Who else but William Shatner should do a documentary on all the major Star Trek captains and the people who played them? Shatner obviously knows the rigors of a weekly TV series, and the impact that Star Trek has on a career. With that in mind, Shatner boards a Bombardier jet to speak with Patrick Stewart, Avery Brooks, Kate Mulgrew, Scott Bakula, and Chris Pine.
William Shatner is excellent as an interested, intelligent interviewer. Just watch him with Patrick Stewart. Listen to his questions, as he probes. These are some of the best, deepest Star Trek interviews you will ever see. Shatner clearly has a talent for conversation. This is a remarkable side of the man that has carefully crafted a later image as a funny guy. The only place he awkwardly stumbles is with Avery Brooks. Brooks, also a very intelligent man, chooses to answer many of his questions by tinkling away at a piano. That must have been strange….
If you are a fan of Star Trek, old generation, next generation, any generation, then this movie is recommended. It will certainly help you get to know and appreciate these great actors who played the captains. William Shatner accomplishes this with an appropriate mix of humour (watch how he meets Kate Mulgrew) and feeling. Mix into that some wonderful footage of him clowning around at conventions, too.
In early 2004, a guy I knew from my University days came into the store. He was making an indy movie with some locals, and he asked me if I’d be willing to donate a gift certificate to help raise funds for the movie. The store would get their name in the credits.
Knowing my bosses would never go for it, but wanting to help the guy out, I bought a $10 gift certificate myself and donated it to the movie. He was very grateful and psyched. He loaned me a DVD of a movie they had made the previous year, a very very low budget fantasy thing. It was, in a word, awful. Lord of the Rings, this was not!
Next thing I knew, he had put my email address on a mailing list for these movie people. I started receiving drafts of what generously might be called a “script” for some kind of spy drama.
I quietly read the emails as they arrived, somewhat amused by the sheer lack of any sort of story, but more interested by the internal strife. It seems the cast and crew had no faith in their writer/director, and didn’t understand the plot of his movie, at all. The highlight of this exchange was recorded in my journal. This is the email, word for word, that I received on May 5 2004.
Date: 2004/05/05 08:24
THERE ARE NO HOLES IN THE SCRIPT!!!!!!!!!!
It is the result of months of rewrites. I am not responsible for your lack of comprehension.
If you do not get the subtext of Dimitri’s quest for redemption, if you do not see how many times MacPherson throws misinformation Rick’s way, if you do not see the fact that Dimitri is NOT LIKED by any of the western cops, if you do not see that Marie is a surrogate sister for dimitri on his quest, if you do not see that Simon is only a catalyst, if you do not see that the whole waterseed subplot is just that and the resolution is NOT part of the storyline, too damned bad.
At this point, I actually started feeling guilty about my voyeuristic enjoyment of these emails. I asked them to remove me from their mailing list. The next day, I recorded this in my journal:
Date: 2004/05/06 06:27
When I asked to be removed from their mailing list, they sent me a bunch of emails saying, “No wait! Don’t go! The script is good!” And I had to reply, “I’m not even INVOLVED with your movies. I just donated $10 in gift certificates and suddenly I’m on these mailing lists.” Though, admittedly, I will miss their ridiculous emails.
The guy from my University days came in to collect the DVD he had loaned me, and never came into the store again. I don’t know if the film was ever made, and I don’t know if our store ever got its name in the credits.
In fact, I don’t think it would have been a good thing if the store did get its name in the credits.
Shot on 70’s film stock to give it that saturated vintage look, and loaded with great original music, Black Dynamite is a treat. It looks authentically 70’s, but it’s not for everybody. Some will look at the poorly focused camera work, the shoddy stunts, the bad dialogue, and the rubber baseball bats and turn it off immediately. Others will “get it” and appreciate this for what it is: A skillfully directed spoof movie that actually works!
Plus, the music is pure funky goodness and nothing but. You’d think it was entirely vintage, from the 1970’s. Nuh-uh, brother. This funky masterwork is all new, dig? Composer Adrian Younge wrote and played nearly every instrument on this soundtrack.
