“Keep on rockin, keep on rockin’, to this metal tonight!” The first of two Anvil reviews this week!
ANVIL – This is Thirteen (16 track vinyl edition, 2009 VH1 Classic Records)
I won’t go into the whole Anvil story — see the movie (Anvil! The Story of Anvil), and then get this album if you haven’t already. Don’t get this album because you feel sorry for Anvil and want to help them on their quest for stardom; buy this album because it is one seriously heavy piece of metal greatness. It’s amazing that thirty years on, a band can come up with something as strong or stronger than their classics.
Surely some of the credit must go to veteran knob-twister Chris Tsangarides (Judas Priest, Thin Lizzy, Bruce Dickinson) who produced This Is Thirteen. Tsangarides, if you’ve heard his past productions, gets a simply great sound and performance out of bands. In particular, heavy bands like Anvil. Everything here sounds great — the drums are pounding, clear and heavy and the guitars are shredding and crisp. Excellent sounding record! (NOTE: Tsangarades has been ill recently, and we wish him nothing but the best.)
The songs? Well, originally there were 13 songs…this is Anvil’s 13th album, get it? However, some extras were added to this vinyl edition (more on that later). The core 13 songs are pretty damn strong. I would say heavier than the “classic three” Anvil records, but every bit as catchy and memorable. The riffs are the kind that bore their way through the skull into your brain. And Lips plays almost all the guitars here — clearly, he is not only a talented frontman, but also an underrated shredder. No one will mistake Lips for Alex Skolnick, but he’s like a more talented Nigel Tufnel — and I mean that in the nicest way — style wise. (Former lead guitarist Ivan Hurd also appears on a handful on tracks.)
Bordering on thrash metal at times, and sinking to Sabbathy lows at others, This Is Thirteen gives you a variety of metal to sink your teeth into. Check out the title track “This is Thirteen” for some seriously heavy doom. Sounds like something on Sabbath’s Dehumanizer CD, even lyrically. I’m sure Dio would approve. Then skip ahead to something fast and heavy like “Shoulda Woulda Coulda”. This Is Thirteen has a little of everything!
Highlights for this listener included the title track, the apocalyptic “Bombs Away”, “Burning Bridges”, “Feed The Greed”, “Room #9” and the three bonus tracks.
I love when bands put bonus tracks on vinyl. It makes the metal geek in me scream in joy. Here there are three:
14. “Thumb Hang” – a song Lips & Robb wrote in highschool, about the Spanish Inquisition. Finally recorded 30 years later, it’s actually a pretty decent song!
15. “Metal On Metal” – re-recorded for that heavier sound, but don’t worry, it’s not modernized at all. It’s a straight remake, just better sounding.
16. “666” – same deal. The great thing about these re-records is that it allows new Anvil fans to get their two best known songs along with the new album. Pretty genius if you asked me!*
My only gripe? Occassionally Lips’ voice can be a little grating. I have the same issue when I listen to Megadeth for a couple hours on end. I just can’t listen to Mustaine’s voice for too long in a row. Lips’ voice isn’t as grating to me, but too much Anvil and I need to play something else.
4/5 stars
* These three songs were later re-released on the 2011 Anvil compilation Monument of Metal.
BON JOVI – The Circle (2009 Island CD/DVD edition)
The Circle is an apt title for this Bon Jovi album. They returned from their pop country detour down the Lost Highway and returned to essentially exactly where they were on the previous album, Have A Nice Day. If you are familiar with Bon Jovi, you know that Have A Nice Day was an OK record full of pop rock like “Last Cigarette”, modern and slick. That’s what this record is too, but that’s starting to get a little old.
