“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).
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.
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.
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.
Here we go again! Let’s continue. Part 28 of my series of Iron Maiden reviews!
IRON MAIDEN – Ed Hunter / “Wrathchild 1999” (1999 video game/compilation)
Blaze Bayley was done. Maybe it was the performances. Maybe it was time for a change. Whatever had happened, Steve Harris decided it was time for Iron Maiden to get a new singer. Manager Rod Smallwood told him to meet with Bruce Dickinson, who wanted to make a return to Maiden and finish his career properly. Harris was skeptical. If Bruce quit once before, why would he want to come back?
After meeting with Bruce, Steve decided it was the right move. But it wasn’t as simple as that. Adrian Smith was in Bruce’s solo band, and Steve wanted him, too.
“Does that mean Janick goes?” asked Adrian, who was very much against the idea of forcing Janick Gers out of the band that he had spent the last decade in.
“No,” said Steve. “I want a three-guitar lineup.”
And thus was formed the guitar trio known to metal fans worldwide as The Three Amigos.
Iron Maiden, with Bayley, had already been working on the Ed Hunter video game. It was Maiden’s second attempt since the aborted Melt game was announced. In fact, in the game, it is Blaze’s head that you must find, not Bruce Dickinson’s. This hardly mattered in light of the massive news of a highly anticipated reunion tour featuring Bruce, Adrian, Steve, Dave Murray, Janick Gers, and Nicko McBrain. This was not a one-off, Steve Harris made it clear that if you’re back in Maiden, you’re back for good. This was timed to coincide with the release of the game which also doubled as a Maiden compilation album — their second, since Best of the Beast.
This time it was a little different. To make it special, fans were permitted to vote for which songs were to appear on the disc, 20 tracks total over two discs. Since the 20 Maiden classics here were voted for online by the hard core fans, there is a fantastic balance of Maiden tunes from every era. There are no other Maiden compilations that feature such a heady brew of Paul Di’Anno, Bruce Dickinson, and Blaze Bayley era material.
It’s nice to hear such underrated classics as “Phantom Of The Opera” alongside semi-forgotten later material like “Tailgunner”. So many personal favourites are on here, including “Stranger In A Strange Land”, that I almost feel as if I put this disc together myself! They kick it off with the immortal Live After Death version of “Iron Maiden”; appropriate given that this compilation supported a greatest hits tour.
But that’s not all folks. Now that Bruce was back, it would be nice to promote that with a single. So, Maiden remixed “Wrathchild” with a brand new Bruce Dickinson lead vocal on it. The remix was done by Kevin Shirley, Maiden’s new producer and the man behind the boards of Journey’s Trial By Fire album. Since the original version of “Wrathchild” is already on the disc, this is a true bonus track, a little extra for the fans dying to get a preview of the reunited Maiden.
But it was a bonus only included on the US version of Ed Hunter, a version that was priced well over $40 in Canada. I found a “Wrathchild 1999” promo CD on eBay as well.
But how’s the game? Well, keep in mind it’s well over a decade old now. I don’t even know if it will run on a modern computer. It’s a first person shooter, with Maiden music in the background. You get to do combat in the environments of Maiden’s formative years in London, within their album covers, and if you’re lucky you might even run into Eddie. Personally, I never got that far. It’s a pretty challenging game and I’ve never made it very far. I enjoy it though, something about plowing through a bunch of monsters while “Phantom Of The Opera” is playing in the background is real fun.
Ed Hunter is not a “Doom” style first person shooter. I do not know the term for this type of game, but you do not have freedom of movement in the environments. It’s like a shooting gallery game.
I personally enjoyed Ed Hunter quite a bit. I used to take the game out to have a go every once in a while, and I still dust off the CDs for a rocking good time in the car. These discs make an excellent road compilation. I remember driving a bunch of people to a Record Store party (I was always the D.D.) with this on, and it went over very well! Overall I think it’s definitely a worthwhile purchase, if you can track one down at a reasonable price.
In the meantime, Maiden had to prove their mettle by making a new studio album…
Disclaimer: I know nothing of the writings of William Blake. Curious because of this album, I decided to take a crack at them. I did not get far!
