heavy metal

REVIEW: Judas Priest – Jugulator (1997)

Scan_20151003JUDAS PRIEST – Jugulator (1997 BMG)

One of the most anticipated, but frustratingly bad albums that I have ever looked forward to was Judas Priest’s big return on Jugulator.  Seven whole years had passed.  Rob Halford split, taking drummer Scott Travis with him, and had an entire career with the modern metal band Fight, before they split in ’96.  Travis returned to Priest, who had found their new singer in Tim “Ripper” Owens, a young man with incredible pipes.  Owens came from a Priest tribute band, and this was considered an interesting enough story to warrant an entire movie loosely based on him (Rock Star).

The resultant album, the heavy-as-fuck Jugulator, was a disappointment from the first note.  Opening with over a minute of looped samples (of clanking metal) and drony guitars, the album takes way too long to really start.  Only at 1:45 into the title track does Ripper finally let out a scream (a blood-curdling one at that).  The riffs finally take over, turning the song into “Painkiller, Part II” for all intents and purposes.  That’s fine — “Painkiller” is a high water mark of intensity and speed.  But when I put “Jugulator” on a mix CD, I edit out the first 1:45 because it’s just a waste of space.

The fact that “Jugulator” sounds uncomfortable like “Painkiller” shouldn’t come a surprise.  Just look at the cover art.  Mark Wilkinson created a Painkiller Jr. for the album cover, including a modernized Priest “tuning fork” logo in his forehead.  Musically (and intro aside), “Jugulator” is one fine metal assault, even if it is just a second cousin to “Painkiller”.  Lyrically, “Jugulator” is among the worst crimes Priest have foisted upon us.  With Rob Halford gone, Glenn Tipton was left to write the lyrics.   The words he eventually produced are such a pale imitation of past Priest that I cringe to hear them.

“Exterminator, you are dead.
Mu-til-ate.
Sharpened razor, takes your head.
Jugulator.”

I do like the word Glenn invented in one line, “Predit-hater”.  I like one word in the whole song!

“Blood Stained” is fierce, and was even better live (such on ’98 Live Meltdown).   It’s obvious from the cranked bass, detuned instruments, noisy guitar anti-solos, and driving groove that Priest were trying to emulate nu-metal.  Quite a few fans were turned off by the modern twists in songs like “Blood Stained”, including grunted vocals.  There is enough of the core Priest sound, including screams, riffs and standard solos that “Blood Stained” is really more of an amalgam of old and nu-metal.  Ripper is certainly a capable singer, and should shoulder none of the blame if you don’t like it.  Blame Glenn and K.K., not the vocalist.

It’s not until the third song, the creatively titled “Dead Meat”, that I lose interest.  Until now, the songs had been good enough.  “Dead Meat” is not.  The violent, bloody lyrics are starting to wear thin.  There are always individual moments of brilliance, such as the solos, drum patterns, and high-pitched wails.  This is not enough to carry a song.  One of the more nu-metal tracks is “Death Row”, which is even worse, especially when it comes to the prose.  “Oh no, I won’t go!  You’ll never get me down to death row.”  Priest have shed no light whatsoever on the issue of capital punishment, only written a boring cartoon song about the subject.  Even worse, there is dialogue in the intro to the song that is so poor that I’m embarrassed for them.  Sticking to a theme that already wore out its welcome, “Decapitate” is about the guillotine!  “Your head, you will lose it.  Severed, when executed”.  That’s the opening line!  The atonal nu-metal guitars have also worn thin.

If this were an LP, that would be the side closer.  The second half of the CD is heralded in by “Burn in Hell”; a little bit better song than the previous three in a row.  It seems a little more effort went into the melody this time, although “Burn in Hell” is just as heavy as everything else.  It builds and has some dynamics to it, which you cannot say for most of Jugulator.  It’s too long at 6:41.  Unfortunately much of this album is just too long.

“Brain Dead” is yet another stunningly creative song title.  This slow chug has no character, it’s just a senseless march into oblivion.  I feel “Brain Dead”, listening to it drone on and on.  Thematically it’s just Judas Priest stealing “One” by Metallica and calling it something else.  For my money, Jugulator can end right here (only seven songs in), because I’ve checked out.  My brain is turning to mush; that’s how it feels.  Then “Abductors” should have been a winner for me, a UFO buff.  The opportunity for a cool song is blown on yet another nu-metal sludge-fest with shite for lyrics:  “They come at night and they infiltrate you, they paralyse and they mentally rape you.”  The only redeeming quality is the likeable Ripper Owens.  He rolls his R’s like Halford used to, and you have to give the guy credit for doing the best he could with the material he was given to sing.

The single was “Bullet Train”, which I have on Japanese import (of course).  This isn’t a bad tune.  It drives like a perpetual motion dynamo.  It’s more nu than old metal, which may be why it was chosen as a single, compared to a better song like “Blood Stained”.  Finally, the lyrics are about something other than death or maiming.  It’s still not sunshine and puppy dogs, as the words seem to about someone suffering from Siderodromophobia, or fear of trains, while riding on a train!  Fun!  Let’s be clear: this is an improvement.

The final song offers a little redemption.  “Cathedral Spires” (over nine minutes!) is in the mold of old Priest classics such as “Beyond the Realm of Death”.  A slow, mellow opening with dramatic lead vocals invites you in, and it’s a due respite from all the nu-metal bombardment.  Ripper really sinks his teeth into the singing, and I think it was quite clear that he loved his job.  The classy intro eventually degenerates into another sound-alike chug, but once again redemption is ahead.  The chorus is great: pure traditional Priest drama with the nu-metal grunts in moderation.

I’ve listened to Jugulator many, many times over the years.  I desperately want the next listen to be the one where I finally “get it”.  That has yet to happen, and it almost certainly never will.  Thankfully Judas Priest realized they needed to diversify their sound next time around.  2001’s Demolition was a marked improvement.

2/5 stars

In tomorrow’s review, we’ll take a look at the B-sides on the Japanese CD single for “Bullet Train”.

REVIEW: Judas Priest – Sad Wings of Destiny (1976)

Welcome to PRIEST WEEKEND! It’s a long Thanksgiving weekend in Canada, and…

Well, here’s the truth of it. I had three Judas Priest reviews lined up and needed a spot to schedule them. A three day weekend worked. That’s how much thought went into the scheduling of this Thanksgiving theme.

Enjoy PRIEST WEEKEND starting with their immortal second album…

Scan_20150930JUDAS PRIEST – Sad Wings of Destiny (1976 Gull)

It’s quite a shame that Judas Priest haven’t regained the rights to their first and second albums.  Too many fly-by-night labels have done shoddy or half-arsed reissues of the albums and Sad Wings is no exception.  This one, on Snapper, isn’t too objectionable.  It’s funny to see “digitally mastered” on the front sticker, as if this is some kind of selling feature.  All CDs are digitally mastered!  Remember that old AAD, ADD, DDD logo that used to appear on CDs?  The A and D refers to analog or digital processes: recording, mixing, and mastering.  Every CD is at least AAD.  The “informative liner notes” (by somebody called “Krusher”) is just a blubbering general history essay on the band.

