This is the second of two Marillion reviews this weekend. For the first,Seasons End, click here.
MARILLION – Six of One, Half-Dozen of the Other (1992 US), A Singles Collection (1992 UK)
After the mediocre pop sounds of Holidays in Eden, Marillion were about to embark on a far more interesting journey. But not before issuing the standard greatest hits CD with two new songs attached. Marillion had released a compilation of B-sides before (B’Sides Themselves) but never a collection of A-sides. As the title implies, you get six singles with original vocalist Fish, and a half dozen with his replacement Steve “H” Hogarth. Then in addition to these 12, there are two new songs: A Rare Bird cover called “Sympathy” (an excellent dramatic piece) and a forgettable pop song called “I Walk Walk On Water”, easily the weakest song on the album.
While there are two much more complete compilations out today (Best Of, The Best of Both Worlds), I still enjoy listening to Six of One, Half-Dozen of the Other from time to time. Not too often, though. Â It is a bit awkward, as they insisted on shuffling one Fish song after each Hogarth song. Â Remember when Van Halen attempted that? Â It didn’t work for them either. Â It doesn’t flow. Really, old and new Marillion were like two completely different bands and you can’t just from “Garden Party” to “No One Can”. It doesn’t work no matter what universe you inhabit.
However, the tunes themselves are awesome, and you get most of the singles. Three are missing: “Market Square Heroes”, “He Knows You Know”, and “Punch and Judy”. However you do get all the Hogarth singles up to the time, and the most well-known and commercial of the Fish ones. Most of these tunes are really strong and would make it to my own car tape (just in a different running order). Others (“The Univited Guest”, “Hooks In You”, “No One Can”) would not. Swipe those three out for the three Fish singles I mentioned and you’d have a damn good comp. However, it would be lopsided towards Fish and obviously Marillion weren’t going to do that.
At this point Marillion were skirting dangerously close to being a pop rock band. The singles from Holidays in Eden are decidedly straightforward and geared towards 1992’s radio tendencies. “I Will Walk On Water” is hardly any better. Unbelievably, the band soon turned in the immortal album Brave which is so deep, so rich, so emotional, that I don’t even know how I’m going to review it. The music can change your life, if you let it.
In the meantime, if you want a sampler of Marillion’s most commercial moments, pick this up. However for a better overview, pick up one of the other comps I suggested. (Of note to collectors, the version of “I Will Walk On Water” released here is hard to find elsewhere, and there are some other single edits, remixes and whatnot included. The liner notes are also excellent.)
This review dedicated to the greatUncle Meat. Â Part 1 of a 2 part series!
MARILLION – Early Stages (Official Bootleg Box Set 1982-1987) (EMI)
This is the first of two Marillion Official Bootleg box sets. Â The second covers the Hogarth years 1990-1994. Â Mine came with an autographed print!
I listened to this box again over the course of a week. Â I chose the car as the setting. Â I’ve spent a lot of time driving to Marillion in the past (lots of great memories) so this setting works for me. Â I enjoy loading long box sets onto my car MP3 player. Â I did that recently with the 12 CD Deep Purple Bootleg Series box set. Â As soon as I was done with that one, I dove into Early Stages.
I also acquired the recent compilation Early Stages: The Highlights.  Why, you ask?  Well, like many “highlights” packages, they usually stick on one exclusive song to get you to buy the same thing twice.  The bait is “Market Square Heroes” Fife Aid 1988, the final song of the final show with Fish.  OK, I’ll bite.
I don’t have a lot to say specifically about any of the concerts included in this box set. Â There are a lot of songs from periods before they were recorded on albums, and that’s cool. Â There are four different drummers on this set*, representing the rarely documented transitional periods in Marillion’s lineup. Â The discs are all of great sonic quality considering the years they were recorded. Â Fish is a great frontman, usually funny but occasionally serious, and always entertaining.
Here are some observations about some of the set’s highlights. Â From The Mayfair, Glasgow, 1982: Â “He Knows You Know” is not quite as slick as we’re used to, a little tentative, but no less powerful. Â An early version of “She Chameleon” is quite different musically from what it would become, although the lyrics are mostly in place.
