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#631: The Locker Door

GETTING MORE TALE #631: The Locker Door

Before the first day of highschool even began, I had selected the posters I was going to hang up inside.  For my first locker ever, at the beginning of grade nine, I chose Gene Simmons.  It was a weird picture of him from the Asylum era, no makeup, and his tongue pinned to the neck of his bass by the strings.  I was truly disappointed that girls found the picture repulsive and didn’t want to talk to me.  I’m still proud that I was flying the Kiss flag right from day one.  For some reason, I also had a picture of Mr. Mini Wheats, from a box of the same-named cereal.

Meanwhile, my best buddy Bob had something cooler.  It was a poster of Bruce Dickinson, circa 1986, standing next to the giant stage Eddie from Somewhere in Time.  Everybody seemed to agree that the new Blade Runner Eddie was the coolest one yet, and that poster was the envy of the hallway.  When he was done with it, Bob passed the locker poster down to me.  I was thrilled — so much that I used it again the next year.

Bob moved on to Samantha Fox.  She took over from where Eddie and Bruce once were.  “Hey, that one’s topless,” remarked the English teacher Mr. Payette as he strolled past.  She was covering her modesty with her arms, but she was indeed missing her top.

In grade 10, Bob and I did something sneaky.  On the first day of school, he advised me to bring an extra lock, and see if I could snag an extra, unoccupied locker.  I did — right next to my own, in fact.  So that year, Bob and I had this spare locker that we shared right next to mine.  He had this little Nerf basketball set.  You could hang a net from the locker door.  We also had gotten into remote control cars.  We stashed them in the spare locker and played with them during the lunch hour.  We got caught by the stern science teacher, Mr. Branday.  “Take this to the gym!” he shouted at us.

Branday was a weird guy.  Every year, he began his science class with the same line.  “Science is a tool of the mind.  With it, one can open more doors than with the bare hands alone!”

Bob and I had such a good time, that year of the two lockers.  A fresh succession of posters went up, although I hung onto Bruce and Eddie until it was literally falling apart.  One I liked a lot was a cardboard cut out of ZZ Top’s Eliminator car, from a Monogram model kit I built.  I always wanted to rig up a Walkman with a speaker in the door of that locker, but we figured if the racing cars got us in shit, music would even more.

Locker posters usually came from magazines such as Hit Parader, but it had to be a vertical poster.  A horizontal one would only be good for home.  A kid down the hall, Michael Wright, had a picture of a computer in his locker one year.  I tended to stick to rock stars.  Def Leppard went in there, and so did a rare picture of Vinnie Vincent in his Kiss makeup.

Some of the posters that survived

I tried to take care of my posters so I could use them again.  They seemed like a big part of my identity.  I brought my posters to school on the first day every year, so my locker would never be bare.  Nobody but Bob seemed to get that.  I always enjoyed carefully packing them up on the last day of school before summer holidays.  Except for the last year of highschool, when I knew it was the very last time.  There would be no more lockers.  The very last locker posters were coming down, for good.  I hated the feeling, the finality of it.  Knowing life was about to change and almost all my old friends would be gone doing their own things.  It was a…lonely feeling.  The lockers were always a communal place.  You’d chat with friends before or between classes.  Life really felt different afterwards.

Somewhere in this house in an old video tape, of my grade 13 year circa 1990.  Bob and I rented a camera one weekend, went into the unlocked school and did a tour.  On that video is a detailed look at my locker posters of 1990-1991.  One day I’m going to have to get a USB VCR and take a look.

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#367: Greatest Hits 2

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RECORD STORE TALES MkII: Getting More Tale
#367: Greatest Hits 2
A sequel to #364: Greatest Hits

The last time we talked about greatest hits albums, I listed seven reasons that die-hard fans usually shun them.  Readers came up with some of their own, and also arguments to defend greatest hits albums.  I usually advise fans to buy key studio albums rather than compilations, depending on the person.  Yet I still own a few hundred greatest hits albums. There have to be good reasons.

