One of my eventual plans for this blog is a regular feature based on brutally honest reviews of females in metal bands (particularly '80s), both in terms of looks and music (Spoiler alerts: Acid and Holy Moses are terribly overrated, one of the greatest female contributions to metal ever was done by a pop/rock songwriter under a pseudonym, and you're probably safe from
I never thought of Lee Aaron as a world-class beauty, but she was attractive in her 20s, and certainly hotter than most females associated with rock music. It could be argued that Lee's topless photos for Oui are more interesting than her music ever was, but given her smallish tits and severely overdone hair/makeup, I never found them all that titillating. Unfortunately, she remained clothed in later pictures with less exaggerated coifs, although she still had a penchant for odd photoshoots--posing with truck exhaust stacks, wielding a crowbar, and of course the whole Metal Queen budget barbarian thing.
The album's guitar sound may lean towards the heavy--yet polished--side, but there are only two actual metal tracks on Metal Queen. The solemn intro and epic aspirations of the title track initially point to Dio, although it clearly also wants to be a simplistic, catchy Twisted Sister/Quiet Riot-type anthem (complete with gang vocals in the chorus). The solo section is genuinely great, and I also hear some Thor undercurrents in the main riff--with some minor tweaking, it wouldn't sound terribly out of place on Only the Strong. "Deceiver" is the album's speedy tune; it opens like Loudness circa '85 and then settles into the Priest veneration typical of the heavier strain of '80s mainstream metal.
As for the rest of the album, well, "Lady of the Darkest Night" is pretty catchy, and "Steal Away Your Love" is notable
Lee would have been quite a formidable female metal vocalist had she had consistently heavy stuff to sing on. She reminds me of Jan Melanson from the first Reckless album (ironically, another Canadian release that typically has its metalness greatly exaggerated) mixed with Ann Boelyn and Leather Leone (though not quite as gritty and husky as either).
The two metal songs are solid quality-wise (PROTIP: get the Australian promo 7" if you want all killer, no filler) and I wouldn't hesitate to throw them on for some occasional variety. They were never in the running as contenders for truly great metal songs, though--female-fronted or otherwise.
Finally, the video of the title track: