This is a topic for which I’m no expert, but others on the panel will be. Martin sure knows his NWOBHM! Guaranteed, we will see some cool heavy metal album covers tonight on the Contrarians. Looking forward to it.
Don’t we all just miss the days when a major artist would just casually toss out a new EP between albums like this? Following the Surfing With the Alien tour, Joe released a brand new song called “The Crush of Love” with three recent live tracks. It went gold and hit the top 50 on Billboard. You didn’t have to worry about pre-ordering it, and there was no “late tax” if you missed buying it right away. That’s the way an EP by a major artist should be.
“The Crush of Love” is a magnificent track, with a overarching wah-wah hook that makes up the body of the song. The rhythm section is Stu Hamm and Jonathan Mover on all tracks. Hamm’s chunky bass is like that moment when you hit a big chunk of fudge in the middle of your ice cream. Mover is the punctuation, while Joe indulges his melodic side with some wonderful lead. In a Satriani composition, the lead guitar often takes the place of where the singer would normally deliver the hooks. That’s “The Crush of Love” in a nutshell. It’s more like Surfing material, rather than the Flying In A Blue Dream sound that Joe would explore 18 months later.
Onto the live tracks, all recorded by the King Biscuit Flower Hour in San Diego, June 11 1988.
“Ice Nine” from Surfing begins with Joe introducing his band, a symbol of their importance. Then humbly he adds, “Thank you all for coming. My name’s Joe.” Onto the thumping “Ice Nine”, which Stu Hamm turns into a bass showcase for impressive fingerwork without overplaying. Mover perfectly complements him, nailing the moments the drums need to add some explosions, without being too showy. Meanwhile, Satriani’s causing explosions of his own, but it always comes back to song’s main melody. Yes, Joe plays the crap out of this song, but it is indeed a song.
Joe takes us back to his debut album Not Of This Earth (which was reissued in 1988 with similar cover art to Dreaming #11) for the last two tracks. The lengthy “Memories” opens with a guitar exploration, but quickly turns into a catchy little running guitar melody. It’s an aggressive number and one of Joe’s more challenging to the uninitiated. As always, Hamm’s playing his mindblowing and catchy.
Finally, “Hordes of Locusts” has a slower grinding groove that ends the EP on an ominous musical note. Mover and Hamm largely stick to the groove while Joe shreds and strafes.
At over 23 minutes of exclusive music, this EP was well worth the value. No wonder it went gold.
RECORD STORE TALES #1174: Big Feelings & Why I’m Upset With the Arkells
I bought my first Arkells album High Noon back in 2017, but I really fell hard for the band in 2023. The Canadian pop rock quintet hadn’t put out any songs I disliked, but in 2023 a combination of personal drama and a need for Canadian tunes led me to dive into the band all the way. It was May, and in less than a year I had acquired all the albums. That is a short period of time to absorb so much new music, but I did, and I loved virtually all of it. There are actually few bands I love as much as the Arkells, and only a handful that I fell for so quickly.
I love their lyrics, from everyman tales of not being able to pay the rent, to social discourse and critique. Singer Max Kerman was a Poli-Sci major, and also has his finger on the pulse of the youth. This results in some pretty cool lyrics. As for the band, their musicianship is top notch. Drummer Tim Oxford is in my top Canadian drummers of all time, and you know that’s an elite list. I’m also a big fan of bassist Nick Dika, who always has deep tones and fabulous bass melodies.
Shortly after I went all-in, the band released a new album called Laundry Pile, an acoustic affair with melancholy feelings. A bit of a slow burner, but a brilliant album. This was followed by the 2024 all-covers LP, Disco Loadout. I enthusiastically went bonkers for it, and got it on CD and signed vinyl. Their eclectic set of tunes, from Abba to Whitney interpreted by the rock band, satisfied deeply. They threw in a couple rock tunes by Springsteen and Hall & Oates, and I just liked the whole album. Could I fall in love any more with the Arkells?
Full stop to the summer of 2024. So soon after the Disco Loadout album, Arkells announced the release of a new single called “Big Feelings”. “It came together quickly,” said the band. “It started with a bold drum loop that Tim made, and was quickly arranged when the band assembled for a session in February.”
A few weeks after Aaron and I visited Sonic Boom records in Toronto, the Arkells announced an appearance at the store. They brought with them 150 copies of “Big Feelings” on 180g clear vinyl, hand cut by Red Spade Records in Calgary, Alberta.
150 copies were all that were made. And they sold out that day. No copies have ever shown up on Discogs.
And this is why I’m upset with the Arkells. I had just been to Sonic Boom a few weeks earlier, and there was no way I could make it down for that store release. Trying to get there early enough to get one of the 150 copies…being in a crowd like that…no, no thanks.
I guess you could say, “Why are you upset, Mike? It’s on you that you didn’t go.”
Sure, that’s true. However, I think I’m on record for despising these kinds of releases that I’ll never get my hands on physically. Maybe I’m not mad at the band; maybe I’m mad at the practice. However it is the band that I have taken it out on. “Big Feelings” remains the only Arkells song I don’t have, because I refused to buy it on iTunes. I haven’t even put a “like” on the music video. Oh sure, I’ll probably give in eventually. It just really bugs me that a band of Arkells’ stature, with thousands of fans who value physical media, would only release 150 copies in such an exclusive way. Some might see that as indi-cool. I don’t. Arkells aren’t some garage band. They have fans, and I feel a real disservice by this release.
Derek Kortepeter is a talented musician from California, and long-time friend and reader of this site. I have reviewed his albums numerous times, and he has collaborated with me in a writing capacity as well. Sadly, now Derek needs help.
As you know, California is being wracked by uncontrolled wildfires. Derek and his family have lost their home and almost all their possessions. Like many in California, he is now staying on safe group but the damage done will last a lifetime.
Please read Derek’s family’s story and consider giving something, anything at all.
A busy day today at Grab A Stack of Rock HQ, as I make yet another appearance on Tim’s Vinyl Confessions! When you’re done watching Tim and I on Slogan’s Rock and Metal Extravaganza, then check out Tim and I on the TVC!
Today’s topic was a super, super fun one: Top Ten Live Albums of the 80s. The stipulation: each album had to be released in the 80s, containing at least some material from the 80s. Some of my picks may prove to be oddballs, but this was a fun episode and informative as well. What are your top ten live albums of the 80s?
This is what too-kind-Tim had to say about the show:
Sir Mike of Ladano of @GrabAStackofRocK fame joins me to discuss some fab live albums that came out between 1980 and 1989. It’s our Top 10 live albums of the ’80s!
Please join Sidney, Logan, Tim Durling and myself LIVE at 3:00 PM EST Saturday January 11 for this special double-header episode!
This is my second ever episode of Slogan’s Rock and Metal Extravaganza, my first being Black Sabbath’s Dehumanizer. I am excited to discuss this Triumph album, The Sport of Kings, which I have owned for 26 years now. It has been a love/hate affair over the decades, with some undue influence from Martin Popoff colouring my impressions too much in the 2000s. Have I come back full circle? Find out this afternoon.
Then, their bonus review is Montrose’s self titled debut album, a record which I have never tackled on this site. Check out the back half of this episode for our take on this legendary album, with the expert himself Tim Durling. I mean, he kinda wrote the book, didn’t he?
Catch us LIVE!
(By the way, there’s a story about the feature image here that I will explain during the show.)
A huge thank you to everyone who checked out our debut episode of 50 Years of Iron Maiden! In this episode, we covered in detail the early years of the band. From Steve’s first band Smiler, to a roundabout of guitarists and drummers, we broke everything down. First we covered the Paul Mario Day years and a great recent live version of “Running Free”. We moved on to the Dennis Wilcock era and the turmoil that ensued! From swords to keyboards, Iron Maiden were all but derailed! Finally we turn to Paul Di’Anno, the first officially recorded lead vocalist of Iron Maiden.
With Di’Anno, there are several official releases to talk about from this era: the legendary Soundhouse Tapes, BBC Archives, Metal For Muthas, and Axe Attack. There is a rare, little known demo version of “Running Free” on one edition of Axe Attack, and Harrison will tell you how to get it.
We hope you enjoy this fully immersive look at the early years of Iron Maiden. See you next week for the EMI debut, the singles, and Johnny Clauser from My Music Corner.
SHOW NOTES:
Steve Harris originally formed Smiler.
The first lineup of Iron Maiden:
Steve Harris
Paul Mario Day
Terry Rance
Dave Sulivan
Rob “Rebel” Matthews
Paul Day still performs songs today, with former members of early Maiden. A strong vocalist. Powerful voice. Sounds a bit like Di’Anno, with a growl. Can sing clean, but can also really growl. Powerhouse vocals – level 10. Absolutely awesome version of “Running Free”, as good as any Maiden versions with Paul?
Paul Day left – “not enough on stage charisma”
Replaced by Dennis Wilcock, not a great singer but had the bloody sword trick.
Maiden breaks up so Harris can be rid of Rance and Sulivan.
Got in Dave Murray and Bob Sawyer
1977, Matthews, Murray and Sawyer were all fired
Terry Wapram (guitar) and Tony Moore (keyboards) replace the guitarists. Barry Purkis/Thunderstick on drums with black leather mask.
This lineup played one show before Harris fired Moore. Keyboards didn’t fit.
There is a very slow, very different version of “Charlotte the Harlot” with this lineup. A bluesy rock n’ roll version of “Another Life” with a completely different kind of beat. Sounds more like Aerosmith.
Murray returns. Wapram leaves, down to one guitar again. Wilcock and Thunderstick leave and are replaced by Paul Di’Anno and Doug Samson who Steve had played with pre-Iron Maiden.
Rapid turnover of second guitarists:
Paul Cairns joins late 1978, plays on Soundhouse Tapes, lasts 3 months
Paul Todd – June 1979 – lasts one week. Girlfriend wouldn’t let him play shows. Later joined Paul Day in a band called More.
Tony Parsons joins Sep 1979 – Dec 1979, plays on BBC sessions. Fired due to lack of ability compared to Murray. Joined Dennis Wilcock in Gilbraltar.
Dennis Stratton comes aboard.
Doug Samson can’t handle touring schedule, and is replaced by Clive Burr, a friend of Dennis
– The Soundhouse Tapes
Iron Maiden – different, more straight ahead groove. Not as driving or ahead of the beat. Low end is more present. Vocal is more laid back.
Invasion – less frantic and speedy than the B-side version. Vocals on the chorus are heavily layered and produced. Can’t save the song for me.
Prowler – Brilliant version, with the high guitar part laying clean on the top. Great scream from Paul. More straightforward than the album version. Slower groove.
Strange World – Sounds unfinished compared to the other songs, a prototype of the skeleton without the atmosphere. Slow bluesy solo (Paul Cairns?)
– BBC Archives (four-song radio rock show)
Iron Maiden, Running Free, Transylvania, Sanctuary.
Tony Parsons on second guitar.
Strange to think they bothered with an instrumental for this recording session.
Really well recorded versions, with vocal overdubs. The drums really cut through and the guitars sound great. Of all the versions heard so far, these are closest to the final album.
Iron Maiden has really energetic, frantic drums lending it an extra punch. Vocals are nicely layered as on album.
Running Free is missing that pick scratching sound effect.
– Metal for Muthas (Sanctuary & Wrathchild)
Also with Tony Parsons.
Sanctuary – Very close to final version. Guitar solo is very different – similar to BBC Archives version. Tony Parsons lead – a little on the simpler side but very fast and catchy.
Wrathchild – Slower, more “heavy metal” groove. Vocal is double-tracked throughout. Nice impactful version, if less powerful.
– Axe Attack Running Free Demo – A really different sounding version. Doug Sampson on drums, a different feel. Guitars sound sharper. The middle section with the pick scratching is much better – a solid chug. Just overall more groovy. A little clean. Vocal harmonies intact. I love when Paul yelps. Snare drum could use more beef but it’s a demo.
50 Years of IRON MAIDEN episode one: The Soundhouse Tapes and more! 1975-1980
A special 🅻🅸🆅🅴 debut episode
GRAB A STACK OF ROCK #85
50 years ago, Steve Harris departed his previous band Smiler, and formed the first lineup or Iron Maiden: Steve Harris, Paul Mario Day, Terry Rance, Dave Sulivan and Ron “Rebel” Matthews.
Today, Harrison Kopp and Mike Ladano are proud to debut their new series, 50 Years of Iron Maiden.
We begin with their first lineup and run through all the changes. We cover every officially released recording available prior to their first releases on EMI, of which several exist. These include Metal For Muthas, the BBC Archives, The Soundhouse Tapes, and Axe Attack. There are also existent recordings of Iron Maiden with Dennis Wilcock on vocals, and Paul Mario Day playing Iron Maiden songs. Iron Maiden with a keyboardist instead of a second guitarist? Steve Harris on lead vocals? Tonight on this special live episode, we will cover it all.
