Bruce’s studio band from the last album, Balls To Picasso, had a regular gig to get back to (Tribe of Gypies) and Bruce formed a new young band he called Skunkworks: Alex Dickson (guitar), Chris Dale (bass), and Alessandro Elena (drums). Dickson’s since turned up on Robbie Williams albums. (I know because I bought one.)
Why Skunkworks? Well, you know Bruce and his love of aviation. Skunk Works is the top secret project that brought to life the Lockheed Martin SR-71 Blackbird among other advanced aircraft.
Skunkworks, the album, was a new direction once again. Just as Balls To Picasso was very different from Maiden, Skunkworks was another hard left turn. It polarized fans: Some praised Bruce for doing something new and different again, others were puzzled and disappointed.
And some were just pissed that he’d cut his hair.
With most songs of the 13 clocking in between 3 and 4 minutes (none exceeding 5), Bruce and Alex had written a set of tight songs. Bruce was clearly in tune with what was happening with music in the 1990’s as most songs have that alterna-90’s vibe mixed with a heady prog-rock tendency. The sound of the album is dry and in your face.
The problem for me is most of the songs are just not memorable. The single “Back From the Edge” (which we’ll talk about later) is great, a rocket trip to the moon in a very sleek vehicle. Also great is the metallic and angry (but lyrically obtuse) “Solar Confinement”. These songs I like a lot. Most of the lyrics have a sci-fi bent that Bruce would revisit on later solo albums, which is also fine by me.
I don’t mind the epic closer “Strange Death In Paradise”, nor the chrome choruses of “Inside the Machine”. I like the velocity of “Innerspace”. But a day after listening to it, I couldn’t tell you how it went.
I love the Floydian artwork that unified the album with its singles. Compared to later Bruce albums, the artwork doesn’t stand out as much, but as a whole with all the singles it works great.
As I mentioned, fans are really polarized on this album. There has to be something here that I’m missing. I do like the B-sides, which were mostly fantastic! Some were heavy, some melodic, some acoustic. All worth having.
“Back From the Edge” CD1 contained:
“Rescue Day”
“God’s Not Coming Back”
“Armchair Hero”
“Back From the Edge” CD2 contained:
“R 101”
“Re-Entry”
“Americans Are Behind” (one of Bruce’s trademark joke songs)
And the “Back From the Edge” 7″ picture disc contained:
“I’m In A Band With An Italian Drummer” (another joke song based on Alessandro Elena)
SKUNKWORKS – Live(1996 Japanese EP)
There would also be a cool live EP, billed under the name Skunkworks, and just titled Live. This was only made available in Japan, and I paid $30 for a copy at HMV 333 Yonge St. Now, this and all the B-sides are available on a deluxe edition of the album. Then, I spent a lot of money to get all the songs, but the end result is a bunch of cool looking discs with united artwork.
The Live EP had four tracks, three from Skunkworks: “Inertia”, “Faith”, and “Innerspace”. It was capped off by a Maiden cover, “The Prisoner”, something Bruce was only beginning to do as a solo artist. As a cover it highlights the differences in bands.
For the album Skunkworks:
2.75/5 stars
For the EP Skunkworks Live:
3/5 stars
Perhaps Bruce felt a tugging in his heart for heavy metal, or perhaps the fans were too vocal in their rejection of Skunkworks. Whatever the case may be, Bruce decided to abandon the band Skunkworks. He turned to his friend Roy Z, from Tribe of Gypsies and co-writer of Balls To Picasso.
“I want to make a heavy metal album,” said Bruce. “Do you have any metal riffs?”
As it turned out, Mr. Z had plenty. The Balls To Picasso lineup was back. And that wasn’t the only reunion in the works.
Much like other UK singles, “Virus” was released in two parts each with its own B-sides and cover art. If you bought the first, you also got a box with 5 postcards and space to store the second disc.
The first disc contained the (unadvertized) single edit version of “Virus”. I can happily live without the slow, boring, goes-nowhere first three minutes of that song. At least the single edit only has the up-tempo part of the song. I recall when the single came out, a few of us had grumbled that Maiden seemed to be losing it…
The B-sides on this first single were the previously released covers, “My Generation” and “Doctor Doctor”. You could get these tracks on the previous single, “Lord of the Flies” from The X Factor. Having said that, these are great versions, among the best covers Maiden have ever recorded in this writer’s opinion. “My Generation” is of course the Who classic. Maiden breathe their original punky sensibilities into this one, and it rocks like nothing that actually made it onto The X Factor! “Doctor Doctor” is a beefed up version of the classic UFO song, and my preferred version.
