Reviews

REVIEW: Blotto – Metalhead – Video 45 (VHS)

BLOTTO – Metalhead – Video 45 (1983 Sony)

This review is a slight cheat.  Because I pledged never to open my VHS copy of Blotto’s Metalhead Video 45 (Nigel Tufnel told me “It can’t be played, ever”), I’ve chosen to just review the videos from the Blotto YouTube channel.  I’m entrusting the band that the VHS experience would just be a little more VHS-y.

This videocassette was a gift from guitarist Bowtie Blotto, a truly good guy completely unlike his evil “Dr. Bow” character.  All the guys are great, so be forewarned, this review is also coming from the perspective of someone completely sold on the Blotto concept, music, humour, and band.  This is not an objective review.  For this site, that’s simply impossible.  We’ll try our best OK?  That’s all we can promise.

Let’s get you up to speed first, just so we’re all on the same page.

Blotto is a rock band from Albany NY who garnered early MTV video hits with “Metalhead” and “I Wanna Be A Lifeguard”.  They inject a dose of comedy into their songs and performances.  Not too much, not too little:  the Goldilocks zone, just right.  It’s a fine line, right?  A fine line between clever and stupid, as Nigel Tufnel also told me once.  It is a tightrope, and Blotto managed to balance it without tilting too hard to either side.  They rock, and they laugh.  Or perhaps they laugh, and they rock.  Either way, the music video format was ideally suited to the band.  It enabled them to really get the comedic side across.

We open with the legendary “Metalhead” (5:32), as featured on the Metal For Breakfast compilation LP, and Blotto’s Combo Akimbo album.  The scene is set:  Blotto, the band are in rehearsal, but missing a member!  Where is lead singer, Sarge?  Absent.  “Suddenly there’s an endless void where I used to keep my brain,” sings the headband and studs-wearing Sarge as he wanders the back alleys of Albany.  The band rock on, awaiting the arrival of their singer, each one sporting a unique look.  Guitarist Broadway has the rock star hair and stature.  Cheese on bass rocks the bald head, looking like he was recruited from a London punk band.  Bowtie, of course, rocks the bowtie and glasses.  In the 1980s, I can remember being offended that a “bald punk guy” and a “nerd guy” were playing a heavy metal song, but I was also 12.  Meanwhile, drummer Lee Harvey’s flowing locks give him that casual but seasoned pro drummer look.

Suddenly the garage door opens, and the tardy Sarge finally shows up to the shocked looks on Blotto’s faces, as Sarge bangs his head against a beam.

“Ah, ah, ah, I’m turning into a heavy metalhead!”

Sarge has a serious case of it, hanging with bikers and getting skull tattoos.  “Some home-grown for the ride back home, Van Halen on the 8-track!” declares Sarge.

Blotto break into an instrumental solo section, while Buck Dharma from Blue Oyster Cult wails on the solo (while watching the video from his home, it seems)!

Will Sarge survive his transition into a heavy metalhead?  This legendary video still works today, because that “metal head” persona is now like a cultural icon of the 80s.  With a well produced and perfectly edited video, Blotto encapsulated so much of that “metal head” stereotype in one hilarious video.  Stay tuned for the extended ending, and a one-in-a-million shot with a motorcycle helmet.

Also from Combo Akimbo is the more upbeat “I Quit” (2:13).  Lead vocals this time are handled by Broadway.  Blotto are now stuck working in an office, still rocking, but also drowning in paperwork.

“You can’t fire me!  I QUIT!” shouts Broadway at his boss, while the rest of the band echo his sentiments.  It does seem like a pretty seedy office and not a fun place to work.  It also appears that Lee Harvey has taken a second job on a paper route, but he’s not enjoying that either.  Eventually everyone quits leaving just Bowtie alone in the office!  Meanwhile, drummer for hire Lee Harvey finds another job, holding a ladder.  Is he playing drums with four sticks?

The third and final video is from the 1979 EP, Hello, My Name Is Blotto, What’s Yours?  “I Wanna Be A Lifeguard” (3:55) was one of the first videos aired on Day One of MTV, so it’s important for that reason.  This fun surf rock song was begging for a music video.  Featuring Chevrolet Blotto on keyboards, and a pre-bald Cheese, Blotto are now working in a shopping mall.  It doesn’t appear to be a fun job.  “I just want an ocean and some sunscreen lotion,” sings Sarge.

Blotto get their wish, and appear on a beach in swimming gear.  What the viewer doesn’t know is that the video was filmed in late winter (look at the bare trees) and the band were absolutely freezing on the beach!

This song is loaded with clever surf rock hooks and a killer drum part by Lee Harvey.  Not just that “wipeout” beat that opens it, but the drums through the whole song are relentless and well composed.

That’s the thing about Blotto that, perhaps, some people missed.  These guys could play, every one of them.  Listen to Cheese’s bassline on “Lifeguard”.  It literally swims along with the song.  And his tone!  Bassists would kill for his sound:  clear and loud with depth and attack, but not dominating.  Lyrically and musically, “Lifeguard” is quite canny beneath the wavy surface.  You have to understand music to pull off songs like this, because jokes alone can’t carry a song.  Blotto had a rare combination of instrumental savvy, and witty nudge-nudge lyrics.  How many songs can you name that specifically reference listening to Van Halen on an 8-track deck in the car?  Perhaps some can relate.  And who can’t relate to wanting to be a lifeguard?  “Hardly any clothes, sand between my toes!”  Sounds alright to me.