Michael Jai White came up with the look and concept of the title character, Black Dynamite. It cleverly spoofs 70’s blaxploitation and kung-fu films, with built-in defects such as visible boom mikes and actors that are clearly reading their lines off cue cards (including the character names). You’ll see the same car blow up more than once. There’s one character that speaks only in rhymes. This movie comes off so authentic that some people actually think it’s a low budget 70’s film.
Black Dynamite, a former CIA agent who’s seen action in ‘Nam, hits the streets to find out who killed his brother. This takes him face to face with a drug dealing gang lead by Rafelli (Mike Starr), and some kung-fu treachery that goes all the way to the top. Black Dynamite is the toughest cat in town, a kung fu expert and smooth with the ladies. Yet he’s not all bad — he’s got a soft spot for orphans, and a vendetta against drug dealers.
As the movie progresses, it gets more and more absurd. Starting off as a street vigilante story, it eventually escalates to conspiracy and a deadly encounter on Kung Fu Island. By the time it gets to the climax, we are at a level of absurdity unrivaled by the worst action films, except it’s all intentional. Tie this in with some pretty awesome fighting moves by White, and some infinitely quotable dialogue, and you have a movie that you will watch over and over again.
Black Dynamite, as a movie, just works. It is an homage more than a spoof, and obvious love for the genre was poured into the film. At various times it feels like a legitimate 70’s blaxploitation film, at others you’re laughing your face off. As mentioned, it gets more and more bizarre as it goes along, so hang on tight.
Blu-ray extras are sparse, but valuable if you don’t know a lot about this genre. It will give you some insight if you’re unfamiliar with those 70’s classic B-movies. Clearly, Michael Jai White and co. did this lovingly. One of my favourite features is the hilarious trailer featuring fake names for all the actors. “Starring all-star running-back Ferrante Jones.” Love it.
THE BIG LEBOWSKI (1998, directed by Joel & Ethan Coen)
10th Anniversary Limited “Bowling Ball” Edition
Way out west there was this fella… fella I wanna tell ya about. Fella by the name of Jeff Lebowski.
Okay sir, you’re a Lebowski, I’m a Lebowski, that’s terrific, I’m very busy so what can I do for you? Well, I’m gonna tell you about this movie. First of all, for the rockers who read LeBrain’s blog, rest assured, there is a music connection. And that’s the killer soundtrack. From Captain Beefheart, to Bob Dylan (the incredible “The Man In Me”), Elvis Costello, CCR, the Gipsy Kings (“Hotel California”), Kenny Rogers & The First Edition, and even the fuckin’ Eagles, this movie is loaded with solid tunes. There are even appearances by Jimmie Dale Gilmore, Aimee Mann, and Flea! (Yes, that Flea.)
Ahh, who am I kidding? If you’re a fan, you don’t need me to sell you on this movie. Hence, I shall review this movie in two parts: For fans, and for non-fans. Dudes and Un-dudes.
FOR DUDES:
The new “bowling ball” edition of Lebowski is awesome. Finally we’re given the special features that we’ve been asking for, for years! No audio commentary track, but the Coens and the Dude himself will give you some insight to the film and its characters. After two disappointing editions, this is so overdue. Two discs, featurettes, that weird intro, Lebowskifest, an interactive map of Los Angeles, it’s all here. Most of your questions will be answered, but of course not all…some mystery must always remain. Plus the bowling ball just looks cool. I have mine on my entertainment centre, and it’s a conversation starter. “What is that bowling ball doing there?” It’s sturdy and it houses the DVDs in two slip cases. Life does not stop and start at your convenience, so be sure to pick this up and enjoy while you can, it’s limited edition.
FOR UN-DUDES:
One important thing about this film that I must stress is, don’t try to understand the plot on first viewing. It’s every bit as stupifying to the first time viewer as it is to Jeffrey Lebowski. Just enjoy. My feeling (and this is just my feeling) is that The Dude himself (Jeff Bridges) doesn’t know what the heck is going on, so neither should you. The plot is not complicated, but your thinking about it might be very uptight. I don’t necessarily recommend that you stick to a strict drug regimen to keep you mind limber, but having a few white Russians might help.