Fortunately, no matter how it’s packaged, the music is exceptional.

“Victim of Changes” defines “epic”, and probably remains Judas Priest’s definitive word on the epic song.  This is actually a mashup of two earlier songs called “Red Light Lady”, written by Rob Halford, and “Whiskey Woman” by original singer and founder, Al Atkins.  That’s how it came to be that Halford shares a writing credit with his predecessor, an unusual circumstance indeed!   The finished song “Victim of Changes” has everything: the concrete heavy riffs, the drama, the melody and the unearthly screams!  It takes its time, but it simply lays waste to the landscape.  By the time Rob nails his final scream, you may find yourself hard of hearing.  As if that wasn’t enough, “The Ripper” (a shorty) contains even more screams-per-minute than “Victim”.  Priest seemed to take a turn away from blues, towards metal on Sad Wings of Destiny.  The first two songs are as sharp and devastating as anything else in the Priest canon.

Although they are often separated on compilations and whatnot, “Dreamer Deceiver” and “Deceiver” are more or less one song.  One sounds incomplete without the other.  “Dreamer Deceiver” is an airy, acoustic number about some sort of ethereal being.  It is as entrancing as its title character:

“We followed the Dreamer through the purple hazy clouds,
He could control our sense of time.
We thought were lost but, no matter how we tried,
Everyone was in peace of mind.”

Rob’s vocal performance on this one ranges from the deep and dramatic, to the wails that Priest fans crave.  It is the blueprint for similar early Iron Maiden tracks such as “Remember Tomorrow”.  Even the guitar solo is a well-composed piece of music, but this is just the beginning.  Morphing into “Deceiver”, the acoustic plucking has changed to an electric chug.  This time the guitar solo blazes rather than cries.  “Deceiver” burns out quick, ending the first side.

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Side two begins, as it obviously should, with a piano instrumental!  Glenn Tipton wrote and performed “Prelude” which is really just another track meant for you to let your guard down…before being ploughed over by the evil “Tyrant”!  He is the destructor, and every man shall fall!  The way Rob screams it, you believe it.  This is straight up the alley of prior tunes, like “Ripper” and “Deceiver”:  fast, lean, and heavy as balls!

“Genocide” is a change of pace, a leaning towards the mid-tempo ground that Priest would find great success with later.  There is a Priest stamp to it: a simple 4/4 beat, a couple of cool riffs, verses, chorus and solo…but I like the slow middle section best.  “Sin after sin…I have endured, but the wounds I bear, are the wounds of love.”  Sin After Sin was used as the next Priest album title.  Then, another surprise.  “Epitaph” is a piano ballad with Rob singing with a Queen-like backdrop of vocals.  Only piano and vocals, that is it.  Once again this is a Glenn Tipton song, and even though Priest let on that they had quiet tendencies, this is still a bit of a shocker.  “Pretty” is an appropriate word.  It is a tour de force for Rob, who performed some very intricate singing.

Chugging off to into the horizon, “Island of Domination” is the final track on a purely excellent heavy metal album.  Multi-layered Halford screams usher in the final assault.  Rocking both heavily and intelligently, the mighty Priest finished the album with a blitzkrieg, taking no prisoners.  From gallop to groove, “Island of Domination” has a bit of everything Priest did well.

What an album.  Do you like heavy metal music?  Then you need Sad Wings.  Period.  Exclamation point!

5/5 stars

DVD REVIEW: Black Sabbath – Children of the Sea – Live in Brazil ’94

Scan_20150927BLACK SABBATH – Children of the Sea – Live in Brazil ’94 (Disc Media)

The Cross Purposes tour was not a happy time in Black Sabbath.  Geezer Butler had felt that this band (featuring himself, Tony Iommi, Tony Martin, and new drummer Bobby Rondinelli) should have had a new name and not been billed as Black Sabbath.  Rondinelli left mid-tour, so Tony and Geezer called up the original Sabbath skinsman Bill Ward.  With this historic lineup, 3/4 of the original band were intact (the same ratio as today’s Sabbath).  They went to South America to play five shows.  Then Butler quit after a furious standoff with Iommi.

This broadcast footage is all that remains of this very short-lived lineup of Black Sabbath.

The set opens with “Time Machine”, a Dio-era song that neither Tony Martin nor Bill Ward originally appeared on.  The sound is pretty horrendous, coming in slightly better than bootleg quality.  The crowd noise is too high, and the backing keyboards of Geoff Nicholls actually drown out the lead guitar.  Nicholls’ backing vocals are also more audible than they should be.  As a frontman, Martin does his best, which involves spreading his arms wide and shaking his hair.  A long haired Ward has a completely different rhythm on this track than Vinnie Appice gave it.  Another Dio number is next, “Children of the Sea”.  Ward at least played on this Heaven and Hell classic.  Haters would be critical of Martin’s version of Dio songs, but Dio quit. Ozzy wasn’t ready to come back.  Iommi carried on, and that’s how it went down.  Martin had to sing the old songs to the best of his talents and he helped keep the ship afloat during these difficult years.  Having Bill Ward on this track lends it a required authenticity.

There are certain songs that Sabbath has never dropped from the set, that are very difficult for most singers to perform.  “Black Sabbath” is top of the list.  Ozzy’s possessed original can never be duplicated or imitated.  A big part of that, however, is that Bill Ward’s primitive drum fills were such a big part of it, and Bill’s back on this one.  With 3/4 of the original Sabbath there, this version actually works out.  It’s one of the most true to the original of the versions released by any post-Ozzy lineup of Black Sabbath…except it is edited!  It halts abruptly at the half-way point, to awkwardly go into “War Pigs”.  This concert was clearly cut down to fit into a one hour (with commercials) time slot.  Why half of “Black Sabbath” was sacrificed instead of something else, I don’t know.  Shoddy.  At least “War Pigs” is intact, with Bill (shirtless now) providing the loose backbone it always had on album.  It acquires a jazzy feel during the slow outro.

Iommi gets a guitar solo (could have edited this out instead of “Black Sabbath”, but what do I know?) which has shades of “Too Late” from Dehumanizer.  Then it’s “Paranoid”, with Bill behind the beat as it should be.  Martin bites into every word, doing a fantastic job of it.  I have several live versions of Martin doing “Paranoid”, but this one is the best and most true.

When it’s time for “Headless Cross”, the rhythm section are not the ones who recorded it (Lawrence Cottle on bass and Cozy Powell on drums).  It’s weird to think of Bill Ward playing drum parts that Cozy Powell wrote.  Geezer sounds more at home, and is able too bring his trademark slink to the bass.  Offstage, Geoff Nicholls quite obviously provides the high notes in the chorus that Tony Martin can no longer hit, whether by voice or sample I do not know.  There’s another awkward edit into “Iron Man”, a song most singers except Ozzy struggle with.  This could have been excised.  We finally blast into “Sabbath Bloody Sabbath”: better, even though nobody can hit the unholy notes that Ozzy did on the studio version.

