Reviews

REVIEW: Iron Maiden – Edward The Great (2002)

Part 31 of my series of Iron Maiden reviews!

IRON MAIDEN – Edward The Great (2002)

“If you have purchased this then you have no doubt heard of Iron Maiden at some point during the band’s career over the last two-and-a-half decades.” – from the liner notes by Steve Harris

Clearly this CD (released simultaneous with the Eddie’s Archive box set) was not designed for the existing Iron Maiden fans.  The die hards were not the intended target market, they got the box set to satisfy them.

In fact, Maiden wisely made the cover art (a ho-hum piece by someone named Tom Adams) available for free download.  They knew some fans would just want it, and didn’t to force them to shell out for an album full of songs they already had.  Again.

Yes, this was Maiden’s third compilation CD since 1996’s Best of the Beast.  To keep things interesting, at least they shook up the format a bit.  Unlike Beast, this is not a career spanning anthology.  Unlike Ed Hunter, the fans did not vote on the tracks.  Edward the Great was a simple chronological compilation of singles from 1982 to Brave To World.  It ends with a recent track, a live version of “Fear of the Dark” from 2001’s Rock In Rio disc.  I don’t understand the lack of Di’Anno tracks while still including two Bayley songs.

(NOTE:  Maiden have also re-released the disc with an updated tracklist.  I don’t have that, so I can’t really talk about it.    Except to say it still has Blaze stuff on it!)

There’s an attractive booklet but not enough pictures.  For a CD called Edward the Great, I think a few Eddies from the past would be in order.   Oh well.

With the exception of the Blaze material, which simply breaks up the flow of the disc, every song belongs here.  You could argue about exclusions, certainly.  Most conspicuous by its absence is “Aces High”.  You could also make a case for including the original studio version of “Fear of the Dark”.  Playing Devil’s advocate, perhaps Maiden included the live version to demonstrate the power of an Iron Maiden concert to the initiated.

Whatever the case may be, as a greatest hits set I find this one lacking a bit.  Considering the format, I would have chosen to call it the “Bruce years” and remove the Blaze tracks.  Then you’d have room for two more classic singles (perhaps “Aces High”, “Tailgunner”, or “Be Quick of Be Dead”.  As it stands I don’t understand excluding Di’Anno classics in favour of more recent Blaze material (two songs that they weren’t playing live anymore anyway).

1.5/5 stars.  Better compilations were to come.

REVIEW: Alice Cooper – Lace and Whiskey (1977)

Next in line of my reviews from Record Store Excursion 2012!  Check out the video below if you missed it.  This one bought at Sonic Boom Music for a measly $7.99!  Thanks, Sonic Boom!

MIKE AND AARON GO TO TORONTO

SAM_1631

ALICE COOPER – Lace and Whiskey (1977)

I’m a big fan of some of these “lost” Alice records, the ones that might not be considered the big hits, from his late 70’s alcoholidaze.  Alice Cooper Goes To Hell was a really cool record, one I like a lot despite its disco tendencies.  Lace and Whiskey followed it a year later.  This is actually Alice’s third solo record, post-Alice Cooper Band.  (I talked about the disintegration of that band in a previous Record Store Tale, see the video blog below!)

Alice tends to write his albums in terms of themes:  Alice in school, Alice having a nightmare, Alice horror.  This time, Alice takes the guise of a heavy drinking detective!

It’s another diverse platter, from honky-tonk (“Damned if You Do”) to more disco and flamboyant balladry that Alice had become known for.  I don’t find there to be a weak track on the whole album.  I’m not a huge fan of the ballad “You And Me”, as it’s hard to compete with a tune like “Only Women Bleed” or even “I Never Cry”.  But it was a hit for Alice, and it’s certainly not bad.   It even made the Muppet Show.  Who can forget Alice dueting with a peacock?  Or whatever that is.

The whole album drips of Ezrin-isms, you can hear his touch on every track.  From rich orchestras, horns, choirs, and the well-honed arrangements he was known for, this album could not have happened without Ezrin.  Indeed, he co-wrote all but two songs.

“King of the Silver Screen” is a great example of a Cooper/Ezrin/Dick Wagner composition.  It has that dramatic Ezrin touch, Alice’s Hollywood-homage lyrics, with a rock guitar riff that serves to anchor the whole thing.  And what’s with those little musical segues there?  I love when Ezrin does stuff like that!