The Dude (the laziest man in Los Angeles) is unemployed (or “a bum” to some) and spends most of his time having acid flashbacks and bowling with Walter (John Goodman) and Donny (Steve Buscemi). One day his home is broken into by two thugs looking for money. They have mistaken The Dude for a millionaire with the same given name: Jeff Lebowski. During this break-in, Wu micturates on The Dude’s rug. That rug really tied the room together. Walter tells The Dude to try to take up the rug issue with the other Jeff Lebowski, the millionaire (David Huddleston). And this is where our adventure begins.
An amazing soundtrack backs a hilariously confusing movie about a guy in way over his head. There are a lot of facets, a lot of ins and outs, a lot of interested parties and strands to keep in Duder’s head. Along the way you will meet The Stranger (Sam Elliot), Brant (Philip Seymore Hoffman), Bunny Lebowski (Tara Reid) and a group of nihilists lead by Peter Stormare. Things are complicated by the appearance of Maude Lebowski (Julianne Moore), a kidnapping, and a ransom note. Can The Dude recover the million dollars? All he wants is a finder’s fee. Perferably in cash. He has to check with his accountant on this, but he’s worried about being put in a higher tax, uhh, you know. All this with next round-robin of the bowling tournament starting. And The Jesus (John Turturro) is ready to take them down next Wednesday, baby.
Brilliantly written, brilliantly directed, brilliantly performed. Yes, you should be confused the first time you view it. By second, third, and fourth watch, those stands in Duder’s head come together, supported by musical cues (listen for CCR), odd bits of dialogue (“Johnson”) and other clues.
I can’t recommend this movie enough. You too will become a Little Lebowski Urban Achiever, and perhaps even an obsessive fan, dressing up and going to Lebowskifests. You never know. At the very least you might just find a new enjoyment of white Russians. Just don’t run out of non-dairy creamer. Is there a Ralph’s around?
MILES DAVIS – A Tribute to Jack Johnson (Columbia, 1971)
Bear with me, because as much as I love this record and jazz in general, I know very little (technically) about the music. I just know what sounds good to my ears. As far as jazz albums go, this one will be very palatable to rock fans because of the predominance of the electric guitar, especially on the first side, “Right Off”. John McLaughlin plays plenty of cool riffs and funky licks before Miles kicks in with his one-of-a-kind trumpet. Honestly, by the time you get to the end of the track, you will hardly believe that 27 minutes have gone by. It’s that good. And it grooves, solidly. Being in a room with this guys must have been a mindblowing experience. It truly is an awe-inspiring groove that they lay down.
Side two, “Yesternow”, is a slow paced atmospheric piece, over 25 minutes long. But by the end, it transforms into another one of those surreal grooves. On this one, McLaughlin plays jagged, mournful and distorted bits over a slow groove. It’s not as immediate as “Right Off”, but some of the playing here (by everybody) is incredible. I love McLaughlin’s wah-wah.
That’s Herbie Hancock on organ, and Billy Cobham on drums. Incredible. They are accompanied by Michael Henderson (bass) and Steve Grossman (soprano sax).
As a movie geek, it was a special treat for me to have the late great actor Brock Peters do a cameo at the end, playing legendary boxer Jack Johnson:
“I’m Jack Johnson, heavyweight champion of the world! I’m black! They never let me forget it. I’m black alright, I’ll never let them forget it!”
The album was the soundtrack to a Jack Johnson documentary film directed by William Cayton. I can’t really go into a deeper analysis of the music (sorry) but there’s a decent Wikipedia article that can do it better than me.
This is a great, accessible album and I strongly recommend this 2005 remastered Sony edition.
This is part 42 of my series of Iron Maiden reviews! And we still ain’t done!