Suffice to say The Chemical Wedding is a swirling Blake-inspired non-concept album, a distinct up-ratchet from the excellent Accident of Birth. Upon hearing The Chemical Wedding, I said, “Well that’s it — Bruce has buried Iron Maiden, and his own back catalogue too!”
Seriously heavy, much heavier than anything Bruce has done before or since, The Chemical Wedding is an absolute triumph. The lineup remains the same: Bruce and Roy Z with Adrian Smith, Eddie Casillas, and David Ingraham. With a little bit ‘o narration from Bruce’s hero Arthur Brown (The Crazy World of Arthur Brown). The lyrics range from alchemy to the legend that Christ once went to England during his missing years, it’s a spellbinding listen, as long as you don’t hurt your neck from all the headbanging you’re going to do.
I had one customer who was a Christian. He asked me what was good in new metal, so I put The Chemical Wedding on for him. He ripped the headphones from his ears — couldn’t stand the lyrics! He told me they were “too demonic”, particularly the lead single “The Killing Floor”:
Satan has left his killing floor
Satan – hellfires burn no more
Although there is also a line about “Panzer divisions burning in the mud” so to me this is another commentary on the evil present in the world.
Going through the album track by track would get monotonous. So choose from the adjectives below: “fast”, “powerful”, “scorching”, “heavy”, “grinding”, “wailing”, “throbbing”, “headache-inducing” for the various songs.
There are numerous highlights, but my two favourites are:
“The Tower” – this one has a unstoppable pulse thanks to Eddie Casillas, and is one of the more melodic songs on the album while retaining its heaviness.
“Book of Thel” – with velocity comes the album epic, this one picks up where “Darkside of Aquarius” left off from the last album. I don’t know what a book of Thel is, but judging by the heavy evilness coming from my speakers, maybe I don’t wanna know!
Not to be outdone are the scorching opening “King in Crimson” (does not seem to be about a Stephen King character!) and the melodic Maiden-esque Japanese bonus track “Return of the King”.
The single for “The Killing Floor” had two unique B-sides, “Real World” and “Confeos”, neither of which are as strong as anything on the album. These songs plus “Return of the King” have been collected on the Bruce Dickinson deluxe editions.
When Accident of Birth came out in 1997, I said, “This is incredible, Bruce is back and better than Maiden are. How the hell is he doing to top this one?” Unlike previous solo albums, Bruce didn’t do a complete 180 and change direction. Instead he simply added more fuel to the fire and created one of the best albums of his entire career, one he should be very proud of.
But again, I had to ask the same question, “How the hell does he top The Chemical Wedding“? I couldn’t see him turning up the gas any hotter without foraging into thrash metal territory, or losing what melody he still had. Luckily, fate intervened.
It turns out that Iron Maiden themselves were looking for another new singer. And Bruce was looking to finish his career off doing arenas, not clubs. A phone call was made….
5/5 stars
…And it is here that we shall pause again. Stay tuned for more Maiden in the days to come.
It is hard to believe that this monumental album, a piece of rock history, was only issued on CD in Japan! Finding a domestic LP or cassette isn’t hard (I’ve owned it on all three formats including CD) so hunt your record shops. I know Wendy Dio has a CD/DVD reissue lined up, hopefully including the full album, single edit, and the video and interviews. If you’re reading this Wendy…
At the time, all funds went to starving people in Africa, hence the name Hear N’ Aid. The inspiration was something fairly obvious: No heavy metal people outside of Geddy Lee was involved in the numerous famine relief projects of the time! (Geddy sang a lead on the excellent “Tears Are Not Enough” (1985) by Northern Lights, but nobody metal could be seen in “Do They Know It’s Christmas” or “We Are the World”.)
“Oh, you knoooow that we’ll be there!”
Showing the world that heavy metal bands and fans aren’t a bunch of assholes, Jimmy Bain and Vivian Campbell of Dio came up with the concept for Hear N’ Aid.