At roughly 12 minutes’ length, the Video 45 format never really caught on.  When you think back to the 1980s, with extended play features, you could record up to 8 hours onto a videotape, though not in the best quality.  I think people expected more content when buying a VHS tape in the 80s, and the “video EP” concept went under.  That’s just speculation, but videos this short were very rare at retail.

To be objective and look from a more critical angle, I think “Metalhead” and “Lifeguard” work best as videos.  “I Quit” is less fun because it’s set in an office.  “Metalhead” and “Lifeguard” have more band performance shots as well.  “Metalhead” is clearly the most polished of the videos, and probably the most gag-loaded.  All three are fine examples of the kinds of things a creative band could do with a modest budget in the early days of video.  “Lifeguard” existed before MTV did, so you really have to give Blotto credit for being on the cutting edge of music video.

4/5 stars

REVIEW: Potensic ATOM 3-Axis Gimbal 4K GPS Drone

Potensic ATOM 3-Axis Gimbal 4K GPS Drone

Welcome drone enthusiasts and newcomers alike!  Thanks for clicking this review.  I hope you find this helpful and informative, as I have had many adventures and misadventures with four of these “under 249 gram” drones now!   This little craft do not require a license to fly.  Let me run you through my backstory with three previous drones, which you can click for more information.

The Ruko’s superior camera was a marked improvement in my drone video quality, no matter how hard they were to fly.  I thought about upgrading my Potensic.  Why not?  You only live once.

One thing about the old ATOM SE’s camera was that it didn’t have a fancy 3-axis gimbal.  What’s that mean?  It means that it couldn’t keep a level picture, with the horizon always…horizontal.  When the drone was flying in wind, it needed to tilt to compensate and stay stationary.  Most of my old ATOM videos have a visibly crooked horizon.  But that’s just the obvious difference.  The 3-axis gimbal gives it an unprecedented smoothness.  All my old videos had jerky movements.  Not anymore.  This camera is like an aerial steady-cam.

It wasn’t all smooth flying.  I had some issues out of the box.  I think one was caused by an uncalibrated controller.  It was veering off to the right upon takeoff, much like the Ruko used to do.  A calibration of the joysticks seemed to fix this.  It also defaulted to a “beginner mode” that I failed to notice and caused some confusion at first.

My second issue happened after a windy flight in Tiverton, Ontario.  I decided to bring the drone down after a few seconds, as the wind was unusually strong.  After a drive home, I was not able to re-connect the drone to the controller.  The drone was acting up, and wouldn’t power down without removing its battery.  I spent days trying to get the two devices to pair.  After a desperate email to Potensic, the problem revealed itself.  They advised me to try a number of things including re-pairing the devices without a memory card inserted.

The drone came with a 64 gig micro CD card (a surprise in itself!) but I decided to use a Gigastone 128 gig card instead.  It was actually my second Gigastone.  The first one failed right out of the box and wouldn’t format.  It turns out, the second Gigastone also failed sometime in the car between Tiverton and Lorne Beach.  Upon removal, the drone and controller paired immediately without issue.  Who knew that the memory card, which is used to store images and videos, was critical to the proper operation?  I mean, you can fly without one.  But throw a bad one in there by mistake, and you will stay grounded.  So there’s a tip for you:  if you’re having issues with your drone, take out the memory card as a first step.  Two Gigastones failed one after another!  Another tip is not to buy a Gigastone 128 gig card.

Once we got all these little details ironed out, the Potensic flew steady and true, just as my original did.  I’ve started to discover new features.  The camera has a zoom!  Pinch and zoom; it’s that simple.  This is going to improve my video making abilities over Lake Huron.

I ordered the option with three batteries.  No matter which version you choose, you will get the equipment you need (minus the micro SD card which only came with the three battery option).  In addition to the controller and all the cables, this version comes with the three batteries (32 minutes life each), and a charging block to simultaneously charge all three batteries and your controller at once!  It all comes in a handy carrying case, with handle.

There are lots of features for me to play with that I haven’t touched yet:  6km transmission distance, visual tracking, pull-away shots, boomerang shots…lots to try out, though I always prefer manual controls.

Check out the videos below and be sure to check back as more are added.  The new Potensic drone is going to drastically improve my video making abilities in 2026.

5/5 stars

 


Calibrating: “SMC” by Def Leppard


Sunrise Test Flight: “Mighty Morris Ten” by Episode Six


High Wind Test Flight: “Next Summer” by Arkells


Final Test Flight & All Bugs Worked Out: “Michigan Left” by Arkells

Mental Health For Metalheads: A Self-Help Book By Metalheads For Metalheads Is Now Live For Sale On Amazon
Mental Health For Metalheads: A Self-Help Book By Metalheads For Metalheads Is Now Live For Sale On Amazon. 50% Of The Profits Go To The Sophie Lancaster Foundation Charity.

🅻🅸🆅🅴 50 Years of IRON MAIDEN bonus episode: Johnny Metal has SEEN Burning Ambition!

50 Years of IRON MAIDEN bonus episode:  Johnny Metal has SEEN Burning Ambition!

A special 🅻🅸🆅🅴 episode – 3:00 PM afternoon show

GRAB A STACK OF ROCK bonus episode

2026 sees the release of the official Iron Maiden documentary Burning Ambition.  This milestone certainly deserves its own episode of 50 Years of Iron Maiden.