IRON MAIDEN – Flight 666 (2009 CD, DVD)
In lieu of releasing a live album from the A Matter of Life and Death tour (where Maiden played all of the new album live front to back), they instead chose to document their Somewhere Back In Time tour with a movie, directed by Canada’s own Scot McFadyen and Sam Dunn (Metal: A Headbanger’s Journey, Rush: Beyond the Lighted Stage). A live soundtrack was released not long after the film.
My buddy Peter and I got our tickets and got in line to see the movie the one and only time it played in town. Turns out that Tom and Meat were there too. Of course they were — who would want to miss this?
The film itself documents Maiden’s massive undertaking of the tour — resurrecting the Powerslave stage and a lot of the old songs. More important than that, it chronicles the logistics of singer Bruce Dickinson doing all the piloting himself, aboard the private charter jet lovingly known as Ed Force One. 23 concerts, 5 continents, from Mumbai to Toronto. Nobody had ever done that before. Due to regulations about a pilot’s rest time between flights, this is something that will probably never happen again.
Regardless of historical nature of this tour, some people bitched and complained. Another Maiden live album?
Yes, another Maiden live album, and this one with classics available on Live After Death and elsewhere. It’s still relevant.
Ever since Bruce Dickinson and Adrian Smith returned to the band in 1999, I feel Maiden have never been stronger. The way the three guitars of Smith, Dave Murray, and Janick Gers have meshed is something to behold. I really enjoy listening to the three-guitar version of Maiden, and once again producer Kevin Shirley has provided a strong mix where you can hear every nuance of those three guitars. Not to mention Bruce’s vocals, Steve’s bass, and Nicko’s steppin’! In other words, this album sounds great.
As for the track listing itself, it sure is great hearing all 13 minutes of “Rime Of The Ancient Mariner” once again. I never thought Maiden would ever play “Moonchild” or “The Clairvoyant” again either. “Powerslave”, “Wasted Years”, “Heaven Can Wait”…so many classics! As Steve Harris notes in the liners, some of these songs may never be played live again, so it’s great to have this document. Some fans will wish there were more old tunes such as “Flight Of Icarus” or “Running Free” instead of more common songs like “Fear Of The Dark”. Another tour, perhaps?
Worth mentioning, each song is taken from a different live gig from the Somewhere Back In Time tour. There’s some fade-in and fade-out between songs. Don’t let that bother you though. The whole idea was to give fans the sense that, “Hey, I was there!”
When Flight 666 was released on DVD, it went to #1 in Canada and almost every other country it was released in. The DVD is a great package, mixed in 5.1 by Kevin Shirley, but also including a hell of a bonus feature. Just in case you wanted a straight Maiden live DVD without the songs being truncated by the documentary, it’s all here. Every song from the movie can be viewed complete, in sequence, on the bonus DVD.
It would have been nice to see a new Eddie painting on the cover…but if you look closely he’s still there.
I have 31 discs of music to listen to now. And a whole lotta other goodies. Here we go!
First up – books. Peter Criss’ Makeup To Breakup, and the latest from Ripley’s Believe It or Not and Guiness’ Book of World Records. I’ve leafed through Peter’s book — all he seems to do is bitch about Paul and Gene. Review will come.
Next, Queen. A total of 8 discs of awesome remastered Queen to listen to: The Miracle, Jazz, A Night at the Opera, and Live Killers!
Next up, Rush. 6 discs in each of these two Sector box sets, including 2 DVD’s in 5.1 surround, plus 2 discs of 2112. Awesome. (I already have Sector 2 and have a review of that coming in the next few days.)
And the rest: The 4 disc Cult Love Omnibus Edition. Thin Lizzy’s Life Live (2 discs), Jon Lord’s Concerto for Group and Orchestra, and the new Rage Against The Machine XX edition (2 discs plus a DVD).
But that’s not all. Check out this Kiss lunchbox, these movies and vintage G1 Transformers 1988 “Bugly” action figure.
Lastly my folks got me this neat Joby camera tripod. This is going to come in handy when I make my next Transformers stop motion animated movie. I did a brief 15 second screen test — check that out too!
