CFNN Rock Correspondant Dana Murray

Lee Aaron is one of the first obscure artists I discovered when I was getting into traditional heavy metal. I was trying to expand my taste beyond Black Sabbath, Dio, and Iron Maiden, so I clicked on a metal deep cuts playlist on Spotify. The first song that played was Lee Aaron’s “Metal Queen.” I was floored by the sheer power that the song commanded. I was similarly overjoyed that there was a woman in heavy metal who wasn’t writing only songs about how much she hated her significant other for leaving her. 

In terms of sound, Aaron’s music is most comparable to early Def Leppard, specifically their album High ‘N’ Dry. It has many of the elements of traditional heavy metal, such as soaring vocals, guitars loaded with effects, and lyrics with fantasy themes. Later in the decade, Aaron does shift to hair metal territory, but I think her more heavy-metal centric albums are her best work. They have a wonderful edge to them that is perfect for the casual listener; it’s heavier than Poison, but softer than Danzig or Motörhead.

The opening track, “Metal Queen,” is an absolute showstopper. The fade in is incredible. It makes it feel ominous, more so with the chain rattling sound effect. The guitar is nothing spectacular, but it’s good for the time. I love that this song is about Aaron’s showmanship!. The line “she reeks of power like no other man” is basically Aaron saying that she can command a stage like the boys can, but better. It’s a fantastic break in the lyrical mold that most women wrote in at that time. I also appreciate that Aaron’s voice is lower than the typical offerings from women in metal, such as Janet Gardner of Vixen. The lower register also helps with giving this song the power it does. This track is an instant confidence booster; when I listen to it, I feel like I can take on the world. If Lee Aaron could do it, why can’t I? 

“Lady of the Darkest Night” is my favorite song from Aaron. It has a great opening riff. While it sounds dated, it’s still solid. It reminds me of the song “Lady Strange” by Def Leppard. I love a good song about a woman haunting a dude, even more so if it has some supernatural elements like this one. Aaron portrays herself as a mystical woman and/or a ghost that goes into man’s dreams. Aaron’s vocals help sell it with their slight whisper in the verses and the layered harmonies in the chorus. I wish Aaron had more songs like this; it’s a great jam, as well as a perfect track for a Halloween playlist.

“Head Above Water” reminds me of what would happen if Dio had a more glam metal sound. It has a great intro; there is a heavy reliance on drums and a slight glam metal tinge on the guitar. I love how the bridge sounds more strictly glam. It adds a nice contrast to the heavier elements. Aaron’s voice sounds like Lita Ford in some parts, which I find interesting. She did the same draw out on some of the words that Ford does (such as in the first verse of “Close My Eyes Forever”). The lyrics remind me of “Cry Tough” by Poison since it mentions heartbreak, but frames it in a more hopeful light. I like the way that so many metal artists have songs that completely contradict the outside expectations of the genre; it’s not all doom and gloom like some perceive it to be.

“Got to Be the One” is more somber than the other offerings on this album. I absolutely adore the guitar on the intro. It’s not technically impressive, but it sounds great. Metal guitar doesn’t have to be flashy all of the time for it to be enjoyable. This song is one of the token “oh I’ve lost my lover” tracks on this album. I was kind of disappointed when I first heard it because I thought Aaron was a more “girl power” kind of songwriter. However, it has grown on me since then. I love that it’s a hair ballad with more of an edge, like “In My Dreams” by Dokken. While it isn’t a real standout on this album, I still enjoy it. 

“Shake It Up” picks the energy up from “Got to Be the One.” I love that this song has more of a groove and party feeling than most heavy metal from the early 1980s. It’s almost a pure glam song, but it maintains the guitar tone of traditional heavy metal. The lyrics focus on the want for rock ‘n’ roll to come back instead of disco. It definitely comes from the infamous “disco sucks, long live rock and roll” slogan that was so prevalent in the 1970s. I agree with this sentiment to an extent; I love metal, but sometimes I feel the need to listen to the Bee Gees.

“Deciever” brings the album back into traditional heavy metal territory. The opening riff is edgier than others on this album. Aaron’s vocals soar in the chorus, which sounds absolutely incredible. There are some horror elements in the lyrics, much like “Little Dolls” by Ozzy Osbourne. You can also hear some influence from Randy Rhoads in the guitar solo; there’s a similar tone and rhythm to some of the riffs Rhoads played. While I love the edge of this song, it’s not one of my favorites on this album. It’s too repetitive for my taste.

“Hold Out” is quite relatable for me. When I was doing my in-depth re-listen for this article and got to this song, I thought “oh this hits a little close to home.” The lyrics speak of feeling lost and out of place in the world, but trying to keep a positive outlook. It’s one of those songs that finally puts words to what you have felt but struggled to explain. Musically, it’s one of the strongest on this album. It has a great backbeat, prominent bass line, and a wonderful solo. You can tell that everyone on this album put their all into it. I may have dismissed it on my earlier listens, but it’s one of the best in Aaron’s catalogue.

“Breakdown” is another song of heartbreak. It’s more upbeat sounding, which is a plus given the previous track. Aaron uses the happiness of the instrumental and overall upbeat nature of the song to hide the sadness of the lyrics, which mirrors how many people cope with heartbreak; they make themselves sound and appear fine, but on a closer look, they are anything but alright. The guitar tone here is a great example of early glam metal. It has a bit of distortion, but still has a cleaner tone compared to traditional heavy metal. It’s a great song to jam out to despite its sadness.

“We Will Be Rockin’” is a killer closing track. It reminds me of “Cum On Feel the Noize” by Quiet Riot with the over the top drums and party-hard lyrics. It’s written from Aaron’s on stage perspective about the audience. You can feel her enthusiasm for the crowd in how she sings. The chorus is repetitive, but it works here. It’s meant to be a sing-a-long anthem for the crowd. I love songs like this one that aren’t afraid to have a little fun. The solo on this track also mirrors the sound of Quiet Riot. It’s a return to the heavier side of things, but it still has some glam elements. This song is a great one to jam out to.

Lee Aaron is one of my favorite underground artists. While some of her songs fall short, her strongest tracks are incredible. Despite its flaws, I still enjoy listening to this album. To me, a true mark of a great artist is being able to make even their weaker songs enjoyable. Aaron is a perfect example of how two metal genres can coexist, not only on a single album but throughout an artist’s catalogue.