Fortunately, Johnny Metal saw the film on May 7.  He came to us with his thoughts, and we’d like to share them with you today.  This afternoon, May 8, we are doing our first Grab A Stack of Rock afternoon cottage show of the season.  Johnny will be joining Mike to share his review of the film.  (Meanwhile, Harrison will slumber in Australia, preparing for a weekend of recording.)

Please join Johnny and Mike, live this afternoon, to talk Burning Ambition!

Friday May 8 at  3:00 PM EST, 4:00 PM Atlantic.  Enjoy on YouTube or Facebook.

Past episodes:

Handy YouTube Playlist:

 

 

Handy YouTube Playlist:

 

 

REVIEW: Judas Priest featuring Ozzy Osbourne – “War Pigs (Charity Version)” (2025)

JUDAS PRIEST featuring OZZY OSBOURNE – “War Pigs (Charity Version)” (2025 Sony)

In one of the most amazing collaborations in all of metal history (no hyperbole), Judas Priest teamed up with Black Sabbath’s Ozzy Osbourne for a cover of the Sab’s “War Pigs”.  In another amazing circumstance, the track wasn’t left to the digital download ether.  No; it was even given a CD release, albeit an expensive one when shipping is factored in.  The best part is that a all profits that the label would have received were donated to the Glenn Tipton Parkinson’s Foundation, and Cure Parkinson’s.   Glenn Tipton was diagnosed with Parkinson’s Disease in 2008, while Ozzy was diagnosed in 2020.  This would be one of the last things Osbourne would ever do in music.

The cover art (credited to Mark Wilkinson) features the six musicians compiled together from separate photos:  Scott Travis (drums), Ian Hill (bass), Rob Halford (vocals), Ozzy Osbourne (vocals), Glenn Tipton (guitars) and Richie Faulkner (guitars).  Priest’s live guitarist, producer Andy Sneap, handled the studio duties and additional guitar for a seven-man lineup.  Trivia buffs would love to know that both Ozzy and Rob Halford have performed as lead singer of Black Sabbath, so Rob is no stranger to this classic.

The first concern upon pushing play was, “How will Judas Priest, a single guitar band, do an old Black Sabbath tune?”  Would the styles mesh?

Yes they would.  Gloriously so.

From the opening chords, it was clear that Priest know how to meld the two metal worlds.  The guitar sounds singular, monolithic, like Iommi, before one comes careening in as if from “Sinner”, merging the two worlds.  The track generally goes this way:  true to the Sabbath sound, with occasional guitar chemistry that only Judas Priest can conjure.  The solo work is Priest, but vintage Priest, not modern-day shred.  Also noteworthy is drummer Scott Travis, who tries his best to inhabit that Sabbath world, especially on the cymbals.  He does a few double bass flipouts, but keeps them sparing and appropriate to the song.

As for the vocals, Ozzy sounds more at home, but the two trade off just as you imagine old pals would.  Ozzy takes the first line; Rob growls the second.  It’s a cool contrast:  the Prince of Darkness and the Metal God, together at last.  The two pair up on some key chill-inducing lines.

Let us be glad that this pairing happened.  It existed, and we have a CD of it.  Magnificent.  Rest in peace, Ozz.

4.5/5 stars

 

 

REVIEW: Alice Cooper – Welcome To My Nightmare Live at The Forum, Los Angeles 6/17/75 (2025)

ALICE COOPER – Welcome To My Nightmare Live at The Forum, Los Angeles 6/17/75 (2025 Rhino)

For the first time ever, Alice Cooper was on tour without the Alice Cooper Band.  Dennis, Michael, Neal and Glen were set adrift.  Supporting his first solo album, Alice brought with him Dick Wagner and Steve Hunter on guitars, Prakash John on bass, Whitey Glen on drums and Jozef Chirowski on keyboards.  A more dramatic show was presented, including almost the entire new album.  (Only “The Awakening” was never played.)  So focused on the new album was this set that a smaller ratio of old Cooper classics were included.

At this point, only a few years into his career, Alice was already introduced as “legendary”.  He opens with an ominous and “Welcome to My Nightmare” and the crowd begins screaming as soon as he enters.  Alice’s voice is a little off from the start, but the band behind him has every beat covered.  Compared to his previous group, this one truly sounds like a “backing band”, with the star up front and group of pros behind him taking care of business.  That’s not a criticism, just an observation, and the soloing on “Welcome to My Nightmare” prove how great they are.  It’s a very different sounding group from what we heard before.

Not playing the Nightmare album sequentially, “Years Ago” recurs throughout the early songs played.  Old songs framed by “Years Ago”?  Quite clever.  Here, the first verse leads into “No More Mr. Nice Guy”, a very slick version though Alice sounds hoarse.  Even still, he powers through the chorus and falsetto.  If anything, he is less able to deliver some of the melodic hooks accurately.  Back to “Years Ago”, we get the second verse before “Billion Dollar Babies”, which is the strongest performance so far.  The extra keyboards and guitars are more than welcome, beefing up Alice’s stage sound and adding a side of virtuoso musicianship.  On its third appearance, “Years Ago” consists of a creepy keyboard solo, extended from the album version.  This time, the crashing guitars of “I’m Eighteen” shake us from the nightmare.  Though he’s vocally great here, Alice does mess up a line and goes in for a re-do.  That’s what makes a real live performance so beautiful.  The lead soloists weave tapestries of tasty hooks as the song goes on.