Hope your Christmas was filled with happiness, love, joy, and rock!
TRAILER PARK BOYS Xmas Special (Conky Puppet, Dope and Liquor Editions)
Upon first release in 2004, I bought the Trailer Park Boys Xmas Special. It was a compulsory purchase. This excellent show, one of the funniest on TV, had yet to issue the special as a part of a box set. Plus it came with a Conky puppet! Fans of the show know Conky to be the evil but hilarious puppet who has a tendency to take over Bubbles’ brain. Surely, “Conky” is one of the two best episodes of the show. The other would be “Closer to the Heart” featuring Alex Lifeson.
See the video to check out LeBrain’s Conky puppet!
I remember Tom used to put the Conky puppet on top of his Christmas tree!
Then, in 2006, I found the reissued “Dope and Liquor Edition” at a store for $5, and re-bought it, even though I already own the version that came with the Conky puppet. Why?
1. Because I’m crazy like that and I love TPB.
2. Because it was cheap enough to warrant the second purchase.
3. Because the previously unreleased (on DVD) “Trailer Park Boys 101” special as hosted by Alex Lifeson was worth it to me.
This double-length episode (actually titled, “Dear Santa Claus, Go Fuck Yourself”) on its own is one of the best the series ever produced. Taking place in 1997, well before the fictional adventures of Ricky, Julian, and Bubbles were documented, this episode reveals a lot of Trailer Park Boys backstory and delivers a lot of laughs.
Ricky is bailed out of jail on Christmas Eve to help Julian with his present stealing racket. Ricky’s unhappy because Christmas is the best time to be in jail (“12 days of partying,” Ricky says). It doesn’t take long for Mr. Lahey to get wise to the theft scheme, and with his new friend Randall in tow, he promptly gets back on the liquor. In the meantime, sidekicks Jamie and Tyrone discover rap music and marijuana, while Ricky and Julian use “nerds” Corey and Trevor to help steal Christmas trees.
Some of the funniest dialogue in the show’s history was right here in the Christmas special. Ricky mistaking God for Santa Claus is priceless (if you’re not offended).
Ricky: Dad, I write letters every year, you know that. I mean, I’m sending a letter off to the big guy tomorrow. So, it’s taken care of. Done. No problem.
Ray: Huh?
Ricky: The letters… You and Mom got me to write them every year at Christmas. I’m sending one off tomorrow again.
Ray: To Santa Claus, Rick?!
Ricky: Yeah, the big guy.
Bubbles: The big guy?! The big guy? That’s God, Ricky.
Ricky: Yeah, God. That’s what I said. Santa.
Ray: Ricky, come on, you know Santa and God aren’t the same guy, right?
Ricky: Dad, you didn’t know that? I mean, think about it! How would he get around the world in one night? Of course he’s the same person. Right, Bubs?
Bubbles: No, Ricky. Santa and God, that’s two different things.
Ricky: What? Oh my fuck! You know, I did maybe think that I fucked that up. I wasn’t sure, and I didn’t want to say anything just in case Santa was God. Like, it would obviously, probably, wouldn’t it piss him off that I got that mixed up like that?
By the time you get to his big speech at the end, (“Christmas is about getting drunk and stoned with your family!”) you’ll be howling.
Like I said, this is hilarious if you’re not easily offended. If you are, I would advise you to stay far away from everything Trailer Park Boys. If you enjoy well delivered, largely improvised dialogue performed by the east coast’s favourites, then dig in for some Christmas dinner.
The special features here are the typical TPB fare. Alternate takes, extended takes, bloopers, and so on abound, making this worth your coin. As I mentioned before, to make up for the lack of the Conky puppet, the Dope and Liquor Edition has the Alex Lifeson documentary. As a Rush and TPB fan, this was worth the re-buy for me. You also get a preview for the first TPB movie, although this is well out of date now.
Merry Christmas, make sure mom is nowhere around when you watch this!
And the award for most embarrassing goes to…Puff Daddy!