When you get to the Marquee show (December of ’82), Fish is especially talkative and sentimental.  The gem here is obviously “Grendel”, a song which never ceases to amaze me.  Fish’s expressive voice has me hook, line and sinker.  You’ll be treated to the complete workout of “Grendel” again in 1983 (Reading).  The 1984 Hammersmith concert has emotional classics like “Jigsaw” and “Cinderella Search”.  The real treat is an early version of the first track for the forthcoming album Misplaced Childhood; a track Fish calls “Side One”.  It’s an early version, the lyrics still not all the way there, and it’s missing the entire “Lavender” section.  But you can hear the shape of things to come.
Hey Uncle Meat! Who’s your favourite lyricist?
The box set closes with a late period show, and a big one:  Wembley, 1987.  A good chunk of Misplaced Childhood (all of Side One) and Clutching at Straws are presented.  There are only a couple oldies:  “Fugazi” and “Incubus”.  This is a slicker, more commercial-sounding band, much more skilled at writing complicated yet catchy music.
Of note: Â there are a whopping 15 pages full of liners notes by one Derek W. Dick, aka Fish, and new cover art by Mark Wilkinson! Â If that doesn’t sell this set, then nothing will.
5/5 stars
* Mick Pointer, John Martyr, Andy Ward, and Ian Mosely. Â Only Jonathan Mover is not heard on this, although he is on the 6 CD Curtain Call box set.
In 1994, Garth Brooks issued his 10 million copy selling compilation album, The Hits. Â On the front cover was an interesting notation: Â “limited time only”.
Now, I’ve bought discs that were limited edition before and were numbered to prove it. Â For example I recently picked up #5945 of the “Credo” single by Fish. Â Even so…that’s a lot of copies out there for a single by Fish. Â How many copies of a Fish single would be made anyway? Â And aren’t all singles limited edition? Â After all, they aren’t going to make more once they’ve run their course, no matter who the artist is. Â Onto the next thing.
And then of course you have some seriously limited edition items, like that recent Thin Lizzy Live at the BBC box set! Â I’m not sure how many copies were made, but everybody’s sold out, and now you have to buy it from people asking way too much. Â Over $250 USD on Amazon right now. Â Forget it! Â That is limited edition.
When Garth plastered “limited time only” all over The Hits, it quickly became a joke. Â We ordered 50 copies of them, and sold most during the first week. Â We ordered another 50 copies, as Christmas was coming soon. Â Those sold. Â We ordered 20 more after Christmas had passed, and continued to order them every week into the new year whenever we sold out. Â Some limited edition!
10,000,000 people bought it, and I’m sure 99.9% would have bought it without that “limited time” tag. Â With great pomp and circumstance, Garth then had the master tapes destroyed.
The master tapes to a freakin’ greatest hits album! Â Who cares?
It was really hard to take the phrase “limited edition” seriously after that. Â The next release that came out that truly was a limited edition was the Smashing Pumpkins box set The Aeroplane Flies High, but even that enjoyed a second run when the first printing sold out.
So: Â the lesson here folks is, when it says limited edition, be skeptical! Â Very few things are, and the ones that really are limited aren’t always advertized as such. Â Record labels want to make money, right?
Unfortunately, Garth didn’t put this one on his box set!
MARILLIONÂ – Script For a Jester’s Tear (EMI 2 CD remaster, originally 1983)
“So here I am once more, in the playground of the broken hearts.”
So let it be written, the first words on the first full length album by the singer Fish and the band Marillion. Indeed, early Marillion is so heavily associated with their original singer that it is futile to try to separate them. Early Marillion, meaning the first four crucial albums, is revered for their lyrics as much or even more than their music. Layers upon layers of meanings, tongue-twisting words, symbolism galore, it’s all here for the poetry lover in you. I especially like Fish’s use of homophones for that extra touch of wonder.
Musically, early Marillion were very much in Genesis worship mode, even if they don’t like to talk about it. “Grendel” (appearing here in an awesome alternate take) is essentially “Supper’s Ready”. Many people in my own record store have confused Fish’s voice for Peter Gabriel’s and even Phil Collins from time to time. This is progressive rock for the dudes who love progressive rock. Do you like 8 minute songs with time changes, and ample keyboard & guitar solos? Early Marillion is the band for you.