While most episodes in this Maiden series will be recorded in advance, tonight’s debut will indeed be live. Grab A Stack of Rock is usually a live show, but in 2025 we have some very special guests lined up for this series. This requires scheduling, which makes recording in advance necessary. We will continue to release shows on Fridays at 7:00 PM eastern standard time, and there will be the occasional live one sprinkled in.
It’s 50 Years of Iron Maiden, and the celebrations commence tonight. Like and subscribe to Grab A Stack of Rock on YouTube, and hit that “notify” bell so you don’t miss a single episode. We will be discussing every studio album, and we won’t be neglecting the official – and unofficial – live releases either. From the compilations to box sets, you will see our entire collections throughout this comprehensive series. Hit the gas, and here we go!
Friday January 10 at 7:00 P.M. E.S.T. / 8:00 P.M. Atlantic. Enjoy on YouTube or onFacebook!
RECORD STORE TALES #1173: I Like Iron Maiden…A Lot
In 1984, I “rebooted” my musical taste and started from ground zero. Out went Styx for almost two decades. Out went Joey Scarbury, and Kenny Rogers. In came KISS, W.A.S.P., and of course, Iron Maiden. I don’t think there was ever a time that Iron Maiden were my #1 favourite band, because Kiss almost always held that spot. It is safe to say that Maiden were always in the top five.
In grade school, I rocked Iron Maiden while being scolded by Catholic school teachers for doing so. It didn’t stop me. Through highschool, I proudly had their posters in my locker. It didn’t matter that Maiden weren’t hip with the cool kids. I was never cool, and never really intended to be. I was happy to be one of the Children of the Damned, not having to fit my personality into any particular shoebox.
There was a time I wavered, which I shall now admit to you. There was one Iron Maiden album that I didn’t intend to own. I reversed my decision within four months, but it was in the fall of 1990 that Iron Maiden may have faltered in my eyes. The album was the “back to basics” No Prayer For the Dying. My favourite member, Adrian Smith was out. I loved Janick Gers’ work with Bruce Dickinson, but I don’t think he quite fit with Maiden immediately. I also didn’t like the growly, un-melodic way that Bruce Dickinson was singing. I thought maybe this time, I would just buy the CD singles, and not worry about the album. I came to my senses. No Prayer wasn’t bad, but it wasn’t the return that we hoped for. I didn’t really want Maiden to get “back to basics” but was willing to go along for the ride.
My enthusiasm returned in 1992 with Fear of the Dark, a partial return to form with some solid tracks. It could have been better, but I was happy. Then the roof fell in. Suddenly, Bruce Dickinson was out. Meanwhile, the entire world had been sent into a grunge upheaval. Bands like Iron Maiden were dismissed as irrelevant in this new angry world. Bands who played their instruments with seasoned pride were being replaced by groups with punk aesthetics. Maiden seemingly had no place in this new world, and now the lead singer was gone. Just like Motley Crue, who were suffering a similar fate.
By the year 1999, Bruce was back. And so was Adrian. Maiden have never been bigger. They have continued to issue albums, never being shy to play new material and deep cuts live.
That’s why I’m telling you this story. 2025 marks 50 Years of Iron Maiden, and there will be a lot happening. 2025 will launch the Run For Your Lives tour, and Bruce has promised that they will play some songs they’ve never done before. It will also be the debut of new drummer Simon Dawson, from Steve Harris’ British Lion. Nicko McBrain, on the drum stool since 1983, has finally taken a bow from the live stage. It can’t be easy doing what he does.
We’re back! We had a couple weeks off for Christmas and New Year’s, but we’re back LIVE tonight to talk about some more album covers.
Today’s challenge comes again from the mind of Martin Popoff. Pick 10 great album covers from bands we despise. This was challenging in two respects. First, do we really want to say we “despise” a band? That’s a strong word, so we had to choose carefully. Just because I don’t listen to a band doesn’t mean I despise them. Second, I hate to say it, but many bands I hate have terrible covers. It was hard finding 10 good ones. But I did, so tune in tonight for some Contrarians fun with Martin, Grant, Peter, Jamie and myself.
This will be a controversial one. It is already. One of the covers I said was too crappy to include, was picked by Jamie. (At least we both despise the same band.) So we’ll see!
mikeladano.com 