The fourth and final “Years Ago” delivers the “I’m a little boy…” verse, and it’s a bit weird sounding live with that “Steeeeven, Steven come home!” part included.  A transitional segue consisting of some of the music from “Black Widow” and a lot of original riffing too leads into “Some Folks”.  This is done instrumentally with the twin lead guitars playing the first chorus, until Alice himself enters the fray.  His vocal is undeniable rough here, except when doing the falsetto.  Fortunately it’s a great song and a brilliant performance by the band.

“Cold Ethyl” rocks a little more straightforward than the last few minutes of music.  Cooper delivers the creepy vibe here; a pretty solid version.    A brief musical interlude sets up the opening chords to “Only Women Bleed”.  The keyboard provide the strings, and the delicate picking of Hunter and Wagner is spot on.  Alice is strong here.  He seems to struggle vocally when he sings in that “rough” raspy evil voice, but not so much when singing clean or falsetto.

There is a fade out before “Devil’s Food” and “The Black Widow”, but this duo is a show highlight.  Prakash John gets a bass solo moment between the two, as does everyone else, as it’s ten minutes of music before “Black Widow” begins.  As to that, Vincent Price’s part plays on tape and you know what is coming next.  “Black Widow” lacks the certain special haunting quality of the album version, but this one makes up for it in drum and guitar power.  This is much more a heavy metal exercise in Arachnology.  The only thing that could follow such a song is “Steven”, which is excellent except for some startling screaming during the song that is a big loud when it comes!  Your neighbors will wonder what the hell is going on at your house!

“Welcome to My Nightmare” is reprised, as the show ends appropriately with a trio of “Escape”, “School’s Out” and “Department of Youth”.  “Escape” is a show highlight, the irresistible riff blasting hard (and we get plenty of too).  Alice is pretty solid here too.  “Department of Youth” is an extended outro with loads of playing by the band (and band intros).  It sounds absolutely huge!

This album is really a treasure for Steve Hunter and Dick Wagner fans.  There is so much guitar, all over the entire show.  Jozef Chirowski is really outstanding on keyboards.  This is a player’s Alice Cooper album.  Vocal issues aside, the only issue I had was with the drum sound.  A little flat and thuddy.  This is a 50 year old recording and we admire it for its authenticity.

3.25/5 stars

REVIEW: Helix – Scrap Metal (2026)

HELIX – Scrap Metal (2026 Perris)

I don’t know what changed, but buying the new Helix album in 2026 was a headache.  For a Canadian fan of a Canadian band, all I wanted to do was hop on my Amazon and buy it with Prime.  Even though it was reportedly charting on Amazon in Canada, I could not find the CD for sale.  Not wanting to deal with the problems I had with Helix 50, I was determined to get it through one of my usual channels.  Our local store didn’t have it.  I saw a reviewer in New York received a review copy, but I discovered that physical review copies were not available to Canadians.   (I was offered the files to review, but we only review physical product, and you’ll see why this is important as we go through the songs.)  In the end, Jake (Not From State Farm) gifted me a copy that he bought himself, and sent it to me free of charge.  The album is finally available on Amazon, but only about six weeks after I had been trying to buy one.   Why is it so hard for Canadian fans of a Canadian band to just buy the album through their usual channels?  At least it didn’t hinder sales, as the new Helix album Scrap Metal reportedly did very well.

What exactly is the Scrap Metal album anyway?  Think of it as a new mini-album, with bonus tracks!  Eight songs, plus four tracks that were previously released on the albums below:

  • “Jaws of the Tiger” (re-recorded version):  On B-Sides, Best Of 1983-2012, and Never Trust Anyone Over 30.  Original version on Over 60 Minutes With…
  • “Danger Zone”:  On B-Sides, and Best Of 1983-2012.
  • “The Same Room”:  This is the full-length track, not the rarer CD single edit version.  On half-ALIVE and Best Of 1983-2012.
  • “The Pusher” (Steppenwolf cover):  On half-ALIVE.

The other eight songs on the album are either new ones written with Sean Kelly, or unfinished old songs, re-worked for release in 2026.  This is similar to the tactic used on the excellent Old School album.  Some of these tracks feature the late Greg “Fritz” Hinz.  Many were co-written by the beloved and much missed Paul Hackman.

What’s remarkable is how cohesive Scrap Metal sounds.  Regardless of the differing origins of the songs, it plays like an album.  You can hear some stylistic differences over time, particularly with the addition of shredder Sean Kelly on guitar, but it feels like an album.  You can’t necessarily tell that 30 or 40 years have elapsed between some songs.  Let’s run through them track by track.

The lead track “Stuck in the 80’s” has been well received by fans.  Musically it is sharp, riff-oriented mid-tempo rock.  Impeccable backing vocals on the verses, with trademark Helix shouts on the chorus.  The lyrics will resonate with many, though on a personal level I can’t relate.  I enjoyed the music of the 80s, but I would not want my tastes or style to be stuck in that decade.  Helix actually did some of their best stuff in the 70s, 90s, and 2000s!

“Fast & Furious” is far better than any movie with that name.  Fritz Hinz on drums, written with the late Paul Hackman.  This thrashy winner has singer Brian Vollmer singer in a distorted 90s voice, which is an interesting choice that the first three songs all feature to some degree.  The guitar solos have a Judas Priest dual solo vibe, very impressive and very much a welcome sound.  After all, Paul Hackman and Brent Doerner were a formidable guitar duo in the 80s.  That same vibe continues here, in shred town!  Stuck in the 80s indeed?  This kind of guitar work puts Helix in the world-class category.  Absolutely incredible.