Highlights on this album include the broken-hearted and angry title track, and the drug-induced “He Knows You Know”. Part of the appeal of Fish’s lyrics is how he alternately caresses them and then spits them out at appropriate moments. “He Knows You Know” is a great example of this. From high pitched emphasis to mid-range melody, Fish knew how he wanted to express his words. Â “Don’t give me your problems!”
“Garden Party” is, of course, a wry stab at the English class system. These lyrics could only have come from the man known as Fish, and this is one of his most sarcastic and humourous achievements. It is also one of Marillion’s bounciest songs, one that still creates euphoria in audiences today.
The bonus disc here is loaded with greatness. Their first single “Market Square Heroes” is present in alternate versions. One of these is the “Battle Priest” version. Fish was forced to change the lyrics from “I am your antichrist,” to “I am your battle priest” (???) and that version is available here. Fear not, collectors, as the original is available on the singles box set, and other compilations as well. “Grendel”, all 20 minutes of it, is also present in an alternate take. It is simply stunning that an alternate take of a 20 minute song even exists. Again, the original is available on the box set as well as the album B’Sides Ourselves. The original take of “Three Boats Down From The Candy” is here, slightly different from the version that would turn up later. Here, there is a slight reggae vibe in the final verses. Fill out the bonus disc with some well fleshed out demos, and you have a very solid listening experience.
Liner notes, by Fish and the others, are of course essential, brilliant, and engrossing. Ample photos and artwork from Mark Wilkinson are also included.
For the die hard collector who just can’t get enough, there were two singles (“He Knows You Know” and “Garden Party”) plus the debut  “Market Square Heroes” with additional material to enjoy.  As far as live material goes, the six CD box set Early Stages has four discs from this period alone, including not one but two live versions of “Grendel”!  Finally, the beautiful Curtain Call box set included a live album from October 1983 in Germany, featuring new (short tenured) drummer Jonathan Mover.
Script For a Jester’s Tear is an essential Marillion album, but it is not for beginners. Beginners may find such progressive fare as “Forgotten Sons” or “Chelsea Monday” to be a bit impenetrable on first listen. They would be advised to pick up the magnum opus Misplaced Childhood first. Once you are addicted to that music, come back here and feast of the bones of “Grendel”.
MARILLION –Â Sounds Live (2012 Racket Records/Abbey Road LiveHereNow/EMI)
This is one of those “Instant Live” type discs. Â While the discs have art pre-printed on them, they are CDRs. Â There is no track list on the case, probably because the setlist wasn’t set in stone! Â (I have a Slash “Instant Live” style disc with the setlist printed on the back, which was completely wrong, as the singer had a sore throat and they had to change up the set!) Â The label is Racket Records/Abbey Road LiveHereNow, licensed to EMI, but even though Racket has their name on it, you can’t buy it from them. Â You can buy it from Abbey Road Live, however.
The show was recorded on 16 September 2012 at the Forum in London, on the Sounds that Can’t Be Made tour. Â The sound quality is excellent!
Marillion bravely opened the show with “Gaza”, the powerful, swirling, 17 minute new song from Sounds that Can’t Be Made. Â I don’t know how many new fans were in the audience that night, but if there were any, they must have been in utter confusion and shock. Â Hogarth delivers the song with all the passion he can muster.
Not letting up for a moment, Marillion follow this monster with another 10 minute epic: Â “This Town/100 Nights”. Â Incredible. Â And once again, H imbues the song with so much emotion it literally leaks out of the speakers.
“This next song is a strange song,” says H, regarding track 3.  “‘Cause everybody claps along at the beginning and by verse one, they think ‘Shit, you can’t clap to this, it’s far too sad and tragic!”  And that is how H introduces the Marbles top ten (#7!) single, “You’re Gone”.  An upbeat pop-prog track with a drum program accompanying Ian Mosely, this was probably a good selection to follow two epics in a row!
My favourite of the new songs follows: Â the title track from Sounds that Can’t Be Made, a simply great catchy Marillion track. Â My only beef here is that I can hear pre-recorded Hogarth backing vocals.