And what about you?  How many do you own?  What are your favourites?  Why did you buy them?  I asked myself those three questions too.  #1. I don’t know.  #2. There are many, but Double Platinum and Killers by Kiss are up there.  #3.  Let’s talk about that in depth…I broke it down into seven points:

KENNY_00011. There are some artists that I barely know. Neil Diamond or Kenny Rogers, for example.  There might be a handful of songs I like, but not enough that I have heard to take the plunge and buy an actual album. Or, I know it’s an artist that I don’t want many albums from.  I have a feeling that I only want one or two CDs, so one of them is usually a greatest hits.  I collect a lot of music, but I can’t collect everybody. Sometimes I’ve done the research to know that I need one or two CDs and nothing more.

2. Exclusive tracks are often dangled as bait. But sometimes greatest hits albums are stuffed with exclusive radio edits and remixes that aren’t obviously credited. Kiss’ Double Platinum is one such album. Aerosmith’s Greatest Hits had a number of special edits of songs. Collectors like myself often look for such versions. They make for an enjoyable way to hear a familiar song with a slightly different slant.

SAM_17443. Artwork. Younger folks might not understand why this matters, but I come from the age of physical product. With some bands, you don’t want just the music. You want all the album covers too; they are sometimes as important as any other aspect of the music. Iron Maiden is the first, obvious example. I own several Iron Maiden greatest hits discs simply because I wanted to own all the Eddies. There is a certain satisfaction in viewing them all lined up in order.

4. Historical importance. Some greatest hits albums are just historically important. Best of Van Halen Volume I for example – even if I didn’t buy it for the two new songs, I would have wanted it for the significant role it played in breaking up Van Hagar! You might want to own Their Greatest Hits by the Eagles for the fact it’s the top selling hits album of all time.

5. Sometimes, I actually do listen to greatest hits! Sure, not often by comparison. But if I’m in the car with the Mrs., she might prefer a Deep Purple greatest hits set to a 5 disc version of Made in Japan. I own ‘em, so if they’re good I may as well play ‘em. Also, If I’m going somewhere and I only have an hour or so to listen to music, a greatest hits album often scratches whatever itch I have.

6. Gateway music. My entrance into the world of Thin Lizzy was one CD (Dedication: The Very Best of).

DEDICATIONThat point is the most important one.  Using a greatest hits album to delve further in the discography is such an excellent experience.  My first two Deep Purple’s were greatest hits.  Now my Purple collection is of a prodigious size.  I don’t even know how many I have.  100 maybe?  More?  And it keeps growing!

My first Floyd? Echoes: The Best of Pink Floyd.  My first Rush?  Chronicles.  First ZZ Top? Greatest Hits.  See where I’m going with this?  These are bands that, today, I am still collecting.  I still buy whatever’s coming out.  Which brings me to my last point.

7. Personal history.  I’ve developed a relationship with some of those greatest hits albums over the years, even if they have been superseded by better ones.  Something about the familiarity, I suppose.  But even though all my first greatest hits albums were on cassette, I still went and bought CD copies of them all.  In some cases, vinyl too!

What are your favourites?  Does it bother you to own multiple copies of the same songs?  If your favourite band came out with a greatest hits album tomorrow, would you consider buying it?  Let me know!

 

Gallery: Other Stuff I Collect That Isn’t Music

I collect toys.  Lots of toys.

GUEST REVIEW: Dream Theater – The Number of the Beast (by Uncle Meat)

GUEST REVIEW by:  Uncle Meat

ST NUMBER BEAST_0003DREAM THEATER: The Number of the Beast (2002 Ytsejam Records, Covers Series)

For the most part, Dream Theater is a band you either love or you hate. Some Metal fans are put off by the keyboards perhaps, while many others find Dream Theater hard to listen to because of the effeminate tone to the voice of singer James LaBrie. On the other hand, music fans who are not into the sensibilities of progressive music would label Dream Theater as “pretentious,” or which have you. Most music fans though can appreciate the musical talent of everyone involved. They are also a very busy unit, often branching out into different projects between DT albums and tours.