I love “Ubangi Stomp” too.   It’s a 1950’s boogie with Alice doing his best Elvis.  Just great!  Plus who else could possibly utilize the word “Ubangi” in popular music?  Alice, that’s who.

Lace and Whiskey is surely one  of the most diverse Alice records, and that is one thing I love about Alice.  I even like the disco song.  Yes, I like the disco song!  No genre is sacred, nothing safe from his sabre.  But it’s all in good fun.  Nobody gets hurt.

Nobody but Alice, who checked into a mental institution shortly after this tour, to deal with his alcohol problems.  But that’s another story.

The tendency from many mainstream music critics is to rate these mid-period Alice albums poorly. But why?  The songs are good, they just don’t rock as hard.  Disco?  So what?  One of Kiss’ best albums was a disco album.

So a middle finger to the mainstream critics.  I like Lace and Whiskey and I’m glad I found it at a cheap price.  Thanks, Sonic Boom!

4/5 stars

REVIEW: Iron Maiden – Eddie’s Archive (2002)

Part 30 of my series of Iron Maiden reviews!

IRON MAIDEN – Eddie’s Archive (2002, limited edition)

Eddie’s Archive was released simultaneously with another (!) greatest hits compilation called Edward The Great.  We’ll talk about that one next.  This is the real meat of it all!

This box set defines limited edition. I’m not sure how many copies were made, but the first printing with blue inlay was sold out nearly immediately. That’s the version I have. It was soon reissued with a red inlay to differentiate it, but even it is long out of print.

Inside you will find three individually packaged jewel cases, each containing 2 CDs for a total of 6 discs. These three “double albums” (for lack of a better term) are:

BBC Archives
Beast Over Hammersmith
Best of the B’Sides

The main reason to buy this set are the first two albums, BBC Archives and Beast Over Hammersmith.  To me, the Best of the B’Sides only scratches the surface of the treasures to be found on the numerous Iron Maiden singles and EP’s.  And as loyal LeBrain readers know, I’ve talked about ’em all.

BBC Archives contains numerous goodies. It starts off with a rare four song session by an ealy version of Maiden featuring Doug Sampson (drums) and Tony Parsons (guitar). Listening to “Sanctuary” as an example, you can tell it’s a guitar player you’re not familiar with. This is Parsons’ only recording with Maiden, but “Sanctuary” was previously released on the very rare NWOBHM compilation that Lars Ulrich put together.  I love the pure fire and raw youth of these early recordings.  “Transylvania” feels very different from its album incarnation.  You can tell it’s a different drummer.  And of course since it is the BBC, they are expertly recorded.

From there it’s a scorching ’82 set with Dickinson at Reading. Then back to 1980 for a Di’Anno Reading set, and finally to 1988 for a Seventh Tour of a Seventh Tour (Donington) recording. All of these are pure smoke and it’s great to hear Bruce in peak voice. Unfortunately, on this album alone, you will hear “Iron Maiden” four times!  It is what it is.  You wouldn’t want them to leave any tracks out, would you?

Next disc has the ’82 Hammersmith show. A couple tracks from these were issued as B-sides on the “Run To The Hills” single from Rock In Rio. Anyway, like the BBC discs, this is pure smoke. It is a pleasure to finally have a full concert with Clive Burr on drums and Bruce in top form. Of course you will hear “Iron Maiden” and numerous others again. With a box set of this nature it’s inevitable. If you’re a Maiden fan, you don’t care.  Do you?

Finally, the B’Sides.  Everything here has been made available before on singles.  There is nothing truly “unreleased” here as far as Maiden goes. There’s also nothing that is previously unreleased on CD unfortunately, like Maiden Japan or “I Live My Way” from the “Man On The Edge” 12″ single. For me, these discs are more just a “best of”. There are some cool tracks here such as the Montrose cover “I’ve Got The Fire”. (Maiden chose Dickinson’s version rather than Di’Anno’s, which is fine.) Other highlights include the pop metal goodness of “That Girl” and “Reach Out”, as well as originals such as “Burning Ambition” and “Invasion”. The covers that Maiden selects are mostly obscure enough (Nektar? Marshall Fury?) that they may as well be originals.