The second disc was the really, really special one. It had the album version of “Virus” (all bloody 6:15 of it, ugh) but it also has the ultra rare “Sanctuary” and “Wrathchild” from the 1979 compilation album, Metal For Muthas! When I had first picked up the single for “Virus”, I didn’t even know these recordings existed. Collectors rejoice! These tracks were previously unavailable anywhere else but Metal For Muthas, and this is the first CD release.
“Sanctuary” and “Wrathchild” both feature Paul Di’Anno on vocals, and are from the short-lived Maiden lineup of Di’Anno, Steve Harris, Dave Murray, Tony Parsons, and Doug Sampson. This represents one of Maiden’s earliest recordings. There are more from this lineup, but we’re not going to talk about those for a while yet…
Do I need to mention that these two tracks are just pure smoke of the early-Maiden variety?
A quick glance at Wikipedia reveals that there is a 12″ single release of “Virus” as well, this one with the two missing Soundhouse Tapes tracks that weren’t on the Best of the Beast CD. Adding to “want” list!
I found the cover art of the “Virus” single to be a little lacklustre, particularly the one in the petri dish. Like, really? It didn’t scream to be made into a cool poster for my wall. There were some cooler things on the postcards including one by Derek Riggs.
I’m not sure what prompted Iron Maiden to put out their first greatest hits disc in 1996, but at least they did it in style. Originally available as a limited edition 2 CD book set, it was pretty extravagant packaging for the time. My only beef is by the nature of such packaging, the paper sleeves will always scratch your discs, 100% of the time.
This album was also available in a standard edition single disc, with the songs in a different running order. I don’t have that one so I’m not going to talk aboot it.
The 2 disc version, perhaps to emphasize that Blaze Bayley is the current Maiden vocalist, starts at the present and then rewinds all the way back to the beginning, closing with The Soundhouse Tapes! An interesting approach indeed. As a listening experience I’m not sure that it works that well.
Since we’re starting at the present, the album kicks off with a new song. “Virus” is 6:30 of same-old same-old X Factor Maiden, but not as good as anything on that album. It drags and drags for three minutes before finally kicking into gear, but it is otherwise repetitive and boring until then. Lyrically, it is another attack on the sicknesses in society, much like “Be Quick Or Be Dead” and “Justice of the Peace” were.
Then back in time one year, to “Sign of the Cross”, the dramatic 11 minute epic from The X Factor, as well as “Man on the Edge”. (I would have preferred “Lord of the Flies” to “Man on the Edge”, but perhaps “Man” was the bigger single of the two.)
To bridge into the Fear of the Dark album, a new live version of “Afraid To Shoot Strangers” is featured, with Blaze Bayley singing. It’s a good live version, but it’s immediately obvious that Blaze is no Bruce.
Bruce takes over on the next track, “Be Quick Or Be Dead”, and we’re back in the saddle. Singles (including the popular live version of “Fear of the Dark”) and album tracks are counted down from 1993 to 1986’s Somewhere In Time album, ending disc 1 with “Wasted Years”, a great closer. My beef here: I would have preferred the single “Stranger In A Strange Land” to the album track “Heaven Can Wait” (but I know the Heavy Metal OverloRd doesn’t agree with me!)
Disc 2 is the glory years, if you will, everything from Live After Death to the beginning. It begins with the epic “Rime of the Ancient Mariner”, a ballsy move for a greatest hits album, and the live version at that. Chasing it is the live single version of “Running Free”. Then we count them down, all the singles from Powerslave to “Run To The Hills”, plus “Where Eagles Dare” and “Hallowed Be Thy Name” thrown in for good measure.
Then it’s the Di’Anno years, which are given an unfortunately brief expose. “Wrathchild”, from Killers is one of the best songs from that era, but the only included track from that album. Maiden’s first epic, “Phantom of the Opera” and the single “Sanctuary” represent the debut Iron Maiden. Finally, an unreleased track from The Soundhouse Tapes sessions (“Strange World”), and the rare Soundhouse version of “Iron Maiden” close the set. To read my review of The Soundhouse Tapes and these tracks, click here.