The year: 1998
The place: My store
The guilty party: Me
Remember that shitty 1998 movie, Godzilla? It’s OK if you didn’t. There are movie executives and Matthew Brodericks worldwide that want to forget it, too.
The soundtrack was OK though. “A320” is a non-album Foo Fighters track, and one of the first to feature Taylor Hawkins on drums. “No Shelter” is a rare Rage Against The Machine track. Ben Folds Five and Green Day contributed. I’m sure most of these bands would rather forget the movie itself.
The lead single, though, was a song called “Come With Me”, by Puff Daddy. You may remember this one, a remake of “Kashmir” but with ol’ Puffy himself providing new, enlightened lyrics.
You said to trust you, you’d never hurt me Now, I’m disgusted, since then adjusted Certainly, you fooled me, ridiculed me Left me hangin’, now shit’s boomerangin’
Anyway. The song features Jimmy Page and Tom Morello too, which is really too bad, because that put it in my obsessive-compulsive collector’s sights.
Then I saw the CD single come in
Track list:
Album version
Morello Mix (cool, right? basically, more guitar squonk)
Radio album version (?)
Live version (???)
Live version? Yeah. Although I’m sad to say that Jimmy Page performed live with Puffy more than once, this one is from Saturday Night Live. I don’t know who the drummer was, but he ain’t no Bonham (John or Jason), that much is clear. Jimmy Page does play on it, but I really hate when mid-song, Puffy proclaims, “I think I wanna dance!”
I don’t remember what I paid for this single, probably $3 with my discount. Forgivable? I hope you think so. But I have a lot of ‘splaining to do any time somebody sees it in my collection.
Then another different single showed up! It has two more tracks:
Extended radio edit
Radio versi0n II
Don’t ask me the difference except the swear words are replaced by Godzilla roaring on the radio versions. I ended up getting this one for free. I turned down the guy who was selling it, because it did look like a cheap promo (no booklet, for example, and the crappy track list), but he left it behind. And that’s how I ended up with two copies of a Puff Daddy single.
I like my CD collection to be displayed for all to see. I’m (mostly) proud of it. I ain’t so proud of this, even with the presence of Page and Morello. It’s always hard to explain and justify to guests, who never fail to notice it.
Therefore, the award for most embarrassing CD of all time goes to ME, for “Come With Me”, by Puff Daddy, not one version but two!
A lot of fans confidently proclaimed that you can’t replace Bruce Dicksinson. To some degree, they were right, but Iron Maiden refused to pack it in. Steve Harris was going through dark times, particularly a painful divorce. It was Dave Murray who fired up the demoralized band: “Why should we pack it in just because he quit?”
They began the audition process, eventually calling Wolfsbane vocalist Blaze Bayley. Wolfsbane were once the new proteges of none other than Rick Rubin, who signed the band to Def American and produced their first album. Regardless of Rubin’s involvement, Wolfsbane made little impact.
Bayley turned up at the audition and they played roughly seven numbers including “Hallowed” and “The Trooper”. The personalities meshed and after listening back to the tapes, it was Nicko who declared, “There, now that sounds like Iron Maiden, dunnit?”
With the resulting album, The X Factor, as the only evidence before us, one might wonder just what Nicko was hearing. I remember being quite surprised when I listened for the first time: “This guy doesn’t have any range!” His voice fit in better with the darker tone of the 1990’s than Bruce’s did, but would it work?
As an album – disregarding the live shows, stage presence, or what happens later – I think The X Factor is damn fine. Perhaps it’s not a fine Iron Maiden album, although Steve ranks it among his top three. It’s decidedly darker, softer & slower and sparse, but it is also deeply personal. Characters on all songs are tortured souls, reflecting Steve’s inner torment.
Also important to note: This is the first Iron Maiden album since the first one, not to be produced by Martin Birch. Now, Steve Harris and Nigel Green were producing at Steve’s home studio.