Then you get some of Maiden’s little-known jokey material: “Sheriff of Huddersfield” for example. I’m not sure how well it works as an overall listen. I prefer the singles in their original context, personally. As I mentioned, this is far from a complete set, and you can argue all you like for what you would have included. Certainly you can make solid arguments in favour of the Thin Lizzy cover “Massacre” or the rare “I Live My Way”.

Each CD jewel case features its own extensive booklet with photos, Derek Riggs cover art, and liner notes, with the exception of Beast Over Hammersmith. That one contains a booklet which is a reproduction of the original tour programme! Works for me! Otherwise, there is no book for the box set itself.

What you do get includes a neat scroll with the Iron Maiden family tree on it, wrapped inside a metal ring. (I’m sure this family tree is loaded with errors like the previous one included inside A Real Dead One, I’ve never bothered to check.) You also get this cool shot glass with Eddie’s face in the bottom. A cool treat. The box itself is a shiny tin masterpiece. It snaps shut securely and it is very detailed and cool looking.

What are you willing to pay for this set? That’s entirely up to you, but if you don’t have it, expect to pay through the teeth. Personally, to me it’s all about the music. Decide how much you’re willing to pay for approximately four discs of previously unreleased Maiden and purchase accordingly.

For me? 4/5 stars!

REVIEW: Neil Peart – “The Hockey Theme” (2010 single)

NEIL PEART – “The Hockey Theme” (2010 single, iTunes)

For my international friends and readers, you’re just going to have to take my word for it that this little tune is one of the most iconic pieces of music in our nation’s great history.  Mike Myers called it “Canada’s second anthem”.  If you’re home on a Saturday night, it’s a given that any true hoser is watching Hockey Night In Canada.  That theme song was the anthem that said, “Alright fans, go get your beer and your jerseys, the action starts now.”

I won’t get into the details of why this song isn’t the theme to Hockey Night In Canada anymore, but the song was picked up by another network, and it still kicks off hockey games every week — just not on Hockey Night in Canada.

In 2010, Neil Peart did a drum and horns version of the theme song, and put it up for sale on iTunes.  People bitched that they had to pay $1.29 for a song that was barely over a minute long.  All I can say to those people is, don’t buy it.  It you’re really huffing and puffing about paying $1.29 for a simply incredible piece of music by the world’s greatest drummer, then it is possible that you may in fact have no soul.

If you’re familiar with Neil’s work on the Burning For Buddy albums, then you already know that he tends to really kick traditional arrangements in the nuts.  And that’s what he does here.  He turns “The Hockey Theme” into a stomping, fill-laden anthem that is perfect for kicking off just about any mix CD that you have in mind.

Now, if we could only get an actual hockey season happening this year, we’d be talkin’!

5/5 stars

REVIEW: Iron Maiden – Rock In Rio (2002)

Part 29 of my series of Iron Maiden reviews!

IRON MAIDEN – Rock In Rio (CD/DVD 2002)

With Bruce coming back and all, you just knew Maiden had to do a live album.  It would have been a great disservice not to do one.

Almost everyone and their pet Schnauzers will agree that Live After Death is the greatest live Maiden album of all time.  Some might even argue it’s the greatest live metal album of all time.  I would gladly invite any of those people over for perogies and conversation.

Where we start to differ is, what is the second best live Maiden album?

This is just LeBrain’s opinion, but I say it’s Rock In Rio.

I do remember carrying this in store when it was released in March 2002.  I also remember some customers saying, “Yeah, I’m not buying this one.  I don’t know any of these songs!”

Maybe they’d been living under a rock and missed the awesome Brave New World CD?  Whatever the case may be, I’m not the type that likes to buy the same live album over and over again.  Give me tracks that have never been released in live versions before.  Let me hear the new stuff, when it’s good enough to be on a live album.  And having enough good new stuff was not a problem for Maiden after Brave New World.

Maiden bravely started with an opening salvo of fresh music:  the first three songs from Brave New World:  “The Wicker Man”, “Ghost of the Navigator”, and the title track itself.  And the Brazilians went nuts.  Singing along at the top of their lungs, they clearly didn’t have the problem of not knowing the songs like my customers did!

Then, wisely, Maiden dug way back and pulled “Wrathchild” and Adrian’s classic “2 Minutes To Midnight” out of the hat.  And it sure is great finally hearing the old stuff played by the Three Amigos.  The three guitar lineup works so well, that I definitely never want Maiden to go back to two.