While still in the band, and then after his departure from DT in 2010, Mike Portnoy has been the busiest of all the DT members. So much so, that while researching to do this review of Dream Theater’s Official Bootleg: The Number of the Beast, I was blown away with how many projects Portnoy has been a part of that I truly love. Simply said, Mike Portnoy comes off as the biggest music fan in the music business. On top of his resume of original music, his obsessively accurate tribute projects can only be pulled off by someone who is an authentic “music geek super fan”. Sound familiar, LeBrain? So yes, this review has morphed itself into a bit of a Mike Portnoy love fest. Check out this list of his accomplishments outside of Dream Theater.

LIQUID TENSION EXPERIMENT – The two studio albums with John Petrucci, Jordan Rudess and Tony Levin are fantastic albums. Their self-titled CD is one of my favorite progressive rock albums. With three subsequent live albums with that lineup and two albums with a name change to Liquid Trio Experiment, that makes seven albums with the great Tony Levin alone.

TRANSATLANTIC – Four studio albums and four live albums with this Prog super group along with Roine Stolt (The Flower Kings), Neal Morse(Spock’s Beard, Flying Colors) and the bassist from one of my favorite bands…Marillion…Pete Trewavas.

AVENGED SEVENFOLD – After the death of their drummer, Jimmy “The Rev” Sullivan, during the writing of a new album, Mike Portnoy stepped in and played drums on their 2010 CD titled Nightmare. He also joined them for a few shows over in Iran and Kuwait for American troops overseas.

ADRENALINE MOB – Two albums with this band consisting of members from Symphony X and Fozzy. I honestly do not think I have heard it so can’t say much really.

FLYING COLORS – One studio album and one live album playing with my favorite musician of all time… Steve Morse. Consisting of Neal Morse again and others, including the incredible Steve Morse Band bassist Dave LaRue. Maybe you should just read LeBrain’s review of this band right “here”.

WINERY DOGS – With a more straight ahead rock and roll approach, the Winery Dogs is his current gig with bassist Billy Sheehan and guitarist Richie Kotzen.  [Check out Jon Wilmenius’ excellent review hereLeBrain]

And that’s just the original music he has been a part of. He has gone to great lengths to put together live shows recreating the concerts of, and playing the music of, his favorite drummers. He has arranged one for Led Zeppelin called Hammer of the Gods. He has also done one for Rush called Cygnus & the Sea Monsters. I actually learned about these while researching the review that I haven’t even got around to yet (yes this has become a much larger project than initially thought), so I am curious to search these out. You should be as well. The one I can comment on is his Beatles tribute called Yellow Matter Custard, named from a lyric within the song “I Am the Walrus”.

Consisting of Matt Bissonette, Paul Gilbert and Neal Morse and himself, this unit recreates what it would have been like to see The Beatles live. A lot of the songs were never played by the Beatles live. I listened to this with a good friend of mine who himself is a great musician and huge Beatles fan. Listening to it brought the Beatles super-fan out of him, most especially loving the somewhat obscure tracks performed live by the band. I highly recommend checking this out if you are a Beatles fan. So that pretty much means everyone.

 

 

ST NUMBER BEAST_0002I can’t believe I am now just starting the intended review, but here goes. In 2002, while touring for the album Six Degrees of Inner Turbulence, Dream Theater went on a short club tour in Europe where they played a different album in its entirety, track for track. Among the albums covered in this tour were Master of Puppets – Metallica, Dark Side of the Moon – Pink Floyd and Made in Japan – Deep Purple. (Who covers a live album? And one of my favorite live albums of all time? Dream Theater does, that’s who).

On October 24, 2002 DT played a small club called La Mutualite in Paris, France. The album on the menu that night was The Number of the Beast by Iron Maiden. From the sound of the enthusiastic crowd you can clearly hear throughout the album, this was a well-appreciated re-creation of one of the greatest Metal albums of all time.