“Pretty Poison”, written by Hackman and Vollmer with Sean Kelly coming in to help finish it, is a dirty mid-tempo rocker.  Once again the riffing is intact.  The chorus has excellent atmosphere.  Aaron Murray plays drums on this (and the previous “Stuck in the 80’s”.  The backing vocals on this have the traditional Helix vibe, and the guitar solo is melodic greatness.

The entire classic lineup (plus Sean Kelly) receive writing credits on “Hot Heavy & Wild” which sounds like a Judas Priest title circa Turbo.  Great chorus on this slower, grinding rocker.  The backing vocals stand out once again.

Helix have a penchant for typos and misprints (see:  Helix 50 and Gimme An R!) and I’m not sure what the next song is called.  If you look at the back cover and CD, it’s called “Money (Goes With Everything)”.  If you look at the lyric sheet, it’s just “Money!” with an exclamation point.  This is a Vollmer/Hackman song, resurrected with Sean Kelly shred.  It absolutely has the classic Helix vibe.

“Jaws of the Tiger” falls here, the version from the B-Sides album.  Much like “Fast & Furious”, this has a fast thrash-like tempo.  This helps keep the album cohesive.  The lineup here is in question.  The liner notes credit Brent Doerner on lead guitar.  He was not credited on B-Sides.

Up next, “Coming Back With Bigger Guns”.  Once again the classic Helix sound is present, especially with the backing vocal arrangements.  Pristine and perfect.  This album is exceptionally well recorded.  This is a Hackman/Vollmer co-write, the same team that produced so many Helix classics of the past.

Moving on to “Danger Zone”, this has always been one of the best songs from B-Sides.  It too is a Hackman/Vollmer co-write.  It grooves.  The groove is infectious.

A change of pace is due;  Helix have never “just” been a rock band.  The ballad “Tie Me Down”, recorded in 2019, features Fritz Hinz on drums.  This nice song could easily have been included on an album like Back For Another Taste.  If it had, MuchMusic airplay would have been guaranteed!  Brian is singing great on this one, but the “Ooh, ooh” backing vocals are sublime.

Hackman/Vollmer return for “Closer”, the last of the new songs.  Also recorded in 2019, bassist Daryl Gray sounds great on this, and all the tracks he appears on.  He also plays guitar, along with once-and-present Helix guitarist Kaleb Duck, and current guitarist Chris Julke.  “Closer” has the quality we’ve come to expect from this band’s music.

The album closes with two more tracks from the studio side of half-ALIVE:  single “The Same Room” and Steppenwolf cover “The Pusher”.  It’s amazing how good “The Pusher” sounds, something that may have slipped between the cracks before.  Interestingly, new Helix drummer Jamie Constant is credited on “The Same Room” .  He played on this Helix track three decades ago.

Frustratingly though, even though this album includes songs written and performed with Sean Kelly, other newer tracks like “Not My Circus, Not My Clowns” and “Brother From A Different Mother” remain physically unavailable.  This would have been the perfect CD to release them on, even as bonus tracks.

Scrap Metal is a solid Helix “mini-album with bonus tracks”.  I would have chosen different material from albums past, but as an album this plays consistently well.

4/5 stars

 

 

 

 

 

 

 

DVD REVIEW: Alice Cooper – Special Edition EP (2003)

ALICE COOPER – Special Edition EP (2003 ClassicPictures)

Special Edition EP…on a DVD?  Sure, why not.  This unofficial Alice Cooper DVD on a now-defunct label recycles three music videos that Alice recorded for German television in the early 1970s.  It’s the kind of thing that you bought because it was cheap and, again, why not?  Before YouTube made such videos easy to find and watch on demand, a DVD like this was a good way to get some obscure Alice Cooper video clips.

The menu music is generic rock, not Alice, but again this is very unofficial.  “Under My Wheels” (live 1971) begins the DVD, with music recorded live as well as video.  There is a cool “Pop-Up” feature that gives you some trivia as you watch.  Nothing ground breaking that fans were dying to know:  More like “Alice Cooper virtually invented rock theatre.  He changed trends in fashion.  A guy can dress like a girl now.”  Those are actual pop-ups that you get on this DVD.  Fortunately, Alice and the band’s performance is great.  Alice is rocking the spider eye makeup.  The audio isn’t superb or up to modern standards but this probably sounded great on your TV in 1971.

“I’m Eighteen”, recorded in 1972, has more pop-ups such as Alice’s birth date and location.  The band look super psychedelic with rear screen visuals. Alice sings the first verse as “Ma ma ma ma ma, la la la la la,” which is certainly different.  Dennis Dunaway is covered in sequins.  Neal Smith is a monster on the kit.  This is one of the versions where Alice quotes “American Pie” at the end of the song.  One of the 50 most important songs in rock history, according to the pop-up trivia.

“Public Animal #9” is a rare treat from School’s Out.  Recorded in 1972, the rear screen remains, now showing close ups of the band as they play.  The song begins with an instrumental intro that is not on the album.  This instrumental bit is dominated by the melodic basswork of Dennis Dunaway.  Then Michael Bruce and Glen Buxton come in with the riff and the opening guitar melody.  The band “hey hey hey’s!” behind a leather-clad Alice.  A rarity, this is one of the few live versions of this song you can easily buy, behind one on The Sound of A EP.  Alone, worth the price of the DVD.