Another newbie is up next, “Blood Brothers”.  Once again, the crowd goes crazy singing along.  It must have been an incredibly loud night.

“Sign of the Cross” is the one I had been waiting for.  Anybody who felt that all the Blaze Bayley material would have been about 150 times better with Bruce singing will be happy campers.  “Sign of the Cross” is a brilliant song that finally reached it full potential with Bruce at the mic.   There is simply no comparison.

“The Mercenary” from Brave New World, and “The Trooper” provide a much needed fast-paced adrenaline boost after spending 10 minutes on the epic “Sign of the Cross”.   Bruce begins “The Trooper” with a stanza from Tennyson’s poem, but once he starts singing the crowd follows every word!  It’s hard to imagine how you could have even heard the band if you were in that crowd that night.

A couple more songs of recent vintage kick off disc 2.  “Dream of Mirrors” is one I personally could have done without, as its 10 minute length could have been taken up by two shorter songs.  But the crowd doesn’t seem to mind, clapping and screaming along with Bruce’s nightmare.  And then, “The Clansman”.  Once again, if anybody felt that the song never came to life with Blaze singing, then listen up.  This is a song that was built for performing live.

“Freedom!”  And once again, Rio goes wild.

And that’s it for the new stuff.  It’s nothing but back to back hits on the home stretch:  “The Evil That Men Do”, “Fear of the Dark”, “Iron Maiden”, “Number”, “Hallowed”, “Sanctuary”, and of course “Run to the Hills”.

Production by Kevin Shirley is crisp, clear, with great separation of the three guitars in the stereo field.  Absolutely no complaints.  And if that’s not good enough for ya, you can get the whole thing on a nice (5.1 surround) DVD package too.  The DVD in fact has some cool behind the scenes footage of all six Maiden members killing time.  Adrian likes to fish, for example.  It’s a chance to get to know all six members as people.

The single was “Run to the Hills” (again — third time this song was chosen as a single!) but I’m not going to bother discussing the B-sides too much.  While they are great, great vintage live recordings from 1982 with Clive Burr on drums, all of them were issued later on the massive Eddie’s Archive box set, as part of a live disc (and that happens to be our next stop anyway).  Check out the photos below for the tracklists.  “Total Eclipse”!  I like the painting of Bruce as Eddie.

“Scream for me Brazil!”  And scream they did.  And unless you’re stuck in the 1980’s like many of my old customers, you will too.

4.75/5 stars

BOOK REVIEW: Kevin J. Anderson – Clockwork Angels

KEVIN J. ANDERSON – Clockwork Angels  (2012 ECW)

From a story and lyrics by Neil Peart

It was bound to happen eventually.  Somebody had to write a Rush concept album into book form.  I’m sure a lot of highschool kids in the 1970’s wrote their own short story versions of 2112.  Now in 2012, Kevin J. Anderson (the Dune spinoffs) has teamed up with Neil Peart to novelize Rush’s latest album, Clockwork Angels. The end result, according to Aaron, is a near total ripoff of Harlan Ellison’s Repent, Harlequin! Said The Ticktockman, but Rushified.  I’m sure both Peart and Anderson are familiar with the previous work, so their plaigarism is not forgiveable.

I found Clockwork Angels, the album, to have a sparse story that begged to be opened up in more detail.  There’s text in the CD packaging to help illustrate the story a bit more, but that only scratches the surface.  I had a hard time visualizing the world that these characters inhabited.

Like many novels of this ilk, the world of Clockwork Angels is Earth-like in some respects.  There’s a massive, unexplored eastern sea, a far away land called Atlantis, and a vast deserted land of wonders unimagined beyond that, all waiting for our hero Owen Hardy to explore.

Owen Hardy, an apple orchard manager from Barrel Arbor, Albion, is a dreamer.  (Hmmm…ever heard that setup before, in Rush songs past?)  He dreams of the faraway lands that he’s only read about in his mother’s books.  Their world is run by their loving Watchmaker, an ancient old man who has mastered the power of “coldfire” and alchemy.  Using his mastery of these arts, he has created a clockwork society:  everything has its place, and every place has its thing.  Everything runs precisely, on time, and every person fulfills his or her role in society.  It is a place where everyone is content.  Everyone but the dreamer.