The show starts off with album opener “Invaders”. My first impression was how great it sounded. Lively version and a thick guitar sound. Another thing I quickly realized is this: say what you want about James LaBrie and his effeminate style. Not many singers, including Bruce Dickinson himself can sing these songs live. I have seen Iron Maiden play several of these songs live, and even in a reduced key it is a struggle for Dickinson to sing the songs how they are recorded on the album. The opening track just left me looking forward to the rest of the set.

“Children of the Damned” was a joy to listen to, again mostly because of the vocals. This is probably his best singing on the album. Bruce Dickinson would have to get himself on a Lance Armstrong-like drug program to ever have a chance of singing this song in this key again. This song is also where I first really noted one of the truly great and original things about this album. Iron Maiden is a classic two-guitar fueled machine. DT is doing this with one guitar and a keyboard. Check out the twin guitar/keyboard solo in this song and hear throughout as the guitar and keyboard trade solos. A magnificent treat for the ears and surprisingly seamlessly done.

The crowd revs up as the classic Patrick McGoohan intro to “The Prisoner” plays as it is on the album. Chanting along with the intro just before Portnoy launches into the classic Clive Burr drum beat, this makes for a great listen, hearing the energy of the crowd and their appreciation of this show. Awesome version as well I must say.

“22 Acacia Avenue” is another track that is a treat to hear live. Live favorites “The Number of the Beast” and “Run to the Hills” follow. These two Heavy Metal anthems go over with the crowd extremely well as you would think they would. A case could be made that these back to back songs are the two most popular Iron Maiden songs of all time. Agreed? Discuss….

Coming next is their amazing version of “Gangland”. This is easily the most ambitious moment of the show. Kind of making the song their own, they begin the song off as a piano ballad and then make a left turn and turn it into a progressive, almost jazz fusion-ish groove as the song closes out. Absolutely brilliant and is probably my favorite track on the album. The show ends with a perfect version of “Hallowed Be Thy Name”, and the performance is over.

This is not just re-hashing of a great album. This was a well thought out and rehearsed celebration of this album, allowing true Maiden fans to hear what these songs may have sounded like when the album was toured in the 80’s. A friend of mine scoffed at the idea of DT covering this album and I may have shared some of his trepidation before I heard this recording. After listening to it now several times it has become obvious that this is not only a very relevant capturing of Number of the Beast, but it makes a very simple statement. Love ‘em or hate ‘em, the players in Dream Theater have a higher level of musicianship than really any of their peers in popular music. And as listed earlier, it seems that everything Mike Portnoy does comes from the heart of just another music fan like you and I. So who is gonna come along and play one of Dream Theater’s albums track for track? Well Dream Theater of course. Who else possibly could? Good luck with that, Three Days Grace.

5/5 stars

Gallery: Iron Maiden’s EDDIE (2012 Neca figure)

This one goes out to FanFigureZero and his jaw-dropping site.

In downtown Kitchener last night, I dropped in at the great store Lookin’ For Heroes, to pick up the lastest issue (#94) of Transformers Re-Generation One.  Unfortunately I was a week early, but they did have Eddie!  Several different Eddies.  I decided to start yet another Iron Maiden collection!

I already had the old McFarlane figures from a long time ago, but this new series has seven figures in it.  And I plan on getting them all!

Part 208: Flashback 1995

RECORD STORE TALES Part 208:  Flashback 1995

November/December 1995 was freakin’ busy.  We sold a lot of discs that Christmas.  What we didn’t do was listen to a lot of discs!  No; our boss really, really liked Don Henley and TLC.  He played them ad-nauseum.  Like on repeat three times in a row.  I’m not kidding about that.  I distinctly remember the repeat.  Here are the Top Three Discs I Had to Listen to Until My Ears Bled, December 1995.

3. Boney M – Christmas Album

2. Don Henley – Actual Miles

1. TLC – CrazySexyCool

Trevor on the other hand was introducing me to Oasis and managed to get a few cool discs into rotation:

3. The Beatles – Anthology Vol. 1 (usually just disc 2)

2. Foo Fighters – Foo Fighters 

1. Oasis – (What’s the Story) Morning Glory?

We were also working with this new guy, Donnie, and we let him pick Dance Mix ’95 a few times.  Unfortunately, the Big Shiny Tunes series hadn’t begun yet.

