true 80s gang fashion, but despite the hint of repetition, its a track that's difficult to dislike for its overall form and slammin' rock nature is a delicacy worthy of partaking in.

02.] "Under Pressure"
They definitely don't make it like they used to. This is another fun song with an addictive beat and a sly tilt from verse to bridge to chorus. The percussion work is extremely dated but obviously cool for all the same reasons, the guitar darting in and out when needed (and sometimes when not), its a little on the rough and tumble side but solid throughout.

03.] "Atlantic Radio"
If you turned on the radio anytime during the early to mid 1980s this is most likely the kind of thing that would flow through your speakers. Saccharine and 100% American AOR confection, it drums up dreams of the English FM, it has the obligatory sugar and spice feel, and a guitar solo that is little more than a quick, memorable tryst in the wee hours. But doesn't it feel good? The chorus just soars, punctuated by the lead here and there and impossible to ignore, but the bridge that builds into it may be its strongest point yet. A nostalgic trip into a time long past when the music that was played on the radio was indeed good enough to keep us up in the middle of the night.

04.] "Highschool Rock"
Definitely the heaviest ditty on here by far (as if that's saying too much). This is very much in tune with all the other bands from this time frame, kind of Kix meets KISS-like in places.

05.] "Guilty"
A throbbing guilty pleasure indeed with high strung guitars and a slamming beat that is reminiscent of Y&T in the mid part of the 80s before they softened and then went haywire. Focusing on the loss of innocence, or perhaps the general lack thereof in the first place, its a jamming ditty with all the elements that make one love the genre in the first place. The chorus every AOR lover's wildest desire, with gang bang vocals shouting "Guilty" and the lead countering with "you're not so innnnocent!!" and the chorus's comeback repeating the lead's exclamation. Of note is the elegant synth filled ending that would seem out of place, but yet is so jarringly beautiful, its hard not to just adore it for its unexpectedness and light nature in comparison to the rest of the track.

06.] "When the Walls Come Down"
Not even near the same quality as some of the material seen earlier on, better things are luckily on the horizon. This is repetitve but not in an enjoyable way at all. Nerve grating and has that filler fling feel.

07.] "Danger Zone"
The opening reminds me of Sting or Rod Stewart or something... a touch of Bruce Springsteen maybe? Or should that be Rick Springfield? Very 80s, making the minimal: carefully timed drums and tons of synthesizer on the 'moody' setting, seem like quite the filled out showing. The title of the song is drummed into the head a little too much yet everytime those two words pop up its like a light is put on the song and illuminates everything for a moment of brilliance. Juicy American sounding AOR that has alot in common with plenty of bands, there's even some Foriegner hiding in there, maybe a dash of King Kobra if you looked far enough under the covers. It could have been on the Top Gun soundtrack, only, it wasn't.

08.] "Sex Crimes"
"You gotta use your imagination...I'm gonna make you cry!" This number is packed with melodic energy, a free falling chorus that reels it in towards the end and hits hard and punchy each time through, and those slightly rough around the edges vocals that are very natural sounding admist the processed background with synth and guitar whirling around in equal parts. Its unexpected melodic bliss. "You got a bad reputation, you always sneakin 'round." Although its difficult to pinpoint one standout track from the disc, I would most likely have to award this one with the badge of endurance, since I have played the hell out of it and the song still holds up well. It has become one that I reach to everytime I need a quick fix, clocking in at just over four minutes, it fits the need perfectly.

09.] "Dirty Movies"
Pounding drums that threaten to crack the skull begin this free-for-all rock track, but it settles down into a Ratt inspired sleazy anthem that flaunts a loftier chorus more along the lines of Dokken but with that naughty crunch sliding around provocatively in the background. A little too repetitive in the lyrical department, but then again this is just pure dirt slinging fun with a heftier melodic punch than expected in something this close to sleazy glam.

10.] "Bad Blood"
Smack that cow bell! Crossing genres? This is an entirely different animal than the previous offerings... fast and a little furious (although not up to the speed of thrash metal) it gallops along at a breakneck pace that just smokes until the chorus which simmers things down a few notches for the gang shouting of "bad blood" somewhere far beyond the lead vocals... but while things can seem a smidgen on the generic side, they threw in a few surprises just for show that boosts the track's memorable factor up considerably. A very well timed and surprisingly splendid guitar solo hits just the right notes and falls away cleanly leaving a hole in your heart that desires much more than this tantalizing spritz, and a quite expansive background chorus chimes in heavily towards the end, adding the perfect pieces to make this song a pleasure treat indeed.