First single “We Weren’t Born To Follow” (I find that title ironic as Bon Jovi didn’t spend much of their career leading, musically) is a great, uptempo song with a catchy chorus and slick guitar playing by Richie Sambora. It’s another in a long succession of latter day Pop Jovi successes. The best tune on this record is the the “statement song” regarding the economic collapse: “Work For The Working Man”. However, isn’t there something we’ve heard here before? Doesn’t Hugh McDonald’s bassline sound a lot like the one from “Livin’ On A Prayer”? Even if it’s little more than a rewrite of the same hook, it’s a great song with a powerful chorus. It has some muscle to it, and is one of the few songs on the album that does. Rhythmic and strong, this echoes not only “Prayer” but also “Keep The Faith” in some respects.
Elsewhere on the album, there are some intriguing sounds that almost remind me of the back-to-basics goodness that was These Days, and the heavier moments on Bounce (see: “Bullet”). However “Bullet” is also bears unpleasant similarities to Collective Soul. There are also moments that take me back to Lost Highway and Crush ,but not in a good way. Songs like “Fast Cars” and “Brokenpromiseland” (ugh!) just sit there like the flaccid Pop Jovi songs that they are. Bon Jovi are on cruise control.
My two favourite Bon Jovi albums of recent vintage (ie: post-Keep the Faith) are the criminally underrated These Days, and Bounce. What the band need to do is: A) get their MVP back, Mr. Richie Sambora. B) write an album without all these outside writers like John Shanks and Billy Falcon, based on rock and roll, not the radio. The Circle is close at times. “Learn To Love” for example was written by Jon and Richie with Desmond Child, and approaches a vintage These Days epic quality.
How likely is Bon Jovi to rock out like they used to? The DVD documentary included with this edition of The Circle is not encouraging. Entitled When We Were Beautiful (named for the U2-like song on the album), it is an insightful look into the inner workings of Bon Jovi. It also has some enticing live clips. (Please, Jon, please! Release a full length audio version of Richie singing “I’ll Be There For You”, it’s great!) However it is quite clear that Jon is the driving force of the band, and the rest of the guys are salaried employees of the corporation. Jon is very clear that he’s a businessman and he must make albums that he thinks people will like. It’s unfortunate that he’s decided that pop music is the answer. I think it’s unlikely Jon will be breaking new ground again soon.
In mid-1996, I was minding the store one sunny morning. It was a pleasant summer day. A quiet morning, I was at the counter inputting new stock. As I slaved over a hot keyboard, entering CD after CD into inventory, I saw an old lady in a slinky red dress enter the store. As was our custom, I said hello as she entered. She didn’t respond and I went back to entering CDs as she looked around the easy listening section of the store.
That is when I noticed something very unusual with the lady in red. (For the time.)
My boss noticed it too, as he emerged from his office in the back. She barely had any hair on her head. We both came to the realization at the same time: the lady in red was a man!
An old, skinny, bald man in a red dress!
It was not a pleasant sight, this skeletal frame accented by the loose silky red fabric. LGBTQ+ is A-OK by me but this was a sight from a horror movie. A living dead zombie in a dress. Shopping for CDs.
My boss and I exchanged glances. We looked back at the man, just to make sure our eyes were not deceiving us. No; that was most definitely an ancient man in that red dress, casually browsing the easy listening section. Perhaps he was looking for some old Chris de Burgh?
My boss said to me, “Mike, can you go over there and see if he needs help finding anything?”
We watched as the skeleton spent 10 or 20 minutes browsing, the only customer in the whole store. Then without a word, but with a flourish of his red dress, he left. I never saw him again.
I wonder if I would have made a customer if I had approached the walking cadaver in red for help? Too bad I didn’t have a copy of The Very Best of Chris de Burgh. I could have popped in his theme song and made a sale!
There are several Quiet Riot live albums available: this one, Setlist, Live at the US Festival, and Live & Rare. All are vintage recordings from the early 1980’s. Of the three, you might look at Extended Versions and pass on it. It looks cheap and unofficial. To overlook this CD would be a mistake, and this is why.