One night Owen Hardy suddenly departs Barrel Arbor for the wonders of the capitol Crown City, home of the Watchmaker and his Clockwork Angels.  The Angels are glowing coldfire-powered mechanical beings that inspire awe in the citizens lucky enough to have a ticket to see them.  Owen wishes to see them for himself, but the Angels would never be enough for this young dreamer.  Along the way Hardy meets colourful characters from airship pilots to carnies to the notorious pirates, the Wreckers.

Owen gets tangled up with a character called the Anarchist.  The Anarchist lies at the opposite extreme from the Watchmaker.  Where the Watchmaker believes in rigid order to achieve happiness (called “The Stability”), the Anarchist believes that true happiness can only come with the freedom to do whatever you want and go wherever you please.  But both the Anarchist and Watchmaker have designs on young Mr. Hardy, an exceptional man because dreamers are rare.

Through it all, Hardy journeys to lands far away, glimpses parallel universes and discovered his own inner strength.  All the while, Kevin J. Anderson sprinkles his journey with Rush references.  “Tough times demand tough hearts”.  Lyrics from songs past and present find their way into the text, and unfortunately I found this touch to be distracting.  I get it – a nod and a wink to the Rush fans who will buy the novel – but as a Rush fan, these references stick out like a glowing beacon of coldfire.  (Coldfire’s another one, by the way.)  This is a minor complaint; the novel soon took on a life of its own and was impossible to put down.

One of the best features of Clockwork Angels are the glorious illustrations by Rush cover artists Hugh Syme.  From steampunk airships to the glowing Seven Cities of Gold, Syme’s art helps the reader visualize this fascinating world that Peart and Anderson have created.  Clearly, Syme was in sync with the authors when he created these paintings.

While I enjoyed Clockwork Angels thoroughly, and this enjoyment only enhanced my appreciation of the album, its template is far from original.  The archetypes are familiar, as was the plot.  Having said that, Anderson and Peart successfully conjured up a vivid landscape, interesting characters, and a rollicking good story.

3.5/5 stars

Under piercing stars
I stand watching the steam-liners roll by

REVIEW: Bill Ward – Ward One: Along the Way (1990)

A companion piece to my previous Record Store Tale, a video blog, seen above!

BILL WARD – Ward One: Along the Way (1990)

To date, since leaving Black Sabbath (the first time) in 1980, Bill Ward has released precisely two full solo albums (plus the single “Straws”).   This is especially unfortunate, since both solo albums are particularly fine pieces of work.  The finest and most noteworthy was his first, Ward One: Along the Way, released a decade after his Sabbath departure.  A long time in the making doesn’t begin to sum it up.

Bill himself provides drums, lead vocals, and piano, but not on all tracks.  Some tracks feature guest vocalists (Ozzy Osbourne, Jack Bruce, guitarist Rue Philips) and a guest drummer (Eric Singer, also ex-Sabbath, but best known for being in Kiss).  Other notables include Marco Mendoza (Thin Lizzy, Whitesnake), Lanny Cordola (House of Lords), Gordon Copley (Black Sabbath), Bob Daisley and Zakk Wylde (both of Ozzy’s bands).  Jack Bruce of course also plays bass!  It’s a smorgasbord of integrity.

Aside from some production issues (this album could use a nice, clear remix) this is among the best solo products issued by any ex-member of Black Sabbath, including Dio and Ozzy.  It has its Sabbathesque moments (a few crushing guitar chords, pounding drums, peacenik lyrics) but it truly is an animal of its own.   Bill Ward received a co-writing credit on every original Black Sabbath song, and it’s clear why.  The man has a vivid imagination, creating swirling soundscapes of music.  There is nothing here that is outright commercial, nothing straightforward, everything is just slightly fucked up.  I think most likely it was Bill that gave Black Sabbath its oddball experimental edge in the early days.  An edge they have lost now that they have given him the boot.

The obvious standout track is “Bombers (Can Open Bomb Bays)”, the thunderous single featuring none other than Ozzy himself on lead vocals.  But even that is strange and offputting, as the pitch of Ozzy’s voice is manipulated in the mix, giving him an otherworldly sound at times.

But there’s nothing wrong with Bill’s own soft vocals (aside from being mixed too low), as he proves on the standout tracks “(Mobile) Shooting Gallery” and “Pink Clouds An Island”.  He often layers his vocals, thickening them up, but it’s a pleasing effect  “Pink Clouds” is a particularly great track, featuring some nice unusual percussion and vocal bits.