The band made no bones about the new direction, starting off with the 11 minute epic “Sign of the Cross”. A new sound, Gregorian chanting, begins this tale based on The Name of the Rose, specifically the torture part! Blaze ominously warns that “Eleven saintly shrouded men have come to wash my sins away.” The song was written solely by Steve Harris and it follows in the mold set by Fear of the Dark: long, soft, bass-driven sections backed by soft keyboard beds.
It suddenly lurches into a slow march around the 2:45 mark, sounding much like Iron Maiden, but slowed down, more precise, and with a lower, rougher voice spitting out the words. It is similar to past epics in that it goes through different sections and dynamics. Although a soft epic, it is one of the best songs of the Blaze era. Indeed, the band continued to perform it even on the Brave New World tour.
As if to allay your fears that Maiden has gone soft, “Lord of the Flies” is next, retelling the old story of the boys stranded on the jungle island . It stutters forward at first before breaking into a solid groove. This Harris/Gers winner was chosen as the second single. Once again, Maiden continued to perform it even into the Dance of Death tour. Blaze growls his way through the words, his solid baritone carrying the catchy verses and choruses. Davey’s familiar guitar stylings in the solo are vintage Iron Maiden.
The third song on the album to be based on a book or movie is next, the manic “Man on the Edge”. Blaze’s first writing credit with Steve, it’s based on the excellent (and my personal favourite) Michael Douglas film, Falling Down. Lyrically though…this one is pretty poor:
The freeway is jammed and it’s backed up for miles
The car is an oven and baking is wild
Nothing is ever the way it should be
What we deserve we just don’t get you see
A briefcase, a lunch and a man on the edge
Each step gets closer to losing his head
Is someone in heaven are they looking down
‘Cause nothing is fair just you look around
Really guys? “The car is an oven and baking is wild”? What does that even mean?
Even though the band continued to play this one into the Ed Hunter tour, it’s not really a standout Maiden track to me. While it serves as a fast manic number to bang your head to while singing along, it’s simply not that great a song.
Maiden wisely sequenced these three songs first, three songs that wouldn’t alienate fans or critics even with the change at the microphone. It is only now that The X Factor begins to show its true dark face.
“Fortunes of War” is a slow, mournful ballad, a beautiful song, perhaps the sequel to “Afraid to Shoot Strangers” lyrically and musically. There’s Steve’s bass, backing the soft sections with faint keyboards. As if you couldn’t tell by the bass being one of the lead melodic instruments, this one was solely written by Steve. I like this song. Reading between the lines you can hear Steve’s pain, and you can definitely hear it musically, before the song kicks into a triumphant upbeat section with guitar harmonies at 4:35.
“Look For the Truth” is next, beginning ballad-like before going into a mid-tempo stomp. This song featured the new writing triumvirate of Steve, Blaze and Janick. Lyrically, it would be seem to be inspired by Steve’s personal struggles. Musically, I think this is another strong number, and it has a great Davey solo. If there is one thing that always grounds Iron Maiden to its roots on The X Factor, it is Davey’s solos.
This concluded the first side. Side two begins with another slow one, “The Aftermath”, written by the same triumvirate. It is at this point that I began to tire of the slow pace. Lyrically I don’t think this one stands up to anything on side one. Another war song, it doesn’t really bring anything new to the table. It was dropped from the live set after this tour.
Although it’s still the bass carrying the melody, “Judgement of Heaven” quickens the pace. “I’ve been depressed so long, it’s hard to remember when I was happy,” sings Blaze on this obviously Steve-written piece. Yet it’s a positive message, Steve trying to stay strong and look to the future. Once it gets going, it’s a pretty good song, with the chorus being particularly catchy. Blaze’s “yeah yeah’s!” are as close as we get to hearing Blaze trying to do anything in an upper range!
The worst song is up next, “Blood on the World’s Hands”. A really dull Steve bass melody (guess who wrote this song!) takes a full 1:12 to introduce the damn song! There’s nothing here that really makes the song memorable.