I didn’t get to pick as many discs as the others — the boss didn’t like my picks.  When I did, I chose the new Def Leppard – Vault (Greatest Hits 1980-1995).

Looking back, there were also a few albums that I found utterly disappointing that season.  They included:

3. AC/DC – Ballbreaker

2. Lenny Kravitz – Circus

1. Savatage – Dead Winter Dead

All three were albums that I was solidly looking forward to, but largely disappointed me.  I never did buy Circus.  I own the other two, but only because I’m a completest (and I got AC/DC for $3).

Finally there were three albums that really got me through that season.  I had just been dumped by my first serious girlfriend and I was really angry about it.  Away from work (my boss didn’t want these ones played in the store) these three albums totally spoke to me that Christmas:

3. Alice in Chains – Alice in Chains

2. Ozzy Osbourne – Ozzmosis

1. Iron Maiden – The X Factor

Let me tell you something people:  I still fuckin’ hate TLC.  I’ll never go chasin’ waterfalls, ever again.

Next time on Record Store Tales…

A long time ago, in a galaxy far, far away…

REVIEW: Iron Maiden – Maiden England ’88 (2013 CD reissue)

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MAIDEN ENGLAND FRONT

IRON MAIDEN – Maiden England ’88 (2013 CD reissue)

It only took 25 years, but Iron Maiden have finally released a complete 2 CD edition of their legendary Maiden England recording.  A video was released in 1989, and a truncated CD version in 1994.  These were great, but less than 100% satisfying.

The first thing you notice is the striking cover art.  This is by somebody named Hervé Monjeaud.  It resembles Derek Riggs’ Eddies enough to fit in fairly seemlessly with the 1988 era.  I wish they used the original motorcycle cover art by Derek Riggs, but at least they credit him inside as the original artist.

Also checking the credits, I was pleased to find that the audio was not remixed.  This is the same mix that Martin Birch produced at the time.  The three unreleased songs are freshly mixed by Kevin Shirley, but there’s no tampering.  This is the authentic Maiden England.

Last year when I reviewed every Maiden release in a row, I discussed Maiden England.  Please check that review out if you’re looking for a more comprehensive review of the songs and content. Back then, I gave it 4/5 stars.  I found the sound a tad muddy, I complained about the brief running time, and I didn’t like that the CD did not include every song from the VHS version.  The missing songs were “Hallowed Be Thy Name” and “Can I Play With Madness”.  This edition restores them to the running order, and even adds three more songs that were cut completely from the original release!  So right there, two of my beefs have been addressed.

What about the sound?  Bloody great!  Whatever it was about the first CD release, the flatness of it, is gone.  It’s like when you take your car to the wash, how it shines.  Maiden England ’88 sounds so much better than the original CD.  And of course there’s a nice substantial booklet with photos and lyrics.  No notes from Steve or anybody else, disappointingly.  I always like those “producer’s notes” or what have you.  But that’s window dressing, this is really such a pleasure to listen to, I assure you.  As I wrote these words, Dave Murray was wheedly-wheedly-ing in my ears.  And I liked it.

With the added material and fresh sound, Maiden England ’88 takes its place alongside other Maiden classics such as Live at Donington or Rock In Rio.  Of course it cannot usurp Live After Death, nothing ever will.  Maiden England ’88 has some really awesome Maiden material that didn’t make Live After Death, such as “Still Life”, which remains dramatic and stunning.  “Killers” and “Sanctuary” are two other songs that were not on Live After Death.  Not to mention, by 1988 Maiden had two more albums to draw from.  That means you’ll also hear “Wasted Years” and “The Clairvoyant”, songs that stand strong among the old stalwarts.