And then…another 10 minute track? Â The incredible “Neverland” from Marbles is up next, a personal favourite, and seemingly a crowd favourite too. Â This one defines the word “epic” as far as I’m concerned. Â Powerful, too.
From the 2007 Somewhere Else album comes “A Voice From the Past”, not one of my personal favourites (also not one of my favourite albums). Â This is followed by “Power” from the new album. Â “Power” is one of the better songs from an album I just haven’t wrapped my head around yet. Â In live form, the chorus soars.
Disc 2 begins with yet another Marbles classic:  the soft and uplifting “Fantastic Place”, a personal favourite.  Steve Rothery’s solo is sublime.  Another personal favourite follows, the incredible “Real Tears For Sale” from the very dense Happiness is the Road album.  It’s an album I’ve never fully absorbed, but this song is incredibly powerful and at times is even reminiscent of older works like Brave or even Script in parts (listen to the flute-like keys).
Another new song, “The Sky Above the Rain”, is one that is really starting to grow on me. Â This is the last of the new songs played at the London gig. Â It’s 11 minute long, and it begins lullaby-like before H’s passionate, melodic vocals begin. Â There’s a sadness, but also a brightness to the music; truly the blue sky above the rain.
It’s into the classics now! Â “The Great Escape” is an undeniable fan favourite, and I never tire of hearing it. Â What did surprise me was the resurrection of the lengthy “A Few Words for the Dead” from the underappreciated Radiation album. Â I’ve always been fond of Radiation (it was the first Hogarth-era album I heard) Â but this track is absolutely a challenge. Â Over 10 minutes long, it builds very, very slowly. Â As the closing track on a challenging album, it was perfect. Â As an encore at a Marillion concert, it’s extremely brave and mind-blowing. Â This is one of the best live versions I’ve heard.
The only Fish-era song played is “Sugar Mice”, but it is one that H seems comfortable with. Â I will never tire of this classic, even though H lets the audience sing the first half of the song for him! Â Rothery’s anthemic solo is the centerpiece of the affair.
The final surprise is that the show closes with the morose “Estonia”, from This Strange Engine. Â H dedicates the song to the family of Neil Armstrong. Â I’ve never been particularly fond of this dour song, although it has been played in concert many, many times over the last 15 years. Â Obviously, many fans “get it” and love it. Â I’m not one of them, so for me, Sounds Live ends with a thump rather than a celebration. Â I would have preferred something like “Garden Party” or “Easter”, but I’m not complaining.
Speaking of “Easter”: Â Conspicuous by its absence is any music at all from Seasons End. Â You can’t fit ’em all in, and tour after tour, Marillion have always changed up their setlists. Â You will never see the same Marillion concert two tours in a row.
While Marillion have dozens of live albums (especially when you include the 43 Front Row Club releases), this one is a valuable inclusion in the canon as the first physical live release of Sounds that Can’t Be Made songs. Â I don’t know how frequently I will return to it, given the amount of live stuff I have, but I did enjoy it.
During a trip to Encore Records in Kitchener, Ontario, I found some pretty cool stuff among their used discs. Â I used to work with the guy behind the counter, Chris — trained him in fact. Â We had a chance to catch up and discuss the difficulties of being a collector. Â Piles and piles of discs, an expanding collection and lack of space for it. Â Filing systems. Â How easy it is to get behind in your filing. Â Good to know there are still kindred spirits out there.
Thanks for the discs Chris, and without further delay…
1. VAN HALEN – In Concert
This double CD is at least partially taken from Live Without A Net, the old Van Halen home video. Â That’s cool to me — some of those versions, like “Love Walks In”, were the originals that I was first familiar with. Â It’s weird today hearing Sammy Hagar play guitar solos on Van Halen songs, but that’s how I first heard them. Â $9 used.
2. HELIX – Wild In The Streets (Rock Candy remaster)
PROS:  These hard-to-find (in Canada) Rock Candy reissues have great liner notes and pictures.  CONS: It lacks the lyric sheet from my old Capitol Records version.  This one was expensive ($14 used) but the great Heavy Metal OverloRd tells me they are well worth it.