Jack Bruce’s “Light Up the Candles (Let There Be Peace Tonight)” is a beautiful song with a great little guitar melody that weaves in and out, but Jack really delivers on the vocal.  If you hate lyrics about world peace, avoid this album!  “Snakes and Ladders” is another standout track, perhaps the closest thing to a straightforward rock song, although Marco Mendoza’s fluid bass keeps it slightly off-kilter.

Ozzy returns to sing lead on “Jack’s Land”.  I heard a while ago that a reissue of this album was being planned, sans the two Ozzy tracks.  What a shame that would be.  Must be due to rights.  “Jack’s Land”  is a driving song, made all the more powerful with Ozzy behind the mic.  Once again, his voice is manipulated for effect.

The core riff of “Living Naked” could have found a home on many a Sab platter, but the song is otherwise very different from anything Sabbath have done.  This flows directly into “Music For A Raw Nerve Ending”, one of three songs written solely by Bill.  While there is a chugging guitar audible beneath the layers of vocals, piano and bass, it is not the driving force of the song.  Bill’s hypnotic vocal is.  And this song melds directly into “Tall Stories”, which continues the key hooks, adding Jack Bruce, even more hooks, and a soulful female backing vocal. There’s even a frickin’ didgery doo!

“Sweep” (also written solely by Bill) is a bright, fast little number, perhaps the most mainstream track on the album.  Bill’s speedy little drum pattern propels the song forward, all punctuated with an oddball guitar solo by Richard Ward (any relation?).   While the album is loaded with great tracks, it closes with one of the best, “Along the Way”, followed by Bill’s haunting “goodbye”.

There’s nothing straightforward about this album, but there’s plenty to be enjoyed.  Bill clearly had plenty of ideas to get off his chest, and often he chooses to load many ideas within a single song.  I remember it was one of the first major releases of 1990 and it definitely started the year off correctly.  (Thankfully, Bruce Dickinson followed it with his excellent solo album a couple months later!)

5/5 stars

Part 142: VIDEO BLOG! Quest For Bill Ward

RECORD STORE TALES PART 142:  Quest For Bill Ward

Full review of this CD coming soon…

REVIEW: Iron Maiden – Brave New World (2000)

Part 29 of my series of Iron Maiden reviews!

IRON MAIDEN – Brave New World (2000)

Ed Hunter tour complete, the returned Bruce Dickinson and the boys hit the studio.  Steve had already begun writing several new songs while Blaze was still in the band.  Several of these made it onto the new album, with Bruce singing them instead.

Brave New World features the brand new three guitar lineup of Gers, Murray and Smith (aka “The Three Amigos”) for the first time in the studio. Steve Harris had flirted with a three guitar lineup very early in Maiden’s career. The original Iron Maiden lineup consisted of two guitar players named Terry Rance and Dave Sullivan. Neither were standout solists, but Dave Murray was. Harris’ concept was to bring in Murray as a third guitarist to solo over the other two. The other two didn’t like that idea and they split. Since then, fans have wondered what Maiden would sound like with three guitars. Wonder no more.

Brave New World is also the first full Maiden album produced by Kevin “Caveman” Shirley (he did the “Wraithchild” promo single prior to this), and features cover art partially done by original Maiden artist Derek “Dr. Death” Riggs. Anticipation ran high!

I was not disappointed.

Starting off with “The Wicker Man”, the first single, you can instantly hear all of Adrian’s  style and substance.  It’s such a welcome sound.  “The Wicker Man” has a slightly-“Two Minutes To Midnight”-styled riff, which leads into this short catchy blast of awesome.  “Your time will come!”

From there, it’s the slow and heavier “Ghost of the Navigator”, an equally strong song. Then, the title track “Brave New World” has chiming guitars, and soft verses with heavy choruses. It suffers from Repetive Chorus Syndrome, something that has really dogged Maiden since The X Factor.  Lyrically it seems to be an environmental theme, continuing with the real-world based style of writing from the previous albums.

Steve Harris’ “Blood Brothers” is next, which once again suffers from the repetitive chorus. Otherwise, a strong song. “Side 1” of the vinyl version ended with the lethal “The Mercenary”, fast and deadly.