The main track, “Stars”, by Hear N’ Aid is a tour-de-force. Written by Bain, Campbell and Dio, this is essentially an epic extended track with a soft intro and heavy verses, and tons of guests. They assembled virtually every major metal singer who was willing and available to take part. That means you will hear Quiet Riot singers Kevin DuBrow and Paul Shortino (still with Ruff Cutt at the time) singing together for the first and only time in history! Rob Halford, Don Dokken, Eric Bloom, Geoff Tate, Dave Meniketti, and Dio himself all take lead vocal slots too.
When the guitar solo kicks in, prepared to be blown away. With Iron Maiden guitarists Dave Murray and Adrian Smith playing backing harmonies, you will hear the monstrous talents of George Lynch, Yngwie Malmsteen, Vivian Campbell, Craig Goldy, Neal Schon, Buck Dharma, Carloz Cavazo, Brad Gillis and Eddie Ojeda all taking a few bars. No charity track had ever attempted to assemble not just singers, but guitar players, on one track before.
All this is backed by drummers, bassists and keyboard players from Dio and Quiet Riot. There are more backing singers than I can name, but most notably, Derek Smalls and David St. Hubbins from Spinal Tap. Of course.
The rest of the album is filled out by songs donated by bands who couldn’t take part in the song, but still wanted to help the starvation situation in Africa. Therefore you will get a live “Heaven’s On Fire” from Kiss, from their Animalize Live Uncensored home video. This is the only place that the audio track was released on. There is an unreleased live “Distant Early Warning” by Rush, and rare ones by Scorpions and Accept as well.
Tracklist:
1.Hear ‘n Aid – “Stars”
2.Accept – “Up to the Limit” (live)
3.Motörhead – “On the Road” (live)
4.Rush – “Distant Early Warning” (live)
5.Kiss – “Heaven’s on Fire” (live)
6.Jimi Hendrix – “Can You See Me”
7.Dio – “Hungry for Heaven” (live)
8.Y&T – “Go for the Throat”
9.Scorpions – “The Zoo” (live)
As mentioned in the last chapter, Bruce Dickinson was eager to get back to metal, and he brought Roy Z with him. Together they forged a great modern steel beast of an album. But there was an additional surprise in store:
Bruce had also teamed up with his old Maiden alumnus Adrian Smith! The classic writing partnership was back, and Adrian was playing those trademark melodies again.
And then, just to stick it in Steve Harris’ nose, Bruce hired on Derek Riggs to do the cover art. He came up with a mascot: Edison! Get it?
The opening track, “Freak”, slams the listener right in the face with a modern metallic riff before the classic Bruce wail forces you to admit this is the kind of music he’s best at. And while it’s not the same as Maiden, you will be delighted to learn there are guitar harmony parts once again.
You have to give Roy Z credit where it’s due, the guy is great at writing metal riffs. He’s also a great soloist and a nice contrast to Adrian. Also not slouches are the badass rhythm section: Eddie Casillas (bass) and David Ingraham (drums), both back from the Balls To Picasso album.
“Starchildren” is an absolute stunner, a fucking brilliant song that combines programmed samples with traditional metal riffery. I also love that Bruce has continued on with the sci-fi lyrics, something he’s quite good at.
Although “Taking the Queen” is another great song, it is overshadowed by the epic track “Darkside of Aquarius”. At almost 7 minutes long, “Darkside” combines multiple parts together with guitar harmonies into one cohesive, stomping whole. This to me is the jewel on a fine album. I think this would have made one fine Maiden number (finer than what Maiden were releasing at the time).
Then, “Road To Hell”, a co-write between Bruce and Adrian. You can tell by the catchy guitar parts and singalong chorus. It is followed by the anthemic ballad “Man of Sorrows”. This one was chosen for release as its own EP later.
The single “Accident of Birth” is next, yet another great tune, but also a standout among great tunes. Once again the samples are back, blasting this piece of sheet metal into a pulp. The guitar melodies ground it in familiar territory as Bruce’s wail assaults the listener.
Why is Ingraham wearing that pilot hat?
“The Magician” comes somewhat awkwardly afterwards, as it is more upbeat than the previous material. But “Welcome to the Pit” (also co-written by Smith) sinks deep into a sludgey morass. “Welcome to the Pit” is filler, the first obvious such track on Accident of Birth.