That’s the last track..  The back cover claims that “The Hand that Rocks the Cradle” is next, but there is no such track.  Bastards!  To compound the error, they got the song title wrong by just having “The Hand that Rocks”.  Not that this is the only mistake on the track list.   “Babbath Bloody Sabbath” is pretty funny, especially since this title carried over to the song menu on the DVD!

SABBATH COTS

Wardrobe wise, I like Geezer’s sweater with the crosses on it; that’s nice.  Tony Martin has a cool, steel plated leather jacket, which looks as if raided from Rob Halford’s closet.  Iommi sports silver cross center-chest, while Bill Ward is right out of 1975 with the long hair and track pants.

There are issues with the audio sync on this DVD, probably originating from the broadcast but carried over even though it would be easily fixed.  Sloppy release.  I’m sure that this is ripped from a VHS recording of the broadcast, due to the obvious spots where commercial breaks are edited out.

Maybe the original uncut tapes are out there somewhere. If so, somebody should release them.  This concert could have been a great little DVD release, but the various audio and editing flaws make it a difficult viewing.

2/5 stars

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REVIEW: Def Leppard – On Through the Night (1980)

DEF LEPPARD – On Through the Night (1980 Phonogram)

A bright young Mike in grade 11,
During the glorious 80’s,
Needed new music to feel like heaven,
To woo some lovely young ladies.

In 1980 Def Leppard came out,
With the LP On Through the Night,
It is heavy with screams and plenty shouts,
It makes me feel alright alright alright.

“Hello America”! It’s the “Rock Brigade”!
I played these singles on my ghetto blaster,
Unpolished – but the tunes made the grade,
Heavy ones like “Answer to the Master”.

Producer was Tom Allom of Judas Priest fame,
A heavy raw album he did record,
Leppard had not yet joined the hit game,
No big tricks on the electronic soundboard.

“It Could Be You” rocking out to this one,
Reckless abandon with axes ablaze,
“Wasted” blasts you like a shotgun,
Nothing left to see but a smokey haze.

Sophistication will not be found anywhere,
Maybe a little on the closer “Overture”,
Loud guitars drums blasting and long hair,
For your metal sickness this is the cure.

On Through the Night straight into battle,
Leppard hit the launching pad hard,
With the New Wave of British Heavy Metal,
The Lep became leaders of the new guard.

The story continues today as Leppard survive,
Still prowling the concert stage all over the world,
Fans clamour to hear these old song lives,
And so on Viva Hysteria, “Wasted” was unfurled.

This is but the seed that would grow into a beast,
The mere beginning of something great,
Pick up this record at the very least,
You will find it is very difficult to hate.

4/5 stars

Further reading:

DEF LEPPARD – The Def Leppard E.P. (1979) EP review
DEF LEPPARD – “Wasted” / “Hello America” (1979) single review
DEF LEPPARD – “Hello America” / “Good Morning Freedom” (1980) single review

#431: Oh Judas Priest!

GETTING MORE TALE #431: Oh Judas Priest!

The same shirt I had

The same shirt I had

I began writing Record Store Tales about 15 years ago.  In the time between then and now, a lot of the earlier chapters were cut.  One that did not make it was called “Persecution I”.  This was some background material, on what it was like growing up as a heavy metal kid in a Catholic school.

Hint: it wasn’t fun.

Now that Record Store Tales is finished, I can revisit some of these old stories.

Grades 7 and 8 were essentially just two years of waiting to finally graduate and get the hell out of there.   The bullies were relentless and nasty.  I also had the worst teacher for both years.  Her method of discipline was to humiliate students in front of the class.  This woman was the definition of strict. I still talk to some people from grades 7 and 8, and they seem to remember the teacher the same way I do.   She was unpleasant and mean.

It was always difficult when a kid like me showed up on the first day of class looking different than they did before summer holidays began.  I didn’t realize that.  I thought people might think I was pretty cool all of a sudden, showing up in my brand new Judas Priest T-shirt.*  My grandpa had also given me this camouflage army hat, to which I affixed my favorite rock buttons of Iron Maiden.

The problem with my new look was, the kids who did like heavy metal before had suddenly abandoned the greatest music of all time, in favour of New Wave bands.  Where Ian Johnson had previously been boasting about how awesome this new band called Metallica were, suddenly he had grown a rat tail and gone New Wave.  He mocked me as hopelessly behind the times.  He even had the sack to make fun of me for liking W.A.S.P. when he used to like W.A.S.P. more than I did.  I had counted on him as a metal ally, but he was no longer.  He joined the rest of the crowd in mocking me.

On the first day back, the teacher walked up to me and pointed to my Priest shirt.

“What does that say?”

I thought she was referring to the small writing at the bottom.

“It says ‘Rock Hard Ride Free’,” I answered.

“No up here!  What does that say?”

“It says Judas Priest,” I said, starting to realize maybe she was offended by the “Judas” part.

“Well I never!” she began with her rant.  “In all my years I have never seen anyone wear something so disgusting in my classroom.   Do you even know what that means?”

I was really upset and confused.  “It’s just the name of a band.”

“No it is not!  My father used to say that when he was very, very angry.  That is a very distasteful phrase.  I won’t have those words in my classroom.”  I could hear the chuckles of the other kids as she tore into me some more.  “I don’t understand it,” she continued. “You should not be wearing that filth.  What is the matter with you?”

The same teacher liked to tell us that we were “the worst, most ill-behaved class” she had ever taught.  I think she just said that every year.

I knew that the words “Judas” and “Priest” had obvious religious connotations, but how was I to know that it was once considered a “swear”?  Nobody in my family said it.  My dad was more blunt in his swearing – “shit”, “fuck”, “damn” and so on.  None of this esoteric “Judas Priest” nonsense.  When my dad swore he went all in.  I was completely ignorant, and innocent of any wrongdoing.

Needless to say, I never wore that shirt to school again.  I still have it, as it’s an important part of my metal upbringing.  It was clear that my teacher wasn’t impressed, and the fact that it was the T-shirt of a metal band didn’t do me any favours.  If it wasn’t a hymn, then it probably wasn’t worth singing to her.

RIDE FREE

Harassment continued to the bitter end.  Inside one of the cabinets in the classroom, somebody had stuck a Kiss sticker on the back of one of the doors.  It looked like it had been there since the 1970’s, and it probably had been.  However I was the only kid in that school in 1985 who liked Kiss, so I was screwed one way or another.  As the rest of the class howled, “Mike put it there! He’s the only one who likes Kiss!” I just knew I could not win.