There was also a 4 LP vinyl edition available, with 7 extra tracks: “Seventh Son of a Seventh Son”, “The Prisoner”, “Killers”, “Remember Tomorrow”, an exclusive live version of “Revelations” from the Piece of Mind tour, plus the final two songs from The Soundhouse Tapes, “Prowler” and “Invasion”. You can read a story about the 4 LP edition by clicking here.
And there you have it, Maiden’s first greatest hits set, with lots of the hits and plenty of rarities thrown in for the collectors. I confess that I don’t listen to it often, and this time for this review was the first time in roughly two years.
The cover art was once again by Derek Riggs, doing a sort of mash-up of his (and nobody else’s) Eddie’s. It’s a suitably glorious piece of art for such a monument of metal. The inside of the book is loaded with concert dates, lyrics, liner notes, and chart positions, as well as more Eddie’s and photos!
I still want to talk about the single, “Virus”, but I think that it should get an article of its own. Check back soon for that!
Curiosity: the cover features an ad for the never-to-be Iron Maiden video game, Melt! Maiden did eventually release a video game, but we’re not going there yet….
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.
BRUCE DICKINSON – Balls To Picasso (1994, deluxe edition)
I remember working at the record store, and a guy asked to listen to Balls To Picasso, by Bruce Dickinson. I put the disc on the player and he slid on the headphones.
About 2 minutes later, he took off his headphones. “You put on the wrong CD. This isn’t the right one.” I went over and checked — Balls To Picasso. Sometimes, though, CD’s could be misprinted with the wrong music, so I put on the headphones. “Nope, this is it. This is the right album,” I told the guy.
He responded, “It can’t be. I know this singer. That’s not him.”
Just one of many reactions to Bruce’s second solo album (and first since leaving Maiden)!
Regardless of the weird title and cover, Balls To Picasso is an album that I loved immediately. Right from the opening grind of “Cyclops” and its vicious lead vocal, I was hooked. Yeah, it does throw me from time to time (rapping, on “Shoot All The Clowns”) but this is a solid album by Bruce. Fans have grown to appreciate it more over the years. And you can’t fault its lineup, Bruce’s first album with Roy Z, Eddie Casillas, and Dave Ingraham from Tribe of Gypsies.
The album had a torturous birth. He started it once using the British band Skin, and aborted. He tried again with Keith Olsen. I suspect that this is the “very different” Peter Gabriel-type album he’s spoken about. It is very different, with a lot of drum programs and keyboards, and very lush, polished production. To me it is very Fish-like. It is definitely not metal in any way, which is fine, but for whatever reason, Bruce opted to shelve this album. Then he finally completed the task with Tribe of Gypsies, the only song making it to all versions of the album being “Tears of the Dragon”.
The end album sounds like alterna-metal, the kind of thing that a lot of metal artists were doing at the time to stay relevant. It is bass heavy, 90’s sounding, and not very Maiden at all until you get to “Tears of the Dragon” itself, which could have easily been on a followup album to Fear of the Dark.
While not every song here was universally loved by the fans, there are many that were. “Change of Heart”, “Cyclops” and especially “Tears” are now considered fondly by Maiden fans. Tribe of Gypsies were a latin-flavored rock band, and they really lent Bruce a cool vibe for this record. There’s a lot of nice percussion stuff going on, and the occasional bit of flamenco guitar thanks to Mr. Z.
I think “Change of Heart” is the best tune on the album. Perhaps it reflects Bruce’s feelings on leaving Maiden. Perhaps not. Either way it is a side of Bruce we’d never seen before, and he shows it with depth and taste.
“Tear of the Dragon” has got to be about Maiden. It seems so on the surface:
Where I was
I had wings that couldn’t fly
Where I was
I had tears I couldn’t cry
The remastering job on this 2 CD deluxe is stellar. I can hear some percussion parts on songs that I didn’t know existed before. I’ve played this album a hundred times in the past, and this time it sounded really fresh.
And of course the real reason I buy this stuff: a second CD of B-sides. I really love it when somebody puts out a quality reissue like this. They have gone to the care of putting on a complete set of every B-side associated with this album. Present are the tracks for the CD singles, as are the tracks that were exclusive to 7″ and 12″ vinyl.