3. FISH – “Credo” CD single
Limited edition, #5945. Â Cool? Â Yeah, but how many copies did they make of a Fish single? Â Anyway, this has two non-album cuts, a 7″ remix of the title track and a song called “Poet’s Moon”. Â “Credo” itself is a great song from Internal Exile. Â Great cover art by Mark Wilkinson! Â $6 used.
4. IRON MAIDEN – Virtual XI with limited edition lenticular cover
This was a limited edition (expensive in Canada) that had a 3D cover similar to the current Kiss Monster CD.  I tried to get an idea of this in the photos.  Look at Eddie’s finger in relation to the boy’s headphones.  You can see it’s not in the same place in the two photos.  It’s much cooler in person.  Now, I know Aaron is probably going to give me shit for buying a Blaze Bayley album — any Blaze Bayley album — twice.  But it’s more about the Maiden collection than Blaze.  This is one I’d wanted back in the day but completely forgotten about.  $10 used.
REPORT CARD
Encore Records, 54 Queen St. South, Kitchener ON, (519) 744-1370
Encore is as good as as any of the stores that Aaron and I reported on in Toronto.  Sure, I’m biased in that I did train the guy behind the counter, and it was great having a conversation with somebody who understands my point of view vis-à -vis collecting.  But their selection is second-to-none in this town (rock, indi, roots, jazz, blues, vinyl), with fair prices, and excellent quality.  Not one blemish on any of the discs that I purchased.  As an added note I found a number of Guided By Voices singles for Aaron (some stealthily pictured below) — although he is apparently banned from purchasing them at this time, until he wins the lottery!
Ed Hunter tour complete, the returned Bruce Dickinson and the boys hit the studio. Â Steve had already begun writing several new songs while Blaze was still in the band. Â 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. Â 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”. Â 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. Â 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. Â And Nicko’s outro! Â “I fucking missed it!”
I love the three guitars. Â 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. Â And collect them I did. Â The fine cover art (some of the Maiden’s best in my opinion) was done by Mark Wilkinson, of Marillion/Fish fame.
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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. Â Of note were several Blaze era songs with Bruce singing. Â This is the only place you can hear Bruce belting out “Futureal” and “Man on the Edge”. Â 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: Â “Wasted Years” and “Aces High”. Â With Adrian back in the band, this version of “Wasted Years” is superior to the one on the “Hallowed By Thy Name” single.
Whoops!  I forgot these.  Thanks to the Heavy Metal OverloRd for pointing at least one of these out.
I really should have included these in my list of 88 albums that went under-appreciated in the 1990’s. Â I loved these, still do, and my life wouldn’t be the same without them.
In alphabetical order:
BLUE RODEO – Just Like A Vacation (up there with Sloan as one of my fave live albums of all time)
FISH – Kettle of Fish 88-98Â (my introduction to his solo music, a great set!)
HELIX – B-Sides (a misnomer: no B-sides included, but all great tracks that didn’t make albums)
GEORGE LYNCH – Sacred Groove (pure smoke!)
SANDBOX – Bionic (I guess Mike Smith makes significantly more money playing Bubbles on Trailer Park Boys)
SANDBOX – A Murder In The Glee Club (brilliant, brilliant concept album on insanity. Genius!)
REEF – Glow (I think these guys were pretty big in the UK but unknown here)
ROCKHEAD – Rockhead (see my review for all the details)
SLOAN – Between The Bridges (can’t believe I forgot my fave Sloan studio record!)
THIN LIZZY – Dedication: The Very Best Of (the song “Dedication” was my intro to Lizzy!)
BILL WARD – Ward One: Along The Way (I have a review forthcoming, one of the best solo Sabs ever)
THE WHITLAMS – Eternal Nightcap (Aussie band, saw them open for Blue Rodeo, blew me away)
ZAKK WYLDE – Book of Shadows (thanks HMO! Liked it so much I bought it twice)
I really hope I didn’t forget any more. Â Embarrassing. Â Check these out…all great albums front to back!
IRON MAIDEN –Â No Prayer For the Dying(1990, 1996 bonus disc)
Regrouping after a six-month break, Maiden returned to writing mode a changed Beast.
The Seventh Son of a Seventh Son album was artistically rewarding but the band were eager to return to their stripped down heavy metal roots and make a live-sounding album more like Killers or The Number of the Beast, without the production values and ten minute songs that were becoming the norm.