There was one incident that is so surreal that I’m not even sure it actually happened anymore.  My memories of it are clear, but I it seems so weird and unlikely.  I’m willing to accept the possibility that it never happened at all, and might just be a very vivid dream from back then that has been mis-remembered as an actual event.   It’s not impossible, but unless someone else confirms the memory I’m not willing to stand behind this as fact.  I’m including it anyway.  If anything it illustrates how the whole era felt to a metalhead in a Catholic school.

In my memory it was a chilly, damp fall morning.  We were out at recess.   The schoolyard was bordered by a gravel pathway now known as the Dom Cardillo trail, named after the beloved former Kitchener mayor, who died in 2013.  Parked on the pathway was a white van, and a small crowd of kids was gathered around it.  Curiosity must have got the better of me so I went over to see what was going on.

Inside the van were two men, who were preaching the evils of drugs and heavy metal.  According to these two guys, the two went hand in hand.  Stay away from drugs, and stay away from metal.  If you listen to heavy metal, you will be drawn into an evil web of drugs and alcohol, said the two men to the crowd.

This is an assumption that has always pissed me off:  metal = drugs.  Or metal = evil.  Especially among the Catholic crowd, this was the way of thinking.  These folks had never bothered to actually listen to the music and lyrics.  When Gene Simmons sang in 1981, “I don’t need to get wasted, it only holds me down,” he was being sincere.   “All I need is a will of my own, and the balls to stand alone.  I believe in me.”  Even taken at face value, however, these words did not jibe with what we were being taught in school.  We were not taught to exercise our own free will, and to stand on our own.  We were told to stand with God, and follow His will.  I don’t believe life is that simple.  We have brains for a reason and we must use them to do what we believe to be right, for ourselves and for the world around us.  Encouraging us to think for ourselves was not in the school curriculum.  I gave myself enough credit to know the difference between good and bad.  If the music made me feel good, made me feel stronger and more confident, and didn’t hurt anyone, then what was the problem?  It probably didn’t help my cause that a lot of rock lyrics encouraged rebellion against authority figures.

The two guys in the van asked the crowd, “Does anyone here listen to heavy metal music?”

Before I knew it, the kids laughed and pushed me to the front of the crowd.  I fought against them but I found myself at the front, facing the two guys in the van.  The kids were shouting, “He does! He does!”

Face to face with the disapproving guy in the driver’s seat of the van, he asked me, “So you listen to heavy metal?”

“Yes,” I answered quietly.

“So you do drugs then?” he responded.

“No!” I protested, “I don’t do drugs!”

“But you listen to heavy metal music,” responded the man, as if one equaled the other.

I had enough and pushed my way out of the crowd again.  I could hear all the laughing behind me.  I walked away as fast as I could without looking like I was running.  Here I was being branded a druggie based on the music I listened to.

These events happened 30 years ago, and the van incident does not feel real.  It feels more like a dream and I’ll probably never know if it really happened or not.   It seems too weird to have really happened, but you never know.  It’s not impossible, just surreal.

Grade 8 ended on a final, humiliating note.  We were all supposed to choose which highschool we wanted to go to.  The expectation was that we were to attend the Catholic school.  Three or four of us did not, and applied to the public school Grand River Collegiate.  That was obviously going to be my escape route.  It was a way to get away from the nasty kids who tormented me every day, but it certainly wasn’t teacher approved.  She was not happy, at all.

She had already told the entire class that whoever didn’t attend the annual Mount Mary religious retreat would end up on drugs, dead, or both.  “Every student I ever had who did not go to Mount Mary grew up to do drugs, or killed themselves,” she told us.  Hooray for religious retreats, where music and music-related T-shirts were not allowed.

The day that she handed out our acceptance papers for the highschools, she took one last scornful shot at me.  “Shame on you!” she scolded in front of the class.  “Not going to St. Jerome’s high school just so you can be with your friends,” she continued.  “Shame on you.”

This time, I didn’t care.  School was so close to being over it didn’t matter.  In a few weeks, she’d have no power over me anymore.  There was nothing she could say or do to ever humiliate me again.  The bullies would be gone too, off to their own school while I had the chance to make new friends.  I wouldn’t have to feel ashamed of the T-shirts I wore, or the bands I liked.

My poor sister had another four years of that school to go, which she dubbed the “Hell Hole” (based on the Spinal Tap song of the same name).  Any time we drove by, she’d sing, “Livin’ in a hell hole…”  She even ended up with the same damn teacher, who hadn’t changed a bit.  When my sister struggled in math, she was publicly chided in class.  “Your father is a banker!” shouted the teacher.  “How can you not do math?  Shame on you!”

There is no shame.  Be proud of who you are.  Believe in yourself!

I was so frightened
I almost ran away
I didn’t know that I could do
Anything I needed to

And then a bolt of lightnin’
Hit me on my head
Then I began to see
I just needed to believe in me

Then I, I believe in me
And I, I believe in somethin’ more
Than you can understand
Yes, I believe in me

Then I, I believe in me
And I, I believe in somethin’ more
Than you can understand
Yes, I believe in me

They said, “I didn’t stand a chance”
I wouldn’t win no way
But I’ve got news for you
There’s nothin’ I can’t do

Ain’t no pretendin’
Ain’t no make believe
But I’ve got to be the one
I gotta do what must be done

Then I, I believe in me
And I, I believe in somethin’ more
Than you can understand
Yes, I believe in me

Then I, I believe in me
And I, I believe in somethin’ more
Than you can understand
Yes, I believe in me
I believe in me
Yes, I believe in me, yeah

I don’t need no money
I don’t need no fame, no
I just need to believe in me
And I know most definitely

Don’t need to get wasted
It only holds me down
I just need a will of my own
And the balls to stand alone

‘Cause I, I believe in me
And I, I believe in somethin’ more
Than you can understand
Yes, I believe in me

I believe in me
I believe in somethin’ more
Than you can understand
Yes, I believe in me

Yes, I believe in me
Yes, I believe in me
Yes, I believe in me

* I found the shirt online.  $700, yup.  

REVIEW: Iron Maiden – The Book of Souls (2015)

NEW RELEASE

IRON MAIDEN – The Book of Souls (2015 Parlophone, collector’s book edition)

I have a new hero.  His name is Bruce Dickinson.

Bruce has not only beaten cancer back to that dark hole from which it came, but he takes command on Iron Maiden’s new opus The Book of Souls.

Even though he only has writing credits on four of the 11 tracks here, his impact is massive.  With lungs of iron, Bruce propels everything.  For the first time (possibly) ever, I feel that the most important band member is not leader Steve Harris, but the singer himself.

Right from the opener “If Eternity Should Fail”, Bruce is center stage.  He wrote this complex number himself.  It boasts one of Maiden’s most memorable choruses yet, and musical twists and turns that return us to Powerslave.  Meanwhile, there is a hook that reminds me of Bruce’s solo song “The Ghost of Cain”, from Accident of Birth.