I would have had to buy 8 singles total in different formats to get these songs. Thus far I’d only managed to get 4. So I’m cool with this. The B-sides were songs from the Keith Olsen album, live stuff featuring his new band Skunkworks, and remixes.
4/5 stars
Also seen below: A rare 1994 promo CD featuring a “Shoot All The Clowns” club mix. (!)
…but what you hungry readers are really waiting for is the next Maiden. Well the wait is over. Next time, we’ll get X rated…
Next in line of my reviews from Record Store Excursion 2012! Check out the video below if you missed it. This one bought at Paradise Bound.
MIKE AND AARON GO TO TORONTO
THE CULT – “Lil’ Devil”(1987 double 12″ single, Polygram)
I had to pick this up. Two 12″ discs, one single. Although all the Cult studio B-sides are collected on the excellent Rare Cult box set, none of the live ones are. And I only have one other single from Electric, “Wild Flower”. This is a double 12″ single, 38 minutes long, including a 19 minute interview with Billy and Ian.
What can you say about “Lil’ Devil”? It’s sometimes forgotten on radio, next to “Love Removal Machine” and the aforementioned “Wild Flower”, but it’s certainly as good as either of those two songs. A swaggering rock song, this is a pinnacle of some sort for this type of track. Four guys in the room with amps. Marshalls. AC/DC comparisons were bandied about.
The B-sides include the familiar “Zap City”, a song that has cropped numerous times since, including The Manor Sessions EP and Best of Rare Cult. If you’re not familiar with it, it’s from the abandoned Peace sessions, which they ditched in order to re-record with Rick Rubin. It’s a lightning-like rock song, much like what The Cult would later do on Sonic Temple. It would have fit right in on that album.
Two live tracks, “Wild Thing/Louie Louie” and “Phoenix” are present as well. I love the live cover, it’s plenty fun. “Phoenix” is ragged with plenty of guitar noise and even a drum solo.
Last is in the interview. It’s informative but far too long. The best bits involve recording with Rick Rubin, and the decision to re-record the album that became Electric. I could have done without the extended song snippets (most people buying the single already owned the album!).
Sadly, my concert review for this show no longer exists. Ye olde floppy discs don’t exist anymore, and the site that once hosted the review (sabbathlive.com) no longest exists. Therefore I’m forced to re-write this as a Record Store Tale.
RECORD STORE TALES PART 136: Black Sabbath July 22 1995
July 22, 1995. Tom, myself, and a few of the boys decided to go see Black Sabbath. They were playing Lulu’s Roadhouse, the world’s longest bar, with Motorhead opening. It felt like a step down for both bands, but the place was packed.
We arrived just before Lemmy hit the stage. They ripped into a scorching set to promote their latest album, the high-octane Sacrifice. I remember Lemmy introducing the title track: “Don’t try to dance to this one or you’ll break both your fucking legs!” At the end of their set, Motorhead promised to return (and they did a year later).
I remember Tom and I being blown away by Motorhead. I didn’t own any — this show officially was what made me a fan. I kicked myself for not really paying attention to them earlier, but better late than never eh?
Motorhead remain today one of the best bands I’ve seen.
But I was there to see Black Sabbath. We moved closer to the front of the stage to be in position. We chose a spot perfectly between where the two Tony’s would be, right up front.
The crowd was getting a little drunk and restless. A fight started…well, I hesitate to really call it a fight, it was over before it started. We all turned around to see this big huge dude headbutt this little tiny Kurt Cobain looking guy. Knocked him out cold. Then the big guy realized everybody was watching and hastily made an exit.
Then, Black Sabbath: Tony Iommi, Tony Martin, Cozy Powell, Neil Murray, and Geoff Nicholls. What we didn’t know was that Cozy only had seven more gigs after this one. Then he would be replaced by another Sabbath vet, Bobby Rondinelli. And of course little did I know that I’d never see Cozy live again in any band: He was killed in a car accident 3 years later.
They hit the stage to the classic Martin-era opener, “Children of the Grave”. Sabbath’s set was sprinkled with tunes from the Ozzy era (“War Pigs”, “Iron Man”, “Paranoid”, “Sabbath Bloody Sabbath”, “Black Sabbath”) and the Dio era (“Heaven and Hell”, “Mob Rules”) and many of his own tracks. They played three from the lacklustre new record, but at least three of the better songs: an awesomely dramatic “Kiss Of Death”, the explosive “Can’t Get Close Enough”, and the filler song “Get A Grip”.