Sure, it lacks any sort of booklet or liner notes. All I know is that the first eight tracks are from Pasadena in 1983, and the last two from Nashville the same year. From the outside you wouldn’t know that. The only information is the ominous “Recorded Live” which tells you very little indeed. Being 1983, this is the “classic” lineup of Kevin DuBrow, Frankie Banali, Rudy Sarzo, and Carlos Cavazo, on the Metal Health tour. Introducing “Love’s A Bitch,” DuBrow reveals that they only began their US tour a short while ago.
Perhaps because it’s early in the tour, or maybe because they’re home in California, Quiet Riot pulled out two rarities for the Pasadena show. These are “Gonna Have A Riot” and “Anytime You Want Me”, neither of which are on Quiet Riot I or II. Both are written solely by DuBrow, but “Gonna Have A Riot” is from the Randy Rhoads period. “Anytime You Want Me” is of more recent vintage, and it’s actually quite an excellent pop rocker. Also rare was the set opener, “Danger Zone”, unreleased until 2001 when the studio version was added to the Metal Health remastered CD.
In addition to the rarities, you get the hits: “Metal Health”, “Cum On Feel The Noize”, “Slick Black Cadillac”, “Love’s A Bitch”. There’s also a handful of well liked album cuts such as “Let’s Go Crazy” and the smoking “Breathless”. That song knocked me out as an 11 year old and it still does today. All performed by the band in their prime, before the downfall.
Live & Rare sounded awful, but this CD sounds pretty good. I’m not sure if it’s a radio broadcast, but it’s perfectly listenable. It’s too bad there’s no packaging, because if this had been packaged with more effort and care, it could have been sold as an “official” live album quite easily. Bummer there’s no liner notes, all you’re going to get is the music. However, the music stands up for itself and it’s an enjoyable live album.
Eric Carr, who should by all rights be in the Rock and Roll Hall of Fame with his bandmates, is such a tragic loss. He earned himself a legion of fans after just 10 years in Kiss. Knowing that Marko Fox is one such fan, I asked him what the other Fox meant to him:
“Being both a Fox and a drummer, I can positively say that Eric Carr’s work on Creatures of the Night remains one of the coolest achievements in rock…If only I could figure out how to master his makeup design…”
All true. But Eric Carr wasn’t just a drummer. He could play enough guitar and bass to write songs, and he could sing. His voice wasn’t super commercial, but neither is Gene Simmons’. One reason his loss is painful is because Eric was a virtually untapped well of creativity. I think every Kiss fan knows that Eric Carr was unhappy that he had so few lead vocals and writing credits on his Kiss albums.
Rockology is a series of demos, some in a near-finished state and some left incomplete. Recorded in the late 80’s, before Eric knew he was sick, these were to be used for cartoons and other miscellaneous projects. Bruce Kulick finished recording some guitar parts and mixed it 10 years later. He also wrote liner notes explaining origins and intentions for each track.
While there is nothing here that screams “hit single” today, in the late 80’s it would be easy to imagine “Somebody’s Waiting” on the radio with Paul Stanley singing. It would fit right into that Kiss Hot In The Shade or Crazy Nights era. Other songs here are more heavy and riff based, such as the Gene-esque opener “Eyes of Love”. When Eric sings the heavier songs, his voice falls into a Gene-like monster growl. On the ballads, his falsetto echoes Paul Stanley. Most songs here would have made excellent Kiss album tracks. Most are better than the filler that Kiss was padding their albums with in the late 80’s. It is a shame none of these songs were finished by Kiss themselves, as the full band would have made them more special.
Best track: the unfinished “Just Can’t Wait”. This instrumental has a really catchy guitar part, and I just know if it had been finished with verses and a chorus, it would have been classic. It was written for Crazy Nights by Eric, Bruce and Adam Mitchell.
Special mention must of course go to Bruce Kulick. He overdubbed guitar solos for a few of the songs, and I am sure each one came from the heart. Bruce is a very intelligent musician, but he’s also more passionate than he often gets credit for. I’m sure for Bruce it was passion rather than money that inspired him here.