We took a good look at the lead single, “Speed of Light” a couple weeks back.  Maiden often write a fast, heavy blazer to go with a new album, and that’s “Speed of Light”.  Even though it is the single, it is far from the strongest song.  Written by Bruce and Adrian Smith, it is certainly a good Iron Maiden track, but in comparison to the monuments of metal that surround it, “Speed of Light” feels like a brief diversion from the epic metal moments at hand.  Adrian’s solo, however, is delicious.

“The Great Unknown” (Smith/Harris) opens softly, but even so there is a menacing tone to Bruce’s voice and the underlying instruments.  With a slow, thrusting riff, “The Great Unknown” soon lurches forth, a killer metal march for the ages.  Bruce pushes his voice to the very limits, giving it all and then some.  As with many of the songs on The Books of Souls, I hear hints and echoes of past Maiden epics.  This is not a lack of originality, more like a signature — familiar but always different.  “The Great Unknown” ends on the soft note with which it began.

What is an Iron Maiden album without a Steve Harris bass intro?  He and producer Kevin Shirley captured a wonderful bass sound on this album.  “The Red and the Black”, another epic, is the only Harris solo writing credit.  It has a riff that takes me all the way back to Killers, but then it is gone, and it’s onto another riff…and another…and another.  At 13 minutes in length, this is one of those trademark Harris songs.  Time changes galore, loaded with hooks.  You can draw parallels to many epics from the past, but to do so takes away from this one.  “The Red and the Black” is a proud achievement, a passionate metal song as only Iron Maiden can really do.  Adrian Smith handles one of the guitar solos with a huge splash of wah-wah, and that is simply a thing of beauty.  In sum, if you took a little bit of everything that makes Iron Maiden great and unique, then all those ingredients are in “The Red and the Black”.  Bass outro, and that’s that.

A semi-shorty (5:52) is in the next slot, a fast riffer called “When the River Runs Deep” written by Steve and Adrian.  This one is hard to compare to any past Maiden tracks, as it occupies a space all its own.  Adrian Smith sometimes brings in riffs that sound like something other than Iron Maiden, and I think that’s “When the River Runs Deep”.  Adrian takes another wah-wah solo, but not to be outdone is Janick Gers who throws down an edgy solo of his own.  As far as Iron Maiden goes, this song is guitar solo nirvana.

A 10 minute epic always makes a good closer when you’re Iron Maiden, so the title track “The Book of Souls” (Gers/Harris) is last for disc one.  Gentle acoustic guitars and keyboards emulating pipes tell us that this is previously uncharted territory.  Then “The Book of Souls” trudges forth, with a beat not unlike “Mother Russia” from No Prayer for the Dying.  There’s far more to the song than that, however. Soaring lead vocals (Bruce only seems stronger!) just ice the cake.  All three Maiden guitarists shine on this, but Janick and Adrian have some solos that just play off each other so well. You want those trademark Maiden guitar melodies?  How about galloping riffs?  Nicko McBrain killing it on the drums?  Maiden deliver, in top notch style, everything and then some more.

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Bruce and Adrian co-wrote “Death or Glory”, opening side two with frenetic drums and riffing.  Going for the throat, The Book of Souls has more fast riffs per minute than any Maiden album in decades.  In five brief minutes, you are blasted against the wall, bounced off the floor, and nailed to the ceiling.  Don’t hurt your neck from all the headbanging.  This time, the guitar spotlight is on Dave Murray for an intense, dramatic solo.

“Shadows of the Valley” (Gers/Harris) sounds a lot like “Wasted Years” at first, but only briefly.  If anything, “Shadows of the Valley” recalls Dance of Death-era Iron Maiden.  Although this song is not as powerful or memorable as others on the album, it does contain some seriously incredible instrumental moments.

One of the most heartfelt and powerful songs on the album is the shortest.  “Tears of a Clown” is a thoughtful moment about Robin Williams.  The poignant lyrics are to the point:

All alone in a crowded room,
He tries to force a smile,
The smile it beamed or so it seemed,
But never reached the eyes, disguise,
Masquerading as the funny man do they despise.

I found this to be one of the compelling songs.  Of all the bands to commemorate Robin Williams, I did not expect it to be Iron Maiden.  But they did it in such a way that it completely fits.

Dave Murray and Steve Harris might not have known that Bruce already has a solo song called “Man of Sorrows”, but it doesn’t matter much since Maiden’s song is called “The Man of Sorrows”.  Musically this sounds much like X Factor-era Maiden.  Bruce takes it to a higher level than that.  Dave himself has a nice slow bluesy solo at the end that is just pure gravy.

The biggest surprise, the biggest song, and the biggest challenge has to be “Empire of the Clouds”.  Written solely by Bruce and coming in at almost 20 minutes, it is unprecedented in the Maiden canon.  Never before have the credits “Bruce Dickinson – vocals, piano” been written inside one of their albums.  For the first time ever, the piano is a part of Iron Maiden’s makeup.  Maiden have used orchestras before, and the strings return as well.  “Empire of the Clouds” is a peak accomplishment, something that they (and Bruce) can proudly proclaim, “we did that”.  The piano is a natural fit, in the way it is used to make an epic song even more dramatic.  Aviation has been one of Bruce’s favourite lyrical subjects for a long time, but “Empire of the Clouds” might be his first song about airships.  You can trust him to instill it with all the drama and heaviness that you expect from Iron Maiden.

Even though 92 minutes have elapsed, The Book of Souls does not particularly feel longer than A Matter of Life and Death or The Final Frontier.  Like those two previous records, The Book of Souls is going to have to be digested long-term, returned to again and again to fully absorb and appreciate.  This is an album in the true sense:  best appreciated in sequence, as a single work.  There’s an intermission in the middle for you to change CDs and take a break, but I recommend diving right back in once again.

With Bruce’s very serious health scare, and the increasing age of the band, there is always the chance that this could be the last Iron Maiden album.  Of course, some said that about The Final Frontier as well.  It seems that ever since Brave New World in 2000, Iron Maiden have set to top the previous album each time.  The cumulative effect of that is that they had a hell of a lot to live up to on The Book of Souls.

Mission accomplished.

5/5 stars

Disc 1
1. If Eternity Should Fail (Dickinson) 8:28
2. Speed Of Light (Smith/ Dickinson) 5:01
3. The Great Unknown (Smith/ Harris) 6:37
4. The Red And The Black (Harris) 13:33
5. When The River Runs Deep (Smith/ Harris) 5:52
6. The Book Of Souls (Gers/ Harris) 10:27

Disc 2
7. Death Or Glory (Smith/ Dickinson) 5:13
8. Shadows Of The Valley (Gers/ Harris) 7:32
9. Tears Of A Clown (Smith/ Harris) 4:59
10. The Man Of Sorrows (Murray/ Harris) 6:28
11. Empire Of The Clouds (Dickinson) 18:01

For the official KeepsMeAlive review by Aaron, click here!