The US edition of the album was elevated by another Smith co-write, the Maiden-esque “The Ghost of Cain” which restores the melody and guitar harmonies to the forefront. The UK edition skipped this track but made it available on a single (which we’ll get to). But it is a song like “The Ghost of Cain” that reminds the listener of the kind of magic that Iron Maiden lost when it lost Adrian Smith.
“Omega” and “Arc of Space” form a sci-fi duo. The sun is about to go all red-giant on Earth’s ass, and most people have left. But many remain behind.
Now it’s Omega-Zero day
The red star shines its last rays
The sun that gave us life yesterday
Is now the sun that takes our lives away
It’s this kind of lyric that gets my nerd-blood pumping. Arthur C. Clarke would have been proud. I’m sure Bruce has read The Songs of Distant Earth. But even musically it’s a winner. At first it sounds like a ballad before the band hits the gas and it turns into a blazing rocker with twin guitar harmonies.
And finally “Arc of Space”, an acoustic number (with cello!), and a perfect ending to a fine album. The choruses soar. Roy Z’s acoustic solo is perfect. The album ends as a triumph.
There were also singles to be had: “Accident of Birth” parts 1 and 2. Part one added “The Ghost of Cain” to the lineup for those who didn’t get it on the UK album. Both parts contained demo versions, basic stripped down recordings of “Accident of Birth”, “Taking the Queen”, and “Starchildren”. It sounds like these were most likely recorded using drum machines. In the case of “Accident of Birth” itself, in a lot of ways I prefer the more mechanical demo!
The Japanese even got their own exclusive EP from the albums called Man of Sorrows.
BRUCE DICKINSON – Man of Sorrows EP (1997)
Man of Sorrows is an awkward 5 song collection, essential only to the obsessed or the lucky ones able to find it at a good price. It has three versions of the title track: A radio edit, an orchestral mix, and a Spanish version (on a CD released only in Japan.) The orchestral version just mixes those instruments in higher. The Spanish version, “Hombre Triste”, is especially poor since the backing vocals in the chorus are still in English. You can also hear edits, as if the vocal recording was probably spliced together piecemeal line by line.
The saving grace to the EP (but not worth the $30 price tag to the average collector) are two more demos: “Darkside of Aquarius” and “Arc of Space”. Much like the other demos, these are fully fleshed out arrangements. “Darkside” features that drum machine again, but “Arc of Space” sounds like Bruce and Roy just doing the song live in a room. The liner notes reveal that Roy Z plays all the instruments on the demo versions.
Incidentally, all these songs plus the “Accident of Birth” single B-sides are now available on the deluxe edition of the album.
Bruce made a hell of a comeback on Accident of Birth, showing up Iron Maiden, and proving that he was built to sing heavy metal music. The cynical said that Bruce was just cashing in, but the next album would prove to be an even more powerful statement. Stay tuned.
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….
“Satan’s work is done Donington!” – Bruce Dickinson
IRON MAIDEN – Live At Donington August 22nd 1992 (1993 CD, 1998 remastered edition)
I imagine if Bruce remained in the band, Maiden probably wouldn’t have released three live albums in one year. But they needed time to regroup and figure out what the hell to do next. In the meantime, as if to say, “We’ll be back!” Maiden released Live At Donington August 22nd 1992.
A much better recording than its two predecessors (A Real Live One and A Real Dead One), it’s a very special set. It’ll never be Live After Death (that’s impossible) but this is one of the finer Maiden live albums to come down the pipe. I mean, just look at the first three songs! A smoking “Be Quick Or Be Dead”. An absolutely devastating “Beast” (I like that they threw it in early). A surprising “Wrathchild”, one of the best Maiden songs of all time.
Then I get a little disinterested — “From Here To Eternity” is not a personal fave, and “Can I Play With Madness” is flat sounding again, just like on A Real Live One.
“Wasting Love” is better. The dual guitar harmony is a little off, but it’s live, what you hear is the way it was. Bruce pushing his voice to the breaking point. The mix is nice here. You can hear Nicko’s drums beautifully and both guitars clear as a bell.