Buyer beware, however: These songs are definitely unfinished. They are as polished as possible given some of their rough origins, but in some cases there are no drums, just drum machines. In other cases, there are no lyrics, just scratch vocals. Eric’s talent still shines on every song. His is a life that Kiss fans will continue to mourn.
The Kiss army, especially the lovers of the 80’s, need this as a crucial companion piece to their collections. Everybody else will have a tough time justifying owning it.
Dedicated to Iron Tom Sharpe, who doesn’t understand that sometimes you just have to blow off steam and review a shitty album.
POISON – Hollyweird (2002 Cyanide Music)
I have a soft spot for Poison, and I have every album. Every album that is, except Hollyweird. After several spins in-store, I realized this was never an album I was going to listen to again. (Although I did, for this review actually — you’re welcome.) Let’s face it, a “classic Poison lineup” reunion is not exactly earthshaking, especially when they traded down a true maestro in Blues Saraceno for CC to return. Not to mention Richie Kotzen before him. CC will never be classified as a guitar hero. It’s CC’s songwriting that he brings to the Poison table, that and some sloppily good rhythms. However Poison’s songwriting on Hollyweird is much like the production values — flat and dull.
13 songs clocking in at just over 40 minutes, this is a collection of short pop rockers and ballads. The cover of “Squeeze Box” is pretty putrid, and Who fans would cringe if they happened upon it. Most of the originals are just plain dull, lacking the bombast, hooks, flash and excitement of any previous Poison album, Native Tongue included. If only Poison could have continued along the lines that they were pursuing with Crack A Smile, or even re-recorded it with CC. Alas, this is the worst of all Poison studio albums, and it was such a lame duck that the band never recorded another one (as of 2014, this is the most recent Poison studio album aside from the covers-only Poison’d).
The opening and riff to “Hollyweird” is pretty decent, but the song itself is pretty suck-tastic. Maybe I should take back what I said about CC. He’s the only good thing about this song. “Shooting Star” (a supposed sequel to “Fallen Angel”) is annoyingly bass heavy, and Bobby Dall ain’t that great a bassist. CC’s riff is the only good thing about it, since the chorus is drowned out in mush. Thom Panuzio isn’t a hack producer by any stretch, but he didn’t even show up on Hollyweird. Then, somebody thought it would be a good idea to let CC DeVille sing lead on “Emperor’s New Clothes”. The sad thing is it’s one of the better songs (even though it sounds more like Sum 41 than Poison). CC sings three songs on Hollyweird, but who cares?
Lowlights: Stinky “Squeeze Box,” whack “Wishful Thinkin’,” generic “Get Ya Some,” dull “Devil Woman,” horrible “Home”…or should I say “Homes,” since both Bret and CC have their own versions of this pop-punk wannabe? (In a row!)
We’d start getting ready to close the record store around 8:30. Tidying up, putting things away, straightening the shelves which were always a mess by the end of every night. At 8:45 we’d turn off our six listening stations. Actually to be more accurate, we’d shut down two or three of them, because the others were constantly broken! I can barely remember a time when all six were functional. Then we’d make the circuit around the store, asking customers if they needed any help since we’d be closing in 15 minutes.
Most nights were pretty routine. Customers would trickle out, we’d kill the music and the lights, lock up and begin cashing out. That’s most nights. Some nights, we’d have one or more of the following to deal with:
– Last-minute stragglers who can’t pick the music they want, and don’t want help (of course).
– CD listeners who insist they “just need a couple more minutes” to decide what they want (if anything). If drove me nuts if we stayed open late only for them to buy nothing. They didn’t seem to get how rude it was.
– People banging on the door to be let in after closing to sell CDs for crack/liquor money.
– Etc.
In the olden days, staff didn’t get paid for whatever time they spent cashing out (usually 15 minutes). Eventually they changed that. We usually had a lot of small bills and coins to count, and had to be within $1 of balancing. We’d put on some good music and count and count again until we were balanced.