REVIEW: AC/DC – Rare…Rarer…Rarities (bootleg)

Scan_20150818AC/DC – Rare…Rarer…Rarities (Flight records bootleg CD, year unknown)

Rare…Rarer…Rarities, huh?  Indeed, this is a bootleg CD that includes rarities that most fans don’t have on an official release.  The pretty comprehensive Backtracks box set, which came out later, covers most of these songs…but not all.

Most of these tracks are either single B-sides or songs that were exclusively released on the Australian versions of albums.  Until Backtracks came out, those songs were very hard to find in North America.  The only one I had was “Rock in Peace”, from Dirty Deeds Done Dirt Cheap.  I couldn’t believe my luck in scoring the Australian CD of that album.

There are, however, two songs that none of us are likely to ever own an original physical copy of.  These two tracks alone make the bootleg CD purchase worth considering, since they are AC/DC’s first single from 1974, featuring original singer Dave Evans.  Most fans have never heard anything with Dave Evans singing.  These are ripped from an original 7″ single.

“Can I Sit Next to You Girl” is a song every AC/DC fan knows, because this golden oldie was re-recorded on T.N.T. (1975).  Bon Scott’s cheeky delivery made all the difference in the world.  Dave Evans is just some guy, asking to sit next to you.  Bon was Bon fucking Scott asking to sit next to you…who do you think gets the girl?  This early single was issued in the summer of ’74, and it has a completely different, much more laid back intro.  It’s not nearly as heavy as it would later become.  Evans does have a fine vibrato, I must say!

Every single has a B-side, and “Rockin’ in the Parlour” was AC/DC’s first.  It’s much more “rock and roll” than you expect from AC/DC, but it’s catchy and melodic.  Angus and Malcolm have yet to fully develop their styles, but you can certainly tell its them.  You can hear for yourself, that Dave Evans was not the lyricist that Bon Scott was.  “She said, ‘I got some booze, around at my place, so come along and have some fun!'”  Sorry Dave, but that just won’t cut it when the band is AC fucking DC.

The rest of these songs are all in print today, so they can be acquired on official AC/DC releases.  “Love Song” (High Voltage) shocked me on the first number of listens.  Is this AC/DC’s one and only ballad?  I guess so!  “Oh Jean, Oh Jean!” sings Bon, seemingly heart broken.  Once you get used to it, and accept the fact that there are no other AC/DC songs that sound anything like it, you might enjoy it.  I know that I do, from time to time.

I’m not sure what makes “She’s Got Balls” and “Little Lover” qualify as rarities.  As far as I can tell these are the album versions.  Next!  “Stick Around” (High Voltage) is a cool tune, a laid-back AC/DC rocker with lots of space between the instruments.  You can hear the air sizzle!  The riff is about as simple as it gets: two chords.  But they are the right chords!  “High Voltage” is slightly longer than the album version, and this is also on Backtracks.

“School Days” is a Chuck Berry cover, one of very few covers AC/DC recorded.  Chuck Berry is the prototype of AC/DC anyway, so this version fits like a glove.  Hail hail rock and roll, indeed!  This was originally on T.N.T., but you can get it on the Bonfire box set too.  The aforementioned “Rock in Peace” is a shorty, heavy with that AC/DC stomp and the same damn riff they’ve been playing for 40 years.

AC/DC have always had tongue firmly in cheek, but “Crabsody in Blue” is probably the jokiest song they ever recorded.  A slow blues similar to “Ride On” deserves to have some down-and-out lyrics. Bon takes that to a descriptive extreme!

“Oh, and when they start to bite,
Then it’s time you saw the light,
For an appointment.
Before you start to scream,
That’s when you apply the cream,
Blues ointment.”

Only Bon Scott can really write a lyric about venereal disease. Nobody else seems quite as qualified.

“Carry Me Home” was the heavy and instantly likeable B-side to “Dog Eat Dog” (1977).  Using his speaking voice to full effect, Bon proves to me why he is one of rock’s all time greatest frontman.  His animated vocal performance here is something that very few singers can pull off.  (Ian Gillan is one such singer — think “No Laughing in Heaven”.)  Then, “Down on the Borderline” is Brian Johnson’s only showing on this CD.   This was the B-side from “Moneytalks” (The Razors Edge), but it sounds little like that album.  Sonically and vocally, it resembles Blow Up Your Video, right down to the muddy finish.  I have no doubt it was recorded for that album.

“Fling Thing” is AC/DC’s take on “The Bonnie Banks o’ Loch Lomond”, which they cheekily credited to Young/Young! It sounds like quite a party was going on during the recording, which falls apart after a mere two minutes! This was originally the B-side to “Jailbreak”. The final song is “Cold Hearted Man”, which was recently dusted off for the Iron Man 2 soundtrack album.  It was on Powerage (1978) first, and a dark prowler it is.

A lot of people like to joke that all of AC/DC’s songs sound the exactly the same.  This CD of also-ran’s has proven otherwise, and “Cold Hearted Man” is a perfect closer for a solid collection of rock.

3.5/5 stars

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REVIEW: Savatage – Edge of Thorns (1993)

By special request of reader Wardy, it’s Epic Review Time!

SAVATAGE – Edge of Thorns (1993 Edel & 2002 Steamhammer)

Sava-fans were shaken.  Even though 1991’s Streets: A Rock Opera was a complete artistic triumph, singer and co-founder Jon Oliva quit the band.  Side projects and home life had become priorities.  He would not, however, ever truly leave Savatage.  Even though he was no longer the singer, Jon Oliva co-wrote every track with his brother Criss and producer Paul O’Neill.  He even personally selected his replacement, Zachary Stevens, and tutored and coached the new young singer.   He also continued to play all the piano parts in the studio, although this time he would not tour.  It was certainly an unusual situation, but also an ideal one.   Fans knew that Jon was not really gone, and they easily embraced Stevens as the new frontman.  Oliva had stated that Savatage needed a voice like Zak’s in order to continue.  He knew his own voice was not commercial enough to get on the radio.  With Stevens they had a shot.

The press glowed with reviews, praising the new direction of the band.  They had successfully combined the later piano-tinged Savatage that wrote complex operatic songs and ballads, with the earlier riff-driven metallic Savatage.  Stevens was praised for his voice, and comparisons to Geoff Tate, James LaBrie and Ray Alder were tossed around.  I found a copy of Edge of Thorns in Michigan, and it was with great anticipation that I ripped the shrink wrap off the cassette and placed it in my Walkman.

Anyone who has heard the now-classic title track “Edge of Thorns” can’t forget the haunting piano that descends at the beginning of the album.  At this early stage, Stevens was very much singing like a progressive rock singer, and throwing in screams at key moments.  His range and power here are impressive, and very different from the Mountain King’s style.  “Edge of Thorns” was a great choice for an opening track and new singer.  Not only is it one of the most immediate songs that Oliva/Oliva/O’Neill had yet composed, but it also combines both sides of the band.  The soft piano intro reflects Streets, but then it kicks into overdrive with a riff, heavy bass and dramatic guitar solos. It possesses the pure rock drama of “Gutter Ballet”. It is the whole package.