Both Adrian Smith and Bruce Dickinson were coming off solo albums (A.S.a.P.’s Silver and Gold featuring Zak Starkey (Oasis, The Who), and Bruce’s Tattooed Millionaire). Â Bruce’s was successful commercially and critically, Adrian’s less so. Â Still, it came as a complete shock to the fans when it was announced that Adrian Smith had left Iron Maiden.
Or, perhaps, been nudged out. Â Steve Harris was worried that Adrian was becoming unhappy, and it was especially obvious during the writing sessions for the next album. Â While Steve, Dave and Bruce were contributing heavy songs, the usually prolific Adrian had nothing but a song called “Hooks In You” that he had written with Bruce. Â He was clearly unhappy that Maiden were not progressing down the road pointed to by Seventh Son, and were going heavier. Â Steve took him aside.
When asked how into it he was, the answer came “about 80%”. Â Steve has always had a simple policy for membership in his band — you had to be into it 110%, or it wouldn’t work. Â The fans wouldn’t buy it, and Steve couldn’t look them in the eye knowing somebody on stage wasn’t completely into it. Â Adrian was out.
The band already knew Janick Gers, and he and Bruce had developed a successful writing partnership on his Tattooed Millionaire solo disc. Â Janick was nevertheless shocked when Bruce phoned him up and asked him to learn some Iron Maiden numbers. Â Janick initially said no, because he assumed Bruce was talking about his solo project, and they had already agreed to do no Maiden numbers. Â When Bruce explained it wasn’t for the solo band, it was for Maiden, Janick was horrified.
Janick Gers was really the only guy I can think of that was right for Maiden, also being from the era of the NWOBHM bands (White Spirit). Â He’d also been in Gillan (the incredible Magic album) and worked with Fish. Â The songs for the album were already written, all Janick had to do was head over to Steve’s farm, where they were recording the album, and learn the songs.
But that’s all just background, just context. Â That’s all important, especially to this album, but what is also important is the bottom line. Â And the bottom line is that this is the first time Maiden turned in something that was almost universally received as a disappointment.
While some fans were clamoring for a return to basic heavy metal songs, short and bangin’ and to the point, others preferred the epic scale of Seventh Son. Â And it was clear that you can’t just replace Adrian Smith. Â The songs on the new album, titled No Prayer For the Dying, seemed less finished and not quite up to standard. Â Not to mention Janick and Dave hadn’t had time to properly gel together, and never quite sync up on this album the way Dave did with Adrian.
The opening song “Tailgunner” is good enough though, not quite an “Aces High” but certainly adequate. Â Being tailgunner might have been the worst job on the Lancaster bomber, since it didn’t have a belly gunner! (Neither did Enola Gay, tailgunner was certainly the worst job on a B-29)! Â But Steve and Bruce failed to really nail it lyrically, with lines such as “nail that Fokker, kill that son, gunna blow your guts out with my gun” not living up to past Maiden historic glories.
Steve and Bruce also wrote “Holy Smoke”, the first single. Â This reckless fast number showcased a manic Janick Gers solo, demonstrating how different he was from Adrian. Â Where Adrian used to compose solos with beginnings, middles and endings, Janick just went for it! Â Dave was also somewhere between the two approaches. Â Now, without Adrian’s melodic touch, the band were moving sharply to a more live and spontaneous guitar style.
“Holy Smoke” is about TV preachers, and while they always make a good target in heavy metal songs (I prefer Ozzy’s “Miracle Man”) this one also fails to excite. Â As a song it doesn’t have much in terms of melody. Â On No Prayer, Bruce is shouting as often as he’s singing, and with the songs’ new emphasis on raw power, there’s less memorable melody to go around. Â Janick’s manic gonzo solo does fit the vibe of the song!
The title track is third, a number that tries to be an epic in under 5 minutes. Â It does indeed have all of the trademark qualities of a Maiden epic except the length: Â Multiple parts, multiple tempos, soul-searching Steve lyrics, and ample anthemic guitar melody. Â Yet the song fails to nail it home like, say, “Hallowed Be Thy Name” did.