There are more features.  “Previews” contains 30 second clips of other releases in the series, including:  Deep Purple (with a bit of “Highway Star”), Motorhead (“Ace of Spades”),  and so on.  Each of these artists has a three-song DVD in the series you can buy, with similar TV appearances.  The “DVD Jukebox” feature includes some bonus previews.  This is basically 33 minutes of ads for other DVDs.  Some, but not all, are full songs, but with ads over top rendering them unwatchable.  Jack Bruce’s “Sunshine Of Your Love” is only 90 seconds.  A pretty useless special feature.

The Alice Cooper Special Edition EP (DVD) is only worth the three songs in the main feature.  Purchase accordingly!

3/5 stars

 

DVD/CD RE-REVIEW: Iron Maiden – Flight 666 – The Film – The Original Soundtrack (2009)

“Since their debut in 1980, Iron Maiden have become one of the biggest bands in the world.  With little support from radio or mainstream media, they have sold over 70 million records and played some of the most legendary concerts in rock history – including Britain’s Donington Festival, Rock In Rio, and Poland during the height of communism.  In 2008, they embarked on the most challenging and adventurous tour of their career…”  – Sam Dunn

IRON MAIDEN:

Flight 666 – The Film (2009 UM DVD)
Flight 666 – The Original Soundtrack (2009 EMI CD)

Supporting their newest compilation album, Somewhere Back In Time (released May 11 or 12 2008), Iron Maiden embarked upon a new kind of tour.  Lead singer and licensed pilot Bruce Dickinson wondered if there was a way for the band to buy a plane, modify it to carry all their gear and still have room for the road crew, and fly it from gig to gig.  As an added twist, Bruce often flew the plane himself.  The tour had to be captured on a documentary, so Sam Dunn and Scot McFadyen of Banger films took the job.

Since Somewhere Back In Time focused on the Dickinson albums from Number of the Beast to Seventh Son of a Seventh Son, Iron Maiden chose a setlist that (mostly) reflected this, with one notable exception.  The interesting thing about this setlist is, because there is only one song played from the Janick Gers era of Iron Maiden (which we’ll get to), he gets more solos on older songs than usual.  The final film was released theatrically, and later on DVD with a CD soundtrack.  The film featured 16 songs, each taped in a different city all over the world, from India to Japan to Brazil.  The concert footage was edited seamlessly into the documentary, but the DVD offers a second disc with the complete songs, unedited.  If you just want the audio experience, the 2 CD soundtrack has you covered.  Since the film had the songs in a certain order to suit the timeline of the tour, we will (mostly) follow the film song order for this review.  The CD features fade-outs between songs, since we all know they are from different shows.  This is the first and only Iron Maiden live album to date, to fade out from song to song.

Flight 666 was recorded over six weeks, from February 1 to March 16, 2008.  The film was released on April 21, 2009 with the soundtrack following on May 11, and the DVD on June 9.  With a running time of 113 minutes, the film made $233,193 at the box office.

1. “ACES HIGH” (Mumbai)

Cut to the airport, and Sam Dunn is boarding the plane Ed Force One.  Bruce is in his pilot’s uniform, and he explains how he came up with this idea to fly themselves on their own plane.  The plane had to be specially modified to carry the gear.  Guitarist Adrian Smith was skeptical.  Special authorization was needed and only came last minute.  Then, a wheel had to be replaced.  The road crew loved the luxury of it, and Dickie Bells gives the slovenly ex-colonial Canadians hell for standing there with their hands in their pockets.  First stop: India.  The band is completely mobbed by a crowd that has been waiting since 6 am.  “Wrathchild” can be heard at soundcheck.  The stage is just made of wood!

You can see a glimpse of the backstage prep before the band hits the stage.  Nicko walks to the stage in flip flops.  The show begins with “Churchill’s Speech”.  The “Aces High” song intro is the studio recording, before breaking into noticeably thicker live version (because of the three guitars).  Bruce in a toque, jumping and leaping everywhere!  He also enjoys playing a gong!  Davey and Adrian’s solo are both magnificent.  First song of the set, and Janick is already dancing!  Bruce’s voice is rougher and lower than Live After Death after 23 years past, and less melodic, but this is still a rather strong version of “Aces High”.

Bruce isn’t flying the plane in the next flight after the show; he is a passenger.  He is only allowed so many hours of work time if he is to fly the plane.  The band talk about manager Rod Smallwood, and they all do their Rod impressions.  Off to Malaysia and Perth Australia, before hitting Melbourne.

The song “Moonchild” is heard but not seen at this point in the film.  On the second DVD, it appears later, so we’ll pick it up then.

 

2. “2 MINUTES TO MIDNIGHT” (Melbourne)

“SCREAM FOR ME MELBOURNE!”   The crowd handles most of the chorus!  The Australians are absolutely nuts.  Bruce is in great voice.  Janick, dancing once again, twirling his guitar around his body,  irritating some and delighting others.  Adrian’s solo is more effects-laden than the album, but still the same notes.  Bruce and Steve run all over the stage, from left to right.  Top version of “Midnight ” – the best since Live After Death, in fact.

After the show, Adrian seems unhappy about the sound that night, but stresses that you have to push through for the crowd.  Bruce and Nicko praises Adrian’s ability to find all the right notes.

The band enjoys a day off, Adrian plays tennis with Wimbleton champ Pat Cash.  Nicko and Davey go golfing.  Steve brings his kids and enjoys family time.