The three unreleased songs are “Run To The Hills”, “Running Free” and “Sanctuary”.  These were the encores.  They are not mixed onto the end of the show, but follow a pause and have a noticeably different sound.  It’s hard to describe how the sound differs, but you can hear a change.  I’m not sure why these weren’t included on the original VHS.  Surely not for quality reasons.  The running time of the original video was 95 minutes.  Would another 15 have bumped them into a higher, tax, uhh, you know?  (120 minute tapes were common back then too.)

There’s a DVD too, but I don’t have that yet.  One thing at a time!  Send me a copy, EMI, and I’ll be happy to review it!

5/5 stars

Part 171: VIDEO – Record Store Gallery

RECORD STORE TALES Part 171:  Record Store Gallery

REVIEW: Iron Maiden – En Vivo! (2012 CD, blu-ray)

Alas, the end:  Part 45, the final chapter of my series of Iron Maiden reviews!

In case you’re new to LeBrain’s blog, you may as well go back and start here.  I have covered every album, every EP, every single, every rarity that I have had access to.  I don’t know if a more comprehensive review of Maiden material can be found on the web.  Enjoy.

It’s been a slice.  Without further delay, here’s the final part.  En Vivo!

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IRON MAIDEN – En Vivo! (2012 CD, blu-ray, EMI)

Once again, Iron Maiden have followed a studio album with a live album.  Unlike the last one, Flight 666, this time Maiden released a set representing the tour for their last studio platter, the excellent Final Frontier.  For the first time, you will have a chance to own live versions of songs like “El Dorado” and “Coming Home”, mixed with a standard set of Maiden classics, recent and vintage.

The splendid set starts with a pre-recorded version of intro “Satellite 15”, which melds directly into “The Final Frontier”, an excellent Maiden rocker with a chorus built for the live experience.  This version brings to the forefront Maiden’s melodic guitar goodness, along with Bruce’s powerful pipes.  Adrian Smith rips the solo to absolute shreds, only to be followed by an energized Dave Murray.  What a start.  It’s an absolutely flawless start, and the Chilean crowd goes wild.

Just like the album, the band then seamlessly moves into “El Dorado”, which is superior here to its album version.   More guitars, faster pace, more backing vocals, a more lively lead vocal…what more could you want?   Even the most cynical fans, only there to hear “Run to the Hills”, would be blown away if they only opened their ears.

“2 Minutes To Midnight”, which was also available on the Flight 666 and Rock In Rio CD’s, is next.  This one, I probably could have done without, after hearing it on two prior live albums, not to mention A Real Dead One and the immortal Live After Death!  It is a great song, no doubt, and there’s nothing wrong with this version.  But why not throw in something else, like “Icarus” maybe?

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Then back to new material:  a haunting “The Talisman” and the anthemic “Coming Home”.  “Coming Home” in particular seems perfectly designed for the live concert environment.   Both songs bring forth all the complexity and passion of The Final Frontier, with the crowd supplying ample backing vocals.  Clearly, Chilean fans don’t mind new songs.

One of my personal favourites of more recent vintage is next:  “Dance of Death”.  I love Bruce’s Hamlet intro:  “There are more things in Heaven and Earth than are dreamt of in your philosophy.”   The vocal is a tad more shaky than the version on Death on the Road, but once the song gets going, Bruce finds his footing.  He has the crowd in the palm of his hands the whole way.

“The Trooper” only makes the ecstatic crowd that more crazy.  Unlike “2 Minutes”, this is a song I never tire of.  The solo just smokes, the Three Amigos blasting through.  Then onto “The Wicker Man”, a song not heard on a live album since Rock In Rio, although some fans (like me!) are lucky enough to own a 2002 version on the Japanese “Rainmaker” single.  “The Wicker Man” is a modern classic, a song that I believe belongs up there with “The Trooper”.   Once again, Adrian performs a flawlessly melodic solo.   One more track from the Brave New World album follows it, “Blood Brothers”.   I was a bit surprised to see this slower one resurrected live, but like the other songs, this one was perfectly built for a live audience.  Bruce wouldn’t even need to sing on the chorus, so loud is the audience.