I have always been drawn to the words.

I have seen you on the edge of dawn,
Felt you here before you were born,
Balanced your dreams upon the Edge of Thorns,
…but I don’t think about you anymore.

I don’t think about you…anymore,
Anymore…

But clearly, he does, and intensely so.

“He Carves His Stone” begins as if a ballad, but the patented snake-y Criss Oliva guitar riff drags us back to the metallic origins of the band.  The combination of riff and chorus are a winning one.  More intense is the borderline thrash metal of “Lights Out”, a smoking track that shows what Zak Stevens can do with the rougher side of his voice.  Hang on tight and shout along to the chorus, because this one is a ride.

Back to the dark, dramatic side that Savatage do so well, it’s “Skraggy’s Tomb”, a brilliant song bursting with ominous heaviness.   Just let it assault your skull, don’t fight it.  Fear not — “Labyrinths” is a quiet piano piece, with Jon accompanied by Chris on guitar.  This cascades in traditional Sava-fashion into a fully-blown dramatic intro similar to “Gutter Ballet”.  It is a suitable and essential part of the song it is attached to, “Follow Me”, the side one epic.

His whole life was written,
Written there inside,
The new weekly Bible,
His modern TV Guide,
Every night he stares back at the screen.

There is no way to sum up the pure excellence, drama, and chills that “Follow Me” delivers. Zak’s vocals make it accessible enough, the power is undeniable. “Follow Me” is among the greatest songs of the Zak Stevens era. A quiet piano piece appropriately titled “Exit Music”* works as an outro. Together with intro and outro, “Follow Me” is almost 10 minutes of pure Savatage adrenaline, with a Criss Oliva solo that still gives me chills.

The second side opens exotically with “Degrees of Sanity”, and Savatage fans know that sanity of one of Jon Oliva’s favourite lyrical subjects!  Criss’ guitar parts are lyrical and enticing.  Slowly it chugs, building and building.  With Criss firmly at the helm, the ship steers through craggy riff after craggy riff until it gives way to the next song, also clearly dealing with sanity:  “Conversation Piece”.  The subject person of the song thought he had been doing better, lately.  “I haven’t thought about you for a while,” he claims.  But even so, he has not let it all go yet.  “I keep your picture hidden a file, of favourite one-act plays.  Like pieces of myself, cut off in desperation, as offerings to thee.  I’ll leave them on the shelf, they’re good for conversation over a cup of tea.”  The melodramatic lyrics of Savatage have always appealed to me (I don’t know what that says about me).  Thanks to Stevens’ impassioned delivery, you can feel every word, while Criss Olivia chugs behind.  Remind me not to visit for tea!

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Delicate is “All That I Bleed”, a pretty piano ballad with a rocking conclusion.  Demonstrating the versatility of his voice, Stevens sings smooth and light, until the end.  Perhaps it is all coincidence, but the songs do seem connected.  Both “All That I Bleed” and “Conversation Piece” deal with a letter and difficult emotions.  I like to think of the two songs as alternate endings to the same story — one in which the person does not send the letter (“Conversation Piece”) and one where he does (“All That I Bleed”).    Regardless, “All That I Bleed” has everything you would want in a ballad.  Had in come out in 1989 it would have stormed the charts and MTV would have played it non-stop.  1993 was a very different year from 1989, but Savatage had never expressed any interest whatsoever in musical trends (the mis-step that was Fight for the Rock notwithstanding).

“Damien” appears next, a choppy heavy rock tune with bouncy piano doubling the guitar riff.  Following this fine song is the even finer “Miles Away”, a melodic heavy rocker that is easy to like.  It has a brightness to it, and Steve “Doc” Wacholz kicks the drums right in the ass.  Unexpectedly the album closed with a quiet acoustic song, “Sleep”.  It feels like a sunrise after the stormy night, and perhaps that’s the intention.

There are plenty of bonus tracks on different editions of Edge of Thorns.  I can only review the bonus tracks I have, which are:

  1. “Shotgun Innocence”, originally a Japanese bonus track.  This is a glossy hard rock song with an emphasis on melody.  Though certainly heavy enough, its direct rock vibe doesn’t fit the mood of Edge of Thorns, which I’m sure is why it was saved for a bonus track.  Good song though, and it certainly shows off the pipes of young Mr. Stevens.
  2. “Forever After”, the second Japanese bonus track.  Probably the weakest song of the batch.  It sounds a bit like an unfinished Ozzy outtake, circa the Jake E. Lee period.
  3. “Conversation Piece (Live in rehearsal 9/24/1994)” is recorded really poorly, but the sweat and rawness are captured.  Since it is live in rehearsal, and it is known that Doc Wacholz did not tour, I assume this is with Jeff Plate on drums.  That would also have to be Alex Skolnick from Testament on guitar.  This track is on the 2002 Steamhammer/SPV remastered edition.
  4. “Believe (Acoustic)” is part of a series of acoustic versions Savatage did for another batch of reissues.  This is Zak Stevens’ version of the closing ballad from Streets, but with acoustic guitar instead of piano.  It is a fascinating alternative version, but the original always kills me.  This is on a German printing on Edel records.

As fate would have it, this would be the final time Jon and Criss would make music together.  On October 17, 1993 Criss was killed by a drunk driver with seven prior DUI’s.  Rather than let this crush him, Jon survived by pouring himself into music.  Savatage would not die, even if with half its heart ripped out.  Edge of Thorns remains Criss Oliva’s capstone, and a bright apex it is.

5/5 stars

*The really interesting thing about “Exit Music” is that it is entirely piano.  Therefore no “official” members of Savatage appeared on it!

#426: The History of the Holy Grail

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RECORD STORE TALES MkII: Getting More Tale
#426: The History of the Holy Grail

I don’t know when I started referring to this list as my “Holy Grail” items, but the idea is simple.  I wanted to create a wishlist of musical items that would be my ultimate, most sought after records and CDs.  For example, there is a rare Iron Maiden EP called Live!! +one.  It was released in Japan in 1980, and featured two exclusive recordings still unavailable anywhere else:  “Sanctuary” and “Drifter” from the Marquee show.  In 2014, I found a copy in Mississauga.  Should I have bought it?  It was $100.  It was not in the budget that time.  Will I ever see it again?

Those are the kinds of things I’m referring to as Holy Grails.  The kinds of things that you see only ever one or twice in your time as a fan.  When you find a Holy Grail item, how much are you willing to pay?  I paid $300 for a copy of the rare live album marillionrochester on eBay.  I don’t think I’ll ever do that again though.  That was a once in a lifetime buy.  (Only 2000 copies of it were ever made, which were sent directly to fans who donated to their 1997 American tour fund.  It will never be reissued.)