As technology changed, cashing out got easier. The computers did most of the work. When we got the computers, we also had to do a long computer backup. In the pre-internet days we’d backup the inventory on a floppy disc. Then as the database grew and grew, we switched to a tape backup drive. Man, that thing sucked. We ditched it when it started to take 45 minutes to an hour to back up the computer. We were supposed to stay until the computers were backed up, but nobody wanted to stay 45 minutes unpaid, so nobody did. We struggled with that for a while before they got us a zip disc backup.
We had a closing checklist – lights off! CD players off! If it was summer, A/C off! If it was winter, we had to make sure the heat was on overnight. Set the alarm, lock the door, and we’re out!
None of that could stop the phone from ringing. I didn’t like to answer the phone after close, but when I did it was often some pain in the ass calling.
“Hey, what time are you guys open til?”
“We’re open til 9, we’re actually closed now.”
“That’s dumb. The mall is open to 9:30, how come you guys aren’t?”
“We always close at 9.”
“Well that’s dumb. I want Eminem. Do you have the number for HMV?”
Man, I loved locking that door behind me and being done for the day. The idiots could wait until tomorrow!
Back in 1986, a lot of the rockers in my neighborhood had given up on Diamond Dave; we just couldn’t swallow “California Girls” and still wear our Judas Priest shirts proudly. On the flipside, we really dug Sammy’s “I Can’t Drive 55”. When the split and new singer were announced, we waited hopefully that Van Halen with Hagar in tow would produce something that really rocked. Then in early ’86 we saw that embarrassing live video for “Why Can’t This Be Love”, and all hopes were dashed. Eddie playing keyboards instead of guitar? What was with Sammy’s poofy short ‘do? And that out-of-tune scat? THIS was the new Van Halen?!
Way on the other side of the country in Pitt Meadows, British Columbia, Craig Fee remembers 1986 much like I do:
“I had been riding the Van Halen roller coaster through the DLR solo EP and all the pre-world wide web breakup speculation in magazines, and on all the rock radio stations in the area. When I’d heard that Sammy Hagar was the new lead singer, I was thrilled! I loved Sammy’s solo work. A friend quickly introduced me to Montrose (I was too young for that era of his career). I was fully on the Van Hagar bandwagon! This is gonna be AWESOME!!! Can’t wait to hear the new material!
“I first heard “Why Can’t This Be Love?” over a scratchy FM signal from Seattle. It sounded…different from 1984. Very different from anything on Diver Down.
“The video was to debut the next day on MuchMusic. My buddy Dan and I rushed home from school to watch (and record on his BetaMax) the debut of…a concert video? Gnarly!
“We must’ve played it a dozen times after the world premiere. Both of us were huge fans. It was after the 8th rewind and playback that both of us realized the same thing. It’s the same feeling when your team is expected to ‘win it all this year’ and gets thoroughly outplayed in the finals. That numbness mixed with pride, anxiety and half-hearted disappointment.”
The gnarly “new Van Halen video”
5150 isn’t as bad as we feared it would be, in fact it’s quite good in spots. Its major flaw is that this was a band in upheaval, and David Lee Roth was such a huge part of their sound. 5150 is a transitional album. It picks up with the keyboard flavours of 1984, and moves forward into parts unknown. Musically, most of this album was written with Dave still in the band. In his autobiography, Crazy From The Heat, Dave describes the music that Van Halen were writing as “morose”, reflective of the overall mood of the band.
While 5150 is not a completely joyless affair, it is considerably less upbeat than the party rock that they specialized in with Dave. Ballads have replaced Dave’s snarky winks and smiles. Sammy Hagar was obviously an apt replacement; he’s an accomplished singer, songwriter and guitar player, and he has a great voice. The fit however was awkward at first as Van Halen shoehorned Hagar into the songs written with Dave.
Things start out well enough. “Good Enough” is an upbeat boogie-oriented party rocker. Great song, but the production is painfully thin. The drums clank along, awkward electronic toms creating a cacophony of noise. The guitar lacks Eddie’s trademark “brown” warmth. Where Dave called the album “morose” I would use the word “cold”.