“Side 2” kicked off with an epic track, “Dream of Mirrors”. Clocking in at nearly 10 minutes, it’s one of Maiden’s greater epics.  I would place this one pretty low on the list, especially with the repetitive chorus of  “I only dream in black and white, I only dream when I’m alive, I only dream in black & white to save me from myself.” OK then.

“The Fallen Angel” is next, and even though Bruce didn’t write it, I find it somewhat similar to some of the stuff on his Accident of Birth album. Then, another 9 minute epic! “The Nomad” is slightly middle eastern in sound, something they previously explored on “To Tame A Land” and “Powerslave”.  It is not, however, a standout track.

Second single “Out of the Silent Planet” is a cool sci-fi track about alien invasion. This is a fast one with one of those Dickinson choruses that you never forget. It was written by Bruce with Janick and Steve.  I’m quite fond of this song

The album closes with “The Thin Line Between Love and Hate”, almost 9 minutes in length and an underrated classic. I love the sparse ending to this song. You can really hear the guitars.  And Nicko’s outro!  “I fucking missed it!”

I love the three guitars.  It was a brilliant idea to have Adrian come back, but nobody else have to leave. Adrian Smith is the melodic one who writes his solos out in advance. Janick Gers is the manic, spontaneous one whose solos frequently sound out of control. Dave Murray is somewhere between the two, with melodic, but barely-in-control trademark Maiden guitars. With this mix, the solos are deliciously diverse and you can identify each player.

Shirley did a fine job on production, lending Maiden a powerful modern sound with big, big drums and clear, sparkling guitars.

There were of course singles to collect.  And collect them I did.  The fine cover art (some of the Maiden’s best in my opinion) was done by Mark Wilkinson, of Marillion/Fish fame.

 

1. “The Wicker Man” singles, parts 1 & 2 which featured the cool “Wicker Man” video, as well as several live tracks from the reunion “Ed Hunter” tour.  Of note were several Blaze era songs with Bruce singing.  This is the only place you can hear Bruce belting out “Futureal” and “Man on the Edge”.  They are also home to two smokin’ versions of the classics “Powerslave” and the awesome “Killers”.

2. “Out Of The Silent Planet” single, which had that video, and two more tracks from the “Ed Hunter” tour:  “Wasted Years” and “Aces High”.  With Adrian back in the band, this version of “Wasted Years” is superior to the one on the “Hallowed By Thy Name” single.

4.5/5 stars

Ignored Albums of the 1990’s: I liked ’em them…LeBrain’s List Part 6

Thanks for checking out my 88 underrated albums from the 1990’s that I believe deserved a second look.  There were a few albums that, had I written that series of articles in the 1990’s, would have made the list.  Today, they just don’t cut it.

Here’s a selection of albums that I felt were under-appreciated at that time.   Today, these very rarely get any play in my house.  The shine obviously wore off the apple.

Once again, this is alphabetical.

BIG WRECK – In Loving Memory Of…  (T-Rev teased me about it…it’s half decent, but only half)
BUSH – The Science of Things (good song: “The Chemicals Between Us”)
JERRY CANTRELL – Boggy Depot (Alice In Lite Chains)
CINDERELLA – Still Climbing (Never even upgraded to CD from cassette)
ALICE COOPER – A Fistful of Alice (Dunno…never play this anymore!  Good song: “Is Anyone Home?”)
EDWIN – Another Spin Around The Sun (Good song:  “Alive”. The rest? Suckiness.)
GEEZER – Black Science (only decent, certainly not great)
IOMMI – Iommi (too modern sounding, has some great tracks, but not enough)
MEGADETH – Cryptic Writings (T-Rev and I were into this big time! I can’t play it anymore)
METHODS OF MAYHEM – Methods of Mayhem (I fucking bought this one!)

MR. BIG – Hey Man (“Take Cover” is a good song…the rest I can barely remember)
ALDO NOVA – Blood On The Bricks (I’ll review this at a later date, just doesn’t cut it anymore)
NUNO (Bettencourt) – Schizophonic (One customer will never forgive me for recommending this)
SCORPIONS – Pure Instinct (pure lite-rock)
TWO – Voyeurs (sorry Rob, this just wasn’t a good idea)
STEVE VAI – Fire Garden (perhaps it’s just too dense for me)
VAN HALEN – 3 (no comment…)
VARGA – Prototype (I was trying to get into industrial metal. I grew out of it!)
VICTOR – Victor (Bought because it was Alex Lifeson, therefore my civic duty)