 

3. “REVELATIONS” (Sydney)

Bruce comments that it took them a while to get to Sydney.  “WAKIE WAKIE!”  His vocals are powerful – no issue with the demanding song.  On this track, the triple guitar harmonies are…revelatory!  Bruce’s vocal is as passionate as it gets.  This is a top version of “Revelations”, second only to Live After Death.  Davey’s solo is like butter, and then Janick’s is sharp like a blade.  Nicko’s powerful right foot does what some drummers do with two bass pedals.  Bruce disappears backstage during the solos to re-hydrate.

 

4. “THE TROOPER” (Japan)

Bruce talks about his family heritage with the RAF.  On flying:  “You can never be the master of it.  It is a very humbling experience.”  There is an Eddie on the dashboard as they fly to Japan.  It is a place that Nicko has always wanted to visit.  The fans are polite and give gifts.  Backstage, Adrian plays some bluesy jams revealing his talent.  Dick Bell is constantly teased about retirement, and if this will be his last tour.  He is stern and hilarious.

For “The Trooper”, Bruce changes into the red coat waving the Union Jack!  The song is a tad faster but Bruce keeps up, and puts in an impressive powerhouse performance.  We’ve had a lot of live versions of “The Trooper” on their many live albums and singles, but this is a good one.  It’s cool when Bruce says “Hey Tokyo…”  The three guitars are blended really well here.  It is a pleasure to watch Davey bend his strings – wide, accurate and with great “guitar mouth” too.

Maiden fly to Anchorage Alaska, and then south to Los Angeles.  The palm trees are a stark contrast to the February snow!  Steve goes to the studio with Kevin Shirley. and works.  You can hear them listening to “The Longest Day” from A Matter of Life and Death.

 

5. “THE NUMBER OF THE BEAST” (Los Angeles)

Kerry King, Lars Ulrich, Scott Ian, Vinnie Appice, Tom Morello and Chad Kroeger are all at the star-studded gig.

Bruce is now down to a T-shirt.  His voice is pushed to the limits here, but he still manages a pretty great opening scream.  The pyro begins, and Bruce is once again leaping, and Janick is kicking up a storm.  Davey’s solo is wonderful when he extends that one note that he is prone to doing.  He really lets it ring.

Back on the plane, Bruce is flying once again and marvels at the change of seasons as they travel, as the jetlag sets in.  Off to Mexico!  Bruce senses there is always a sense of something exploding in Latin America when they arrive.  OLE OLE OLE OLE OLE!  MAIDEN MAIDEN!

 

6. “WASTED YEARS” (Monterey, Mexico)

A potential highlight of the film and sound track is “Wasted Yeats” from Somewhere In Time.   “It’s great to be in Mexico!” exclaims Bruce, as he playfully sits as the crowd cheers “ole ole ole ole ole”.   It’s cool to watch how Adrian plays the main guitar hook – a lot of open strings.  His solo has slightly evolved but it is now even better!  More energy, more shred!  It is skin-tingling when Bruce shouts out “ADRIAN!” and then Smith sings the next line: “So, understand…”   Later, he contributes vocals to the chorus: “Don’t waste your time always searching for those Wasted Years…”  He did write the song, after all.

Off to Mexico City.  Nicko describes Janick as a “lone soldier”, usually looking for an Irish bar.  Janick is also the jester, says Nicko.  Apparently has a degree in sociology.  He’s a free spirit and plays guitar as a free spirit, says Rod.  In Mexico, he explores a pyramid with Nicko.

 

7. “CAN I PLAY WITH MADNESS” (Mexico City)

Bruce’s voice is a bit rougher, but his huge sombrero is hilarious!  It’s so out of place!  This is a solid version of the song which is always challenging vocally.  Adrian’s presence on backing vocals improves the song over versions without him, such as Donington and A Real Live One.

Off to San Jose, Costa Rica. Maiden are playing a 27,000 seat football stadium.  Fans line the streets! The fans are a whole level above the rest!  They cannot imagine that Iron Maiden has come to Costa Rica , a once in a lifetime experience for them.  These people are truly starved of metal concerts like Maiden, and they are not shy about showing it.  Nicko goes golfing, but gets hit by a golf ball in the wrist.  Fortunately, a minor injury.  Nicko is the social side of Maiden, says Rod.

 

8. “POWERSLAVE” (San Jose, Costa Rica)

Bruce is wearing the full bird mask!  In full voice too!  SCREAM FOR ME COSTA RICA!  This version of the song thumps harder during the riff.  You can also hear keyboards providing backing melody.  Bruce riles up the crowd with a “HEY HEY HEY HEY!”, and this could be the second best version of “Powerslave” ever, after Live After Death.  Adrian’s solo is actually a very different version, a variation perhaps, of the album solo.  Still great, just new.

Iron Maiden now head Columbia, where soldiers are everywhere.  Bruce is very apprehensive, in case something goes wrong outside.  People camped out for days, sleeping under tarps waiting for Iron Maiden.  Security confiscates all food and all cameras.  There is a lot of tension in the air.

 

9. “RUN TO THE HILLS” (Bogota, Columbia)

Now Bruce is wearing a vest.  The crowd is mixed very loud in the chorus.  Davey’s wah-wah laden solo is cool, but otherwise this is just another version of “Run to the Hills”.  The crowd is what makes this version different as they are absolutely nuts.  One fan who caught Nicko’s drum stick is crying with emotion at the end of the show (during “Always Look on the Bright Side of Life”).  He thanks God, as other fans nearby weep in joy.