It was just before “Get A Grip” that the stagediving began. Tom vacated the stage area right away. “Get a grip is right!” he said to me. “I’m out of here.” Two songs later I followed him. This drunk girl started grinding me from behind, so I took the first chance to slip away and catch up with Tom.
The one song I really came to see was “The Shining”, one of the best Martin-era tunes, and his first single with the band. Sabbath delivered. They also played two from Headless Cross including “When Death Calls”. Neil Murray played the chiming bass intro to this song that I’d never heard before. It was the only unfamiliar song. I resolved to get Headless Cross as soon as possible. (It took two months for Orange Monkey Music in Waterloo to get it from Europe.)
Vague memories:
Tony Martin was a so-so frontman. Much of the time, he would spread his arms Christ-like and shake his thinning hair. He talked a lot and I remember he had small, beady but friendly looking eyes. He did the best he could. He sang his ass off, although he had lost a fair chunk of his range.
I remember Iommi ditched his SG for an unfamiliar red guitar during the overdriven “Can’t Get Close Enough”.
I could barely see Cozy, which is my biggest regret.
I was pleased that Sabbath played a well-rounded set with new stuff.
Little did I know that the end was near. Not only was Cozy soon to be out, but promoters cancelled much of the end of the tour. Sabbath headed over to Japan, threw “Changes” into the set (OMG!) but were done by the end of the year. For the first time in a long time, Sabbath were put on ice while Tony (Iommi) worked on a solo album with Glenn Hughes.
Meanwhile, the lawyers were conspiring to create a new/old Sabbath lineup. By 1997, Ozzy was back, and the band now featuring founding members Osbourne, Tony Iommi, Geezer Butler, and new drummer Mike Bordin of Faith No More.
I’m glad to have seen Sabbath with Martin. He did five albums, and I like three of them. I think he did the best he could under difficult circumstances. He’s a talented guy, so it’s great to have seen this lineup especially since Cozy would be gone so soon!
28 August 1993: Bruce’s final show. And for the occasion, Maiden decided to team up with…a magic act?
I don’t know who this Simon Drake fellow is, but his “horror magic show” or whatever the hell you wanna call it is just plain awful! Simon serves as a guest act during Iron Maiden’s final show, Raising Hell, available on VHS and DVD. He does magic skits at various places during the show, sometimes interacting with the band, but always with this really bad cheesy metal music (not Maiden!) behind him. And the bit where he kidnaps Dave Murray? Awful! D’y’think that the real Dave might actually be still behind the giant curtain they walked behind? You can still hear his guitar even after he has it taken away from him, and has a hand chopped off!
Simon Drake sucked! This is magic? He pretty much ruined Raising Hell, for the most part. Good thing VCR’s used to have “fast-forward” buttons!
Thankfully, Iron Maiden kick ass. With a few Eddie’s and some big backdrops, they’re playing a smaller venue (a TV studio) and it feels really intimate. Bruce is awesome, wailing and running around like a man possessed on opener “Be Quick Or Be Dead”. He does “Hallowed” perfect…really, everybody in Maiden is flawless, on fire, possessed. And by flawless, I don’t mean note perfect — there’s mistakes, but they make it perfect!
But you know who really stands out to me? Janick Gers. I don’t know if I’ve ever seen a more physical guitar player since Ritchie Blackmore! So why the hell is the camera on Steve Harris during Janick’s manic “Afraid To Shoot Strangers” solo!? There are quite a few missed money shots. Why?
Because it wasn’t directed by Harris, that’s why, it was directed by somebody named Declan Lowney, I guess that’s the TV production type deal. So beware: Maiden England this is not!
One thing I find a little strange: It’s Bruce’s final show, but they still played the instrumental, “Transylvania”. Nothing against that song, but why not one more vocal number? I know they were playing it live on that tour, but still.