Although it starts very slow (again) with bass melodies carrying it (again), “The Edge of Darkness” is a much better song. It follows the plot and quotes dialogue from Apocalypse Now: “What I wanted a mission, and for my sins they gave me one.” Musically, Nicko pounds this one into submission. It stomps forward like a powerful beast, unstoppable, albeit slow and plodding. But fear not, it picks up again at 2:55, going into a faster guitar-harmony based section. Although the album certainly does not need more slower songs at this point, “The Edge of Darkness” is a win.
Less successful is the introspective “2 a.m.”. It’s not dreadful, but it’s pretty pedestrian for Maiden, although I’m sure it was deeply personal to Steve. It’s yet another slow song that goes into a powerful stomp, but that’s too many now.
The quirky “The Unbeliever” ends the album on a better note. It has a neat slippery little riff, and it’s rhythmically very different. Written by Harris/Gers, it’s marked with a standout Janick solo. Even though it’s fast paced, there’s no denying that “The Unbeliever” lacks the crunch and volume of Maiden songs of yore.
And that perhaps is one of the most surprising things about The X Factor. Regardless of the change in direction, singer and artwork, it is the production that shocked me. Clean, free of dirt and distortion, Iron Maiden had never sounded this clear on record. But is that a good thing? I desperately wanted a little more grit and grime in the guitars, not to mention volume. The production is otherwise excellent. The drums are like Bonham on steroids and the bass (of course) chimes perfectly on every cut. I just wish there was more guitar. It’s Iron Maiden, and I felt like I didn’t get enough guitar.
This being a new era for Iron Maiden, the band chose Hugh Syme (he of many Rush and Megadeth covers not to mention dozens more) for the new Eddie. Going for a realistic look, the Eddie lobotomy cover was deemed too scary for some markets, and we received the less graphic electric chair cover facing front.
Now, onto the singles.
The first single, “Man on the Edge” had numerous B-sides.
“Justice of the Peace”: A fast paced rocker about injustice in today’s “sick society”, again reflecting Maiden’s new darker, serious lyrical bent. This is Dave Murray’s only writing credit (with Steve). (Available on US CD single or UK CD single part 1.)
“Judgement Day”: Manic and fast like “Man on the Edge”, relentless although not tremendously catchy. (Available on US CD single, or UK CD single part 2.)
“I Live Way Way”: Starts slow and chime-y like many of the album songs. Yet it launches up to speed after this intro. Another fast B-side, I’m now wondering why Maiden chose to stack the album so heavy with slow songs and pseudo-ballads when they had all this stuff waiting in the wings? Perhaps replacing two album songs with two of these could have changed the balance so much. (Available only on 12″ single or Japanese 2 CD version of The X Factor. The 12″ single comes with a massive poster.)
Parts 1 and 2 of the UK CD single also had a two part Blaze Bayley interview. Essential only to the fan.
It also came with a box designed to house the album and future singles. But even when I include my redundant US “Man On The Edge” CD in the box, there’s still room to spare. This indicates to me that there were more singles planned but cancelled.
The second single, “Lord of the Flies” had two awesome B-sides! Covers. Covers of “My Generation” (The Who) and “Doctor Doctor” (UFO)! And let me tell you, Maiden is one of a few bands that can do “My Generation” properly. Steve ably handles the backing vocals while Blaze spits his way through the lead. This sounds very live off the floor and perhaps it was. “Doctor Doctor” is one that I actually prefer to the UFO original. Blaze nails the vocal, the band are solidly in the groove, and Nicko nails it home. Surely, this must be considered one of the best Maiden covers of all time!
Conclusion and final thoughts:
As always, context is very important. When The X Factor came out, I was working at the store, and I had been waiting three long years to hear it. It was the mid-90’s, and most bands chose to get “darker” or “more serious” or “modernize” in order to stay relevant. It was true from Bon Jovi to Metallica with varying degrees of success.
For me, The X Factor was one of the few things that had come out worth listening to that fall, and I listened to it non-stop. It was largely the novelty, and partly the lack of other new options, but I grew to really like most of The X Factor. It took three listens, I do remember that much. But in the 1990’s, all things considered, it really wasn’t that bad.
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