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The last of the newer songs is next, the amazing “When the Wild Wind Blows”.  Not brief at 10 minutes, this is one of my favourite songs from The Final Frontier.  The crowd is on board for every moment, every riff, every section, every emotional breath from Bruce’s mouth.  Truthfully, if Maiden were not a band with over 30 years of classics in the back catalogue, this song would be considered a standard, never to be missed.  But when you could easily play a 6 hour set of nothing but classics, it’s hard to squeeze them all in.  All I can say is, I hope this song makes future tours, but at 10 minutes, don’t be surprised if it’s left out in favour of older classics.

And speaking of older classics, get ready for a whole slew of them:  “The Evil That Men Do” (so much more powerful with three guitars!), “Fear of the Dark”, “Iron Maiden”, “The Number of the Beast”, “Hallowed Be Thy Name”, and “Running Free”.  “Running Free” contains the usual band intros (Nicko being described as “the indescribable, the inevitable, the inimitable, the uneatable”), and the crowd goes wild once again.

And the listener is exhausted, after over 2 hours of regal metal classics performed by one of the best, if not the best, heavy metal band in history.  The best?  Well, I don’t want to open that debate.  But after revisiting the entire catalogue these past few months, I’ve definitely gained a new respect for a band I already loved.  The growth of this band, not always appreciated, has been steady with integrity.  And the live experience is still one that tops bands less than half their age.  En Vivo! proves this.

A blu-ray release provides the same concert experience with stunning visuals, plenty of space-age Eddies, and a manic Bruce running to-and-fro, while the rest of the band defy age.  There’s also a great bonus feature:  88 minutes of documentary footage called “Behind the Beast”, chronicling the creation of the Iron Maiden live show.

5/5 stars

REVIEW: Iron Maiden – From Fear To Eternity (2011)

Part 44 of my series of Iron Maiden reviews!

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IRON MAIDEN – From Fear To Eternity (2011 EMI)

One thing that you need to be aware of:  If you’re a Maiden die-hard, From Fear To Eternity was not designed for you. This, much like Somewhere Back In Time, is for new fans only. (Although a bone was thrown to us die-hards, more on that later.)

This is a decent compilation.  The reason I bought it was to “complete the collection”, and of course the great cover art (by Melvyn Grant once again). The cover pays homage to Maiden album and single covers of the past 20 years. The only one I didn’t see represented in some way was The X Factor, but see if you can spot a clue.

This collection is a joy to listen to from start to finish. I won’t go over the details with a fine-toothed comb, but there are plenty of fan favourites here: “Passchendale”, “Benjamin Breeg”, “The Clansman”…and these are not short songs, folks! Of course there were the hits, all big in Europe if not here in North America: “Bring Your Daughter”, “Wicker Man”, “Different World”, “Man On The Edge”, “Afraid To Shoot Strangers”, “Tailgunner”. There are also a slew of personal favourites such as “Be Quick or Be Dead”, “For The Greater Good of God”, and “Where The Wild Wind Blows”. Really it is very hard to find fault with this collection, or the running order.

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In fact my only beef is the lack of inclusion of the ballad “Wasting Love” which I still have a soft spot for. Also I was surprised that “From Here To Eternity” is not on here, not a personal favourite song, but it did lend its title to this album!

Finally, one touch that I enjoyed was substituting the Blaze Bayley era songs for live versions with Bruce singing. After all, Maiden are out there touring now, and new fans don’t need to be confused by a different singer. This means that you’ll get the live version of “Sign of The Cross” from the Rock In Rio album. But what’s really cool is that the live “Man On The Edge” was only released as a B-side to “The Wicker Man” single, so this is its first album release. A little extra bonus for the Maiden die-hard who may have missed that single a decade or so ago.

I strongly recommend this collection to new Maiden fans, as there is really not a bad song in the bunch, and it’s a great listen from front to back. For die-hards, you already have (most of) these songs, so if you feel like picking it up for the cover art like I did, it’s still an enjoyable listen.

3.5/5 stars.

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