Nicko eats a pizza – says he likes the “sweaty feet” kind of cheese.   Off to Sao Paulo, Brazil next.  Bruce talks about their 1985 visit to Rock In Rio, and old video footage is shown from the televised event (which is also “Run to the Hills”).  Fascinatingly, there is a Priest who has a ministry in Brazil with 162 Iron Maiden tattoos.  He includes their lyrics in his sermons.  He named his son Steve Harris.  Incredible.

 

10. “HEAVEN CAN WAIT” (Sao Paulo, Brazil)

The band is seen playing football, and then we cut to the stage.  The football players have joined for the “Woah oh oh!” singing on “Heaven Can Wait”.   It’s pandemonium on stage, with dozens of people jumping up and down.  Janick takes the first guitar solo while Bruce hides behind a sarcophagus.  Bruce kicks the gong this time!  The triple guitars don’t seem to blend so well on the harmony solo, but Bruce is killing it on the vocals (aside from only singing “Heaven can…” most of the time.)   Janick’s solos are great here, defying those who call him second rate.  Again, Nicko’s right foot is doing the work of two feet.

The band continues to travel through South America for several more gigs, into Buenos Ares, Argentina.  They are greeted by fans at the airport once again.  Fans following them around 24 hours a day and it gets to be a bit much for Adrian.  He wants peace and quiet when he’s at the hotel, but fans are a mob at the front door.

 

11. “FEAR OF THE DARK” (Buenos Ares, Argentina)

This is the one and only song that does not fit into the Somewhere Back In Time era.  Why was it included?  It probably serves a dual purpose:  to give Janick a song from his era on this tour, and because it has become a concert staple.  The Argentinians don’t seem to mind.  The crowd are almost louder than the band.  Though we have many versions of “Fear of the Dark”, this one is solid.  Janick’s single harmonic note is always a favourite part.  The way the crowd blends with Bruce on the chorus is powerful.  Dickinson is in great voice, and you can hear every delicious pick scrape on the guitars.  This is a solid go-to version.

Off to Chile, and once again the fans are over-the-top crazy to see the band, mobbing them at the airport and making the national news.  At one point, Iron Maiden were banned in Chile for “Satanic” lyrics, so this is a big deal for the fans.

 

12. “IRON MAIDEN” (Santiago, Chile)

Bruce creates a neat muffled voice effect by singing “SCREAM FOR ME SANTIAGO!” into a paper drinking cup.

Out comes the Somewhere In Time Eddie!  You can see the guy controlling him too, with a massive remote.  Nicko is particularly pounding on this version of “Iron Maiden”.  Janick throws guitar in the air, and twirls it around, which the South Americans don’t seem to be complaining about.

 

13. “MOONCHILD” (San Juan, Puerto Rico)  Full song on CD and DVD disc two

Contrary to other live versions, the acoustic intro is live this time, not pre-recorded.  The usual synth part is re-created on guitar with an echo effect, by Adrian.  A unique version unlike the prior ones, and Steve is killing it on the bass, too.  Thge bass is  very prominent in the mix.  This is a great version of “Moonchild” and a delight to fans of Seventh Son era Maiden.

 

14. “THE CLAIRVOYANT” (Curitiba, Brazil)  Not in film at all – only on CD and DVD disc two

A fan makes it on stage and is promptly escorted off, you can see Bruce mouth “Who’s he?” to the audience.  The opening guitar harmonies are rich with the three guitars, and Bruce is in strong voice, bellowing the verses.

 

15. “RIME OF THE ANCIENT MARINER” (New Jersey)

Back to North America.  This the other show highlight.  “Rime” has a heavier riff with the three guitars.

Bruce is now dressed in a black cloak, spending a lot of time on the ramp over the drum kit.  This is the song he was most excited to revisit.  It really is a dramatic scene, and the fans are clearly psyched to hear this song again.  Keyboard accents (in spots) are added to provide a melodic backing.  There are loads of explosions and after the middle section is finished.  Quite a spectacle!  Adrian throws in a brand new tapping section into the guitar solo.  The triple harmony part at the end of the solos is thick, fresh and exciting.  Never before have we had this with three guitars.  A landmark version of the song.

Bruce is interviewed by Eddie Trunk.  He explains that they are doing this setlist for new, young fans who never got to hear these songs before.  Bruce notes that their audience keeps getting younger.  He doesn’t mention backlash to the Matter of Life and Death tour, which featured the new album played live in its entirety, but that probably also impacted their seasons to “play classics” this time.

Finally, onto Toronto Canada!  The CN tower can be clearly seen as they land in snowy Toronto.  Last show.  They did it.  It’s a successful tour.

 

16. “HALLOWED BE THY NAME” (Toronto)

SCREAM FOR ME TORONTO!  The atmosphere is electric as the fans clap along, and sing the opening section.  The beautiful harmonics on the guitar by Janick add texture.  Once the song picks up, everyone is leaping in the air.  Bruce is in great voice here, hitting the higher notes, and clearly putting 100% into his performance.  One of the heaviest versions of “Hallowed” available.  A good go-to live version of the song.

That’s the album, and that’s the film.  We go out to the end credits music:  Monty Python’s “Always Look On The Bright Side of Life”.

 

Taken as an album, this is a top three Iron Maiden live album.  Taken as a film, it is for fans only.  Unlike other metal documentaries, there is not much in terms of narrative or drama.  Nicko being hit by a golf ball, and Adrian complaining about mobs is as dramatic as it gets.  Who cares?  It’s Iron Maiden.  It’s a fascinating trip around the world in under two hours.   To be able to be a fly on the plane bulkhead wall with Iron Maiden is the whole point.

5/5 stars