A fiery “Tailgunner” takes us out of ballad territory and back into traditional Maiden: pumping guitars and lyrics about good ol’ WWII. I like when Bruce sings, “No more bomber just one big bomb, hey hey, whooo! Pussshhhttt!” as if to imitate the sound of a bomb going off!
Then, “The Evil That Men Do” lives on and on. Bruce urges Donington to scream for him; they do and he responds with a solid “Fuck yeah!”
Incidentally, does anyone know why Bruce always seems to sing the words to this song wrong, live? This album and A Real Live One, he sings:
“And I will pray for her,
Someday I may return,
I will bleed for her,
If I could only make her learn.”
The actual lyric on the album is:
“And I will pray for you,
Someday I may return,
Don’t you cry for me,
Beyond is where I learn.”
Anybody?
Bruce then introduces the modern war ballad, “Afraid To Shoot Strangers”. I think this is one of Maiden’s greater songs, at least once it gets going into that awesome guitar melody…and then another one after that!
The first CD of Donington closed with “Fear Of The Dark”. Interesting — playing this one halfway through the show, and not the end! How things would change, as this song became more and more of a classic. The Donington version is great, I love Janick’s pinch harmonics. The remastered CD loaded four more songs onto disc one from here, freeing that space off disc two for video content. I’m only mentioning this because depending on which version you have, your disc may end on a different song. But I think “Fear Of The Dark” may as well close the disc, as it’s a perfect place to pause!
“Bring Your Daughter” was up next. I can always pass on this song, although the redeeming factor are the wild and crazy guitars! I could do without the singalong intro, but the fans at Donington are sure into it!
The brilliant “Clairvoyant” pumps the crowd up once again. Once again, Janick crazies-up the guitar work making the whole thing more manic.
“Heaven Can Wait” of course was the big singalong song, I just wish they’d play something else from Somewhere In Time instead of this number. Although I do like it when Bruce allows Nicko to have a word. “Oiiiyyyeeeee!” This is followed by “Run To The Hills”, which indicates we’re getting closer to the end. Personally I’m tiring of this song, and the guitars sound too thin.
“2 Minutes To Midnight” serves as a reminder of the great tunes that Bruce and Adrian used to write together. Great riff (even if poached from “Wildfire” by Budgie), great song. Funny: As a kid, I loved “Hills” and didn’t really like “2 Minutes”. Now, I really love “2 Minutes”, but I’ve heard “Hills” just too many times.
Then: four classics in a row. “Hallowed”, “Trooper”, “Sanctuary”, and “Running Free”. “Hallowed” is still one of the very greatest Maiden tunes of all time, and in many ways I think it’s better live. In particular, the Live After Death version is great. But Bruce sings his teeth into this one too, and it’s just that much better for it. Once again, I can hear some tasty pinch harmonics in the opening. Is that you Janick? Guess I’ll have to wait until this show comes out on blu-ray in 2013….
“The Trooper” is of course pummeling as ever, and “Sanctuary” a welcome rarity from the earlier punkier days. I like when Bruce introduces Nicko as “old Flatnose himself”.
“Running Free” though was very special indeed, and a harbinger of things to come.
Adrian came out and joined the band for this one, a special appearance at a special gig. For years I had no idea: It’s not like you can really understand what Bruce is saying when Adrian comes out, perhaps overcome with emotion! This really was a preview of the most beloved, long-standing Maiden lineup of all time: Bruce, Steve, Nicko, Davey, Janick, and Adrian. It would be seven years before they played together again, but here’s the first.
The cover art and packaging was decidedly bootleg: A plain white cover with a Maiden logo stencil and the title in sloppy typewriter font. No booklet at all. Thankfully, this was rectified with Mark Wilkinson’s poster art, used for the remastered cover art. The remaster did indeed feature a full booklet packed with photos, and some live video stuff that may or may not work on your current machine.
And thus ends Live At Doningon, and thus ends the last album with this lineup. It would be uncharted waters forward, as Maiden began the audition process for a new lead singer for the first time in a decade.
But there would be one more special show. One more release to talk about: Not an album, but a video. Next time, we’ll talk about Bruce’s final show, called Raising Hell, featuring the decapitation of the band’s lead singer!
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