Tracklist:
“Be Quick or Be Dead”
“The Trooper”
“The Evil That Men Do”
“The Clairvoyant”
“Hallowed Be Thy Name”
“Wrathchild”
“Transylvania”
“From Here to Eternity”
“Fear of the Dark”
“The Number of the Beast”
“Bring Your Daughter… to the Slaughter”
“2 Minutes to Midnight”
“Afraid to Shoot Strangers”
“Heaven Can Wait”
“Sanctuary”
“Run to the Hills”
“Iron Maiden”
And of course, it is during “Iron Maiden” that Bruce finally meets his end. One of the few highlights of the magic act is the end of Dickinson…
Rating for just the band, not the magician:
5/5 stars
Rating for the magician, not the band:
-1/5 stars
Rating for the overall video, setlist, stage show, direction, etc:
4/5 stars
Average rating:
2.666~/5 stars
What happens next? Will the band carry on? What will Bruce do? Stay tuned…
Part 13.5 of my series of Iron Maiden reviews!(?) I just dug up this single from my collection, so this one actually falls right afterNo Prayer For The Dying!
IRON MAIDEN – “Bring Your Daughter…To The Slaughter” (1990, etched 7″ single)
Next in line of my reviews from Record Store Excursion 2012! Check out the video below if you missed it. This one bought at Paradise Bound. If you recall, this is actually one of two drummer solo albums I bought that day, the other being Over The Top by Cozy Powell.
MIKE AND AARON GO TO TORONTO
CARMINE APPICE – Carmine Appice (1981, CBS/Pasha)
Well hey. He did co-wrote “Da Ya Think I’m Sexy”, and that ended up being one of Rod’s more massive hits. Why not do a solo album?
Carmine co-wrote all tracks herein, and sings lead as well. There are a couple interesting co-writes: “Drum City Rocker” was co-written by an unknown named Vincent Cusano. Cusano would later change his name to Vinnie Vincent when he joined Kiss the following year. Another alumnus from the school of Gene & Paul, Ron Leejack (ex-Wicked Lester) “Am I Losing You”.
The sound is pop rock with pounding drums, a sound I don’t mind too much. I’ve always been a fan of Carmine’s drumming, and his drum sound here is what I like. A big snare drum that sounds like a snare drum, lots of toms and a non-stop approach.
The songs are not great, especially dreadful is a tribal keyboard-drenched “Paint It Black”. Perhaps inspired by Ian Paice, Carmine chose this Stones cover for a drum salvo. He plays it very tribal but…how many people have done covers of this song and buggered them up? Most. The minority do it well.
Better is the ballad “Blue Cafe” with its mournful sounding vocal and keyboard lines. The rockers fare less well, with “Have You Heard” and “Keep On Rolling” both sounding pretty weak kneed for rock songs. The drumming’s great of course, the singing less so. Carmine barely holds it together at times.
“Sweet Senorita” which closes side one is a Bon Jovi-esque rocker that might have been hit worthy in 1981. Really the weakest aspect of the album is the vocal. Carmine’s voice lacks character, sounding very much like Joe Pop Singer. It’s too bad because “Sweet Senorita” boasts a great groove and fine guitar solo, along with memorable hooks.
Side two opens with a drum salvo!…and then this lame vocal part kicks in, “Drum city, drum city…” Yes, it’s “Drum City Rocker”. Why couldn’t they have left it instrumental? It’s otherwise fine, with punchy drum fills and a great boogie!
“Hollywood Heartbeart”, much like the earlier song “Keep On Rolling” sounds like a Journey reject, without any of Steve Perry’s vocal grace. They sound like pale imitations. I had higher hopes for Phil Spector’s “Be My Baby”, being a personal favourite. Thankfully this is more suited to Carmine’s style and he doesn’t butcher it. The backing vocals are pretty sucky though.
“Am I Losing You” is another strong ballad, a good song, a decent vocal from Carmine. I hate buying a rock album only to find that the best songs are the ballads, but in this case, that’s the way it is. Both ballads are good and have some feeling to them.
“Drums Drums Drums” closes the album, and as you can guess, it’s a plethora of drums…with Carmine’s annoying vocals! “Drums drums drums…” he sings. This is followed by an awful “Heyyyyy, heyyy, heyyy–o!” section.
Produced by Richard Polodor. It has this dry, dull sound kind like a Peter Criss solo album.
The record sleeve has an ad (expiring December 31, 1982) to send $12 to buy Carmine’s own book, The Ultimate Realistic Rock Drum Method! A quick Amazon search reveals that the book is still in print today, available for $18 on Amazon.
mikeladano.com 