Then, “Why Can’t This Be Love”; better than the live video version but still containing a weird bridge section featuring Sammy scatting. It’s a good song, a great song even, but it feels tired lyrically and musically. Perhaps Dave could have turned it classic, much like he did with “I’ll Wait”. Sometimes when listening to 5150, it hurts to imagine what might have been.
“Get Up” is an OTT (over-the-top) rocker, almost too fast as it sounds at times like the band is falling apart. This sloppiness of old is refreshing. Alex throws in some tasty fills. Mike, Ed and Al’s backing vocals help make this sound like a real Van Halen rocker. Nothing mindblowing or earth shattering, but enough to keep the album moving. If it had been produced with more oomph, it really could have been something.
Up next is “Dreams”, a simple little keyboard ballad. Eddie’s first guitar solo consists of just two notes! This isn’t a bad song, but far too reliant on that pop keyboard lick. It doesn’t feel very Halen, but Sammy definitely proves his vocal chops.
Side one ended with the classic “Summer Nights”. Although it was a B-side (to “Love Walks In”) I think it should have been a single in its own right. I find the funky verses to be a bit awkward, but the chorus to be irresistible. This is a party rocker, obviously and perfectly suited to those hot summer nights with your radio.
The second half of this wax commences with “Best of Both Worlds”, a pseudo-rocker, but it lacks balls and spark that we have come to expect from a Van Halen rock song. The chorus is decent and obviously the song has become something of a live classic. It wouldn’t make my personal best-of tape. Craig had a much more turbulent relationship with the song:
“‘Best Of Both Worlds’ is the song that might’ve been the catalyst for my divorce of Van Hagar as the logical continuation of my favourite band. The lyrics are absolute fucking cornball nonsense. Look them up. You’ll see what I mean. The Live Without A Net version on the B-side of the single brought me vivid flashbacks of those awful pink sweat pants Eddie wore onstage for the concert video. Those terrible Sammy and Mike harmonies. That cheesy walk Mike, Sammy and Ed did onstage. Sammy’s spray painting of the shoes and the accompanying ad-lib were possibly the lamest shit I’ve ever heard. Do you think David Lee Roth would’ve had a pair of fucking SHOES thrown onstage? Hell no!”
“Love Walks In” also would not make my personal best-of tape. Maybe this is how Dave defined “morose”? Another keyboard song, and softest on the album, this is Van Halen entering uncharted territory: a commercial power ballad. If they felt like they couldn’t do this kind of song with Dave, they must have felt great when this song went to #22. Lyrically, Sammy’s talking about aliens. Yes, aliens! (Sammy Hagar believes he has been an abductee.) And love. I don’t really get the lyrics, but witness lines such as:
“Contact, asleep or awake,”
“Some kind of alien, waits for the opening,”
“Silver lights, shinin’ down,”
“I travel far across the milky way,”
So there’s that. But in the same song, lines like “There she stands in a silken gown,” and love walking in. I’m not sure where Sammy was going with it. I’m sure most listeners didn’t really pick up on the UFO concept at the time. But who cares when everybody in the sold-out arena has their cigarette lighters out?
Up next is “5150”, another rocker along the lines of “Best of Both Worlds”, but faster and with a lot more life. This is not a bad song. Shame the album doesn’t have more like this.
Lastly is “Inside”, a song that I just can’t decide if I like or not. It’s barely a song, more like a story with a bassline, and an entire band sounded completely wasted. It grooves along with a robotic synth bass riff. Sammy’s on top of it, telling a story about…new shoes? Not sure exactly. The band, audible in the background, sound loaded but having fun. It’s like something off Diver Down, if Diver Down was performed by robots. As strange as it is, this song sounds like Van Halen, in the sense of a wasted band who isn’t afraid to play whatever the fuck they want. Unfortunately it also sounds like half an idea.