In the digital age, curating a Holy Grail list has never been easier.  My solution today is simple.  I have entrusted my Holy Grail list to Aaron over at the KeepsMeAlive site.  There, he has created (and continues to update) several bloggers’ personal lists as the Master Grail Search List.  Using this list from our smartphones, we have hunted for items for others, too.  The increased range provided by the Master Grail Search List has resulted in a couple scores.

While searching one of my hard drives, I discovered what is probably the very first Grail list I ever made, and it is over 10 years old now.  Apparently I wasn’t calling it a Grail list yet (like I said, I don’t know when we started using that term), but below is my 2005 “Ultimate All-Time Want List”.  I have since found a number of these…but have also added many more to my list!  Check out the list, with added notes from today in [red].

CHICKARA

Date: 2005/06/11

ULTIMATE ALL-TIME WANT LIST

To be modified and added to periodically.

In no particular order:

  • KISS – Chikara (CD or LP)

[I should have bought this when I had the chance in ’96 at Dr. Disc in Hamilton!  I blew it.]

  • marillion – Web Christmas 1998 CD
  • marillion – Web Christmas 1999 CD

[Still missing these two.  I’ve downloaded them from their official site, which is nice, but not as nice as an original CD.]

  • Metallica – The 5 1/2 Year Anniversary Box Set LP

[Saw this one at Flying Monkey Music in Waterloo in 1997, priced around $120.  I should have bought it.  Scott, our Heavy Metal Overlord has a copy, but he is also apparently immune to my Jedi mind tricks.]

  • Tommy Shaw – Girls With Guns CD

[Hahaha, what!?  I don’t remember wanting this!]

[I mean, sure, I’ll take it, I like that one song…it’s a great music video too, all one continuous shot with no edits…but the CD is certainly not a Holy Grail item anymore!]

  • KISS – Alive III (Japanese CD)

[No longer needed, since the release of Kiss’ comprehensive Alive! 1975-2000 box set!]

  • Iron Maiden – “Wasting Love” (CD single)
  • Iron Maiden – “Hallowed Be Thy Name” (CD single)
  • Motley Crue – Generation Swine (limited edition Japanese with bonus track “Song To Slit Your Wrist By”)

[FOUND, FOUND, and FOUND!  All of these came from eBay.  None were cheap, but I had a budget threshold for each under which I was willing to pay.]

  • Black Sabbath – “The Shining” (12″ single)

[No longer needed, due to the excellent Sabbath deluxe edition of Eternal Idol.]

  • The Sultans Of Ping F.C. – Casual Sex in the Cineplex CD

[FOUND by Aaron in 2012!  Holy Grail lists work!]

  • ZZ Top – Chrome Smoke & BBQ (limited edition CD box set)

[FOUND, quite easily, and very soon after I made this original list.  I just went down to Best Buy and bought it.  Hey, sometimes it’s the simple way.]

  • KISS – Instant Live CDs (ALL of them)

[Three have been FOUND!  I would still love “all” of them, but I’m not made of money!]

SWINE_0001

I’m actually surprised to see so many items crossed off this decade-old list!  Surprised, and pleased.  I know how much I wanted some of these items, such as those Iron Maiden CD singles.  That Motley Crue import also dogged me for years.

The internet helped me gain access to many of these.  It has also broadened my realization of what lay in the nooks and crannies of a band’s discography.  When I made this list 10 years ago, I didn’t even know about Maiden’s Live!! +one EP.  I didn’t know that the same band’s Best of the Beast 6 LP box set had one exclusive bonus track (“Revelations” live) that was tucked away unnoticed.  As I have crossed items off my list, two more sprang forth in their place!

Thanks to Aaron’s Master Grail Search List, the never ending quest continues!

REVIEW: Iron Maiden – “Speed of Light” (2015 single/T-shirt bundle)

NEW RELEASE

Scan_20150825IRON MAIDEN – “Speed of Light” (2015 BMG single/T-shirt bundle – Best Buy exclusive)

“Only at Best Buy“ — the words chill me to the bones.

I don’t know what the deal is with Best Buy exclusives in Canada.  When Tenacious D’s movie Pick of Destiny came out, I found the Best Buy edition no problem, just up the street.  Bonus disc and all, easy peasy.  Didn’t even know such a thing existed until I found it at Best Buy.

Only a few years later, it became impossible to find Best Buy exclusives at Best Buy.  Using Tenacious D as the example again, the Best Buy edition of Rize of the Fenix has two bonus tracks.  I had to buy it on eBay, so you know it was an inflated price.  Same thing with the last Black Sabbath album.  Best Buy had a bonus track called “Naïveté in Black” which happened to be one of the best songs.  Had to buy it on eBay.  Paid too much.

A few weeks ago, Best Buy announced they were getting an exclusive on the new Iron Maiden single “Speed of Light” from the forthcoming double album The Book of Souls.  It came with a T-shirt.  But I wanted the single just as much.  That’s where Stone from Metal Odyssey came in!

First of all, I’m gonna tell you to follow Stone in some way, shape, or form.  (WordPress/Twitter)  He read my plight regarding Best Buy items here and took pity.  I called my closest Best Buy — all CDs have been removed from their inventory.  So Stone bought two copies and sent me one, asking nothing in return.  (I will return the favour — just name it man!)  To say I appreciate this gesture is am understatement, which is why I’m being more long winded than usual for a one track CD single!

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“Speed of Light”, written by the duo of Dickinson/Smith, is true to Iron Maiden, and it sounds fucking brilliant.  We know all about the new double album, with plenty of long bombers.  “Speed of Light” is just a hair over five minutes, a very concise song for any Maiden album.  When Adrian and Bruce write together, you can count on a catchy riff and hooks.  “Speed of Light” delivers, and Bruce’s singing is just as powerful as ever, cancer be damned.  His voice is virtually unchanged since Brave New World, 15 years ago.  The air raid siren is intact.  And this album will be the fifth with this Maiden lineup, the longest lived in its history.  Impressive.

Most impressive.

A highlight of “Speed of Light” has to be Adrian’s solo.  The three Maiden guitarists (Janick Gers and Dave Murray being the other two) all have their own distinct styles, which is a major boon to a band like Maiden.  Adrian is the one who thoughtfully composes his solos, and then lets them rip.  This one is brief but has his stamp all over it.

Sometimes Maiden take on a 70’s vibe.  “The Angel and the Gambler” is one such moment, but I think “Speed of Light” also has one foot in the 70’s.  Just a hint, an insinuation, at the beginning.  Otherwise, “Speed of Light” is purely a modern Maiden metal moment.  It would have fit comfortably on The Final Frontier, although I would caution against inferring the sound of the new album from just one single.  It is probably one of the more straightforward moments on The Books of Souls, but we’ll find out for sure on September 4.

One last comment:  fuck you, cancer!  You just got beat by Bruce Dickinson!

4.5/5 stars