Better is the badly titled “Public Enema Number One”. Â This Dickinson/Murray rocker is riffy, straightforward with some decent melodic bits. Â But again Bruce is hoarsely shouting the verses, and the song careens from section to section that don’t feel like they quite all fit together probably. Â Like other songs on No Prayer, the song sounds slightly unfinished.
And better again is “Fates Warning”, this time written by Steve and Dave. Â The opening soft guitar part is a nice change of pace, and a great example of Dave Murray’s tremendous feel. Â Perhaps in a past life he was a bluesman. Â Nicko then kicks the song into gear while Steve’s lyrics question the seemingly random nature of life and death. Â In the middle, is an old-school dual Maiden guitar lead, before Dave nails another perfect one of his own.
Side two begins with the stuttery “The Assassin”.  Written solo by Steve, it is rhythmically complex as it is propelled forward.  It has a fairly decent chorus but it doesn’t quite resolve itself nicely.  Some of the guitar and bass melodies are reminiscent of “To Tame A Land” from Piece of Mind.
This is followed by the superior “Run Silent Run Deep” Â Submarine warfare is a good topic for a Maiden song, and the song chugs forward like those big diesel engines. Â This is one of the better songs on No Prayer. Â Steve and Bruce wrote it together, and Nicko’s precise drum fills accent the song perfectly.
Next is the worst song on the album: Â Bruce and Adrian’s “Hooks In You”. Â Lyrically this is one of the worst things ever on a Maiden album. Judging by the opening line, “Got the keys to view at number 22,” it sounds like Charlotte is back to her old tricks. Â Unfortunately, the band subjected people to this song live. Â I’ll admit it’s got a great little riff, but Bruce’s shout-growl vocals, lack of melody, and lack of any lyrical intelligence just sinks this one.
And then the baffling #1 single, “Bring Your Daughter…to the Slaughter”.  This Bruce song is actually an outtake from his solo project.  He recorded and released the original version with Janick Gers on the soundtrack to A Nightmare on Elm Street 5.  I seem to remember that soundtrack being panned as “the worst soundtrack of all time” at one point.  Steve heard the song, went nuts, and said, “Don’t put it on your solo album:  I want to save this one for Maiden.”
Somehow, Steve was right, as it went straight to #1 in the UK, the first and only time this has happened to Iron Maiden. Â I don’t get it. Â I don’t get what people like about this song.
“Mother Russia” ends the album on a sour note.  Lyrically simple, musically pretty good, “Mother Russia” is certainly not up to the standards of past Maiden album closers.  Although it tries to be an epic along the lines of “Seventh Son of a Seventh Son” (featuring a similar keyboard section in the middle), it’s just not as great as past epics.  At five and a half minutes, “Mother Russia” is the longest song on No Prayer.  It is made up of excellent components; I like the melody and the solos big time, but it’s just…not comparable in quality.
Nicko McBrain said on MuchMusic that No Prayer was “the best Iron Maiden yet.” Â Steve said that the album’s biggest problem is that it didn’t sound live enough without an audience track. Â I disagree with both. Â I think the album has an abnormally high quantity of unfinished songs and filler.
Even the cover art was substandard. Â To go with the live, stripped down sound, Riggs too stripped his artwork of the symbolism and fantasy. Â Instead, Eddie goes for the throat of a groundskeeper as he emerges (once again) from the grave. Â All hints to continuity are gone, as Eddie’s lost his lobotomy scar, cybernetic implants, and that bolt that kept his skull on! Â He even has his hair back. Â I guess somebody wasn’t happy with the artwork, because it was heavily tweaked for the 1998 remaster, repainting much of it and removing the groundskeeper.
The B-sides to the first single, “Holy Smoke” were the excellent “All In Your Mind” (a cover from somebody called Stray) and Golden Earring’s “Kill Me Ce Soir”. Â Both songs are pretty damn good. Â I prefer both to some of the album tracks!
“Bring Your Daughter” had two of its own B-sides: Â “Communication Breakdown” and “I’m A Mover”. Â Maiden tackle Led Zeppelin and Free less successfully than they did they other two B-sides. Â “I’m A Mover” ain’t bad as it allows Maiden to get into a groove they normally wouldn’t, and Bruce seems to have fun with the vocal.
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