That’s 5150, the massive #1 smash hit (a first for this band), but also transitional album. I think the following disc, OU812, is stronger and more comfortable (albeit sounding unfinished). But to get from A to B, you have to make a journey and that’s what 5150 is. It may lack power, it may be half-loaded with sap, it may sound weak. The tour supporting it was a tremendous success and many of these songs became concert staples.
Craig Fee tells me that this is his favourite Van Hagar-era album. “Probably because I listened to the living shit out of it trying to love it.”
IRON MAIDEN – Revenge Is Living In the Past (2006 live bootleg CD, The Godfatherecords)
Astute metal fans know that there have been couple very special Iron Maiden tours of late that were not commemorated with a live album. That’s shocking considering how many live albums Maiden’s done since reuniting with Bruce and Adrian in 1999 (four). The one I had been seeking the most was the Matter of Life and Death tour. On that tour, Maiden played every song from that excellent album in sequence. Some moaned and complained about the shows being loaded top-heavy with an album 70 minutes in length. Those people did not appreciate what they were witnessing, which was the only time you were going to be hearing most of these songs live. And what great songs they are. I am on record with A Matter of Life and Death being among my favourite Iron Maiden albums.
Then, at the Toronto Musical Collectibles Record & CD Sale 2014, I found it: A soundboard recorded double CD from Stockholm, November 18 2006. This was the second of two nights at the Globe arena. (They would return to Stockholm again a week later on the 25th!) I do not pay money for “burned” (CD-R) bootlegs, and one vendor had hundreds of beautifully packaged, factory pressed live bootlegs. They had many from this label, The Godfatherecords, all in lovely digipacks. I paid $40, the most I paid for any single item at the CD show. This was well below the $60 that I paid 15 years ago for the awful Virtual Lights Strikes Over France, also by Iron Maiden. I think $40 was a fair price for a double bootleg CD of this quality.
How does a live performance of A Matter of Life and Death hold up? Remarkably well! In fact there was only one song that I felt didn’t work well, which was “The Longest Day”. It’s a great song on album, but live, Bruce’s vocal is more erratic. Still, it is hard to be critical since this is but a blip in the course of the CD. The songs are remarkably album-accurate otherwise, with Steve and Adrian providing backing vocals where needed.
“Different World” is a brilliant opener, and the crowd is immediately fired up. Also well received was the single “The Reincarnation of Benjamin Breeg”. At the conclusion of A Matter of Life and Death, Maiden break into “Fear of the Dark,” and the crowd sings along to every word, as they often do. The set closes with classics: “Iron Maiden,” “2 Minutes to Midnight,” “The Evil That Men Do,” and “Hallowed Be Thy Name”. All brilliant of course. It is good to have an excellent sounding commemoration of this tour. I had never really understood why Iron Maiden did not release their own official CD. That’s why the world needs bootleggers.
The Godfatherecords generously filled out the second CD with four songs from another very special show: Rome, October 27 1981. Why is that special? It was only Bruce Dickinson’s second show with the band! Ever! Paul Di’Anno’s final show was only a couple weeks prior, on the 10th. From this show, we get “Iron Maiden,” “Transylvania” (what a bizarre song to include since it’s instrumental), “Drifter” and “Prowler”. I don’t think I have a copy of Bruce singing “Drifter” on anything else I own!
The sound quality is not that great, as expected. The lineup then was Bruce Dickinson, Steve Harris, Dave Murray, Adrian Smith, and Clive Burr. Immediately obvious is that the band were playing much faster back then, and Bruce’s range was greater. It’s very cool to hear Steve Harris himself do the song introduction on “Transylvania”! I don’t think I’ve ever hear him speak so much on stage before. (He also introduces “Prowler” with Bruce.) And Bruce singing “Drifter”? Very different. The audience “Yo yo yo yo’s!” along to Bruce, but it sure sounds weird to hear anybody but Paul Di’Anno doing it.
This is a great CD, and if you happen upon it, I recommend you add it to your collection.
mikeladano.com 