Iron Maiden

Part 189: Hiding the Music

RECORD STORE TALES Part 189:  Hiding the Music

1985:

There was a group of kids on the street (Bob, myself, Rob Szabo, and Peter Coulliard) that were competing for a cassette copy of Kiss Alive II.  There was only one copy that we knew of in town on cassette.   Guys like Bob and Szabo would know that — they were older, had nice bikes, and probably had been checking all over town.  The only copy we knew of was at a store called Hi-Way Market.

Other kids on the street such as George and Todd had the album on vinyl, but Bob and myself didn’t really have any decent equipment for playing records at the time.  Cassette was portable, it was our primary medium in 1985.  In 1985, you didn’t listen to “albums”, you listened to “tapes”.  The cassette copy at Hi-Way Market was priced at $12.99.  This was more expensive than most, because it was considered a “double album” even though it was still just one tape.

KISS ALIVE II BACK

None of us had $12.99 plus tax right then, but Hi-Way Market had this tape we all wanted.  Hi-Way Market was a great store.  It had old creeky wooden floors.  Downstairs were groceries and clothing.  Upstairs, the greatest toy store in town.  Every Christmas they did a giant Space Lego display.  It was incredible.  But off to the side of this store, up a narrow staircase, was a little record store.  I bought my first Iron Maiden (Live After Death, on vinyl) there.  (I think the deciding factor in buying the vinyl of that album was the massive booklet, a rarity in those days.)

Since none of us had the money, Peter Coulliard hid the copy of Alive II behind something else in the store.  Something where no Kiss fan would ever look for it.  Probably behind Duran Duran or Michael Jackson.  This enabled Peter to have the edge when he finally did gather the necessary funds, thus edging Bob, Szabo and I out in the battle for Alive II.

1999:

These two kids kept coming into the store that were fascinated by my copy of Kiss’ Carnival of Souls.  These were young kids…well, about the same age as Bob, Peter and I were back when we pulled this stuff.  They did not have the $10.99 ($12.64 with tax) to purchase Carnival of Souls.  We didn’t have the only copy they could find, but we did have the cheapest one.  The mall stores were asking at least $20 for new copies.

So these kids came in day after day, week after week, moving Carnival of Souls.  They continually got more creative with their hiding places.  My job was to make sure the shelves were also straight and orderly, and when you’d find Kiss under Anne Murray, you’d put it back.  When bosses found Kiss under Anne Murray they’d give you crap.  So, much as I sympathized with the kids’ musical choice, they were grinding my gears as manager.

Finally I got fed up.  I sent the CD to Trevor’s store with an explanation of why he had to keep it and sell it there.  Then the two kids came in again.

“Hey, umm, do you have Kiss Carnival of Souls?” asked the first one.

“Nope, sold it yesterday,” I lied.

“Awwww…” said the second kid.

It had happened.  I had become “the man”!  I had lost sight of my old self.  Didn’t I pull that “hide the album” stunt myself? In fact, didn’t I do it with GI Joe figures at Hi-Way Market?  I did!

NEXT TIME ON RECORD STORE TALES…Early Birds.

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

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MAIDEN ENGLAND FRONT

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

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

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

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

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

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

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

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

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

5/5 stars

REVIEW: Thin Lizzy – Jailbreak (deluxe edition)

JAILBREAK FRONT

THIN LIZZY – Jailbreak (2011 deluxe edition)

Jailbreak!

This classic underappreciated masterpiece of rock goodness has finally been expanded with bonus tracks.  Underappreciated?  Sure, while everyone knows at least two songs from this album, how many friends of yours actually own a copy?

Jailbreak‘s been given some cool bonus tracks.  An entire disc’s worth in fact!  The remastering sounds good enough to me.  Until I got this deluxe, I hadn’t played Jailbreak in a while, and I had completely forgotten about great album cuts like “Running Back”.  It’s a sweet little love ditty as only Phil can do it, romantic but classy all the way.

I think the second track, “Angel From the Coast”, is one of Lizzy’s greatest album cuts.  It rides on top a rhythmic, rolling guitar riff, but it’s also one of Phil’s more memorable compositions.  “Romeo and the Lonely Girl” is another one of Phil’s romantic classic rockers.  The lyrics are kinda cheesey:  “Whoah-oh, poor Romeo, sittin’ all on his own-e-o”.  But it works, because it’s Phil, and everything he did sounded sincere and cool.

“Warriors” brings the metal.  It’s a classic heavy rocker that I am sure people like Steve Harris studied meticulously to learn the mysterious art of songwriting.  Multiple sections collide, thundering drums roll, and solos rage.

“Fight Or Fall” is a great ballad, acoustic and soulful.  This is the kind of thing that Phil had done so well on albums like Nightlife.  “Emerald” is another Phil historical epic.  Once again, I feel that Steve Harris probably studied this song intensely.  This really anticipates where Iron Maiden were going to go later on.

One of the true classics on Jailbreak was “Cowboy Song”, a song that melded live with Lizzy’s cover of Bob Seger’s “Rosalie”.  In my mind, the two songs are one in the same now.  They go together like peanut butter and jam.  And that, friends, is a tasty sandwich.

I don’t really need to talk “Jailbreak” and “The Boys Are Back In Town”, do I?

Alright, I will.  “Boys Are Back” is one I discovered initially through Bon Jovi.  They covered it back in 1989 on a charity CD that I’ll cover another time.  It was perfect for them.  Didn’t Jon always sing about the boys being back in town back then?  It had a tasty guitar harmony part for Richie Sambora to sink his teeth into, and it was melodic and radio-worthy.  In a way, this is Lizzy’s Bon Jovi song, but it is no less classic for it.

And “Jailbreak”?  Everything about it is perfect.  The riff, the melody, but it really came alive in a live setting.  As good as the album version is, it was live that “Jailbreak” burned.

The bonus disc kicks off with four remixes helmed by Joe Elliott, one of the biggest Lizzy fans out there. His strategy was simple: some subtle fixes to out-of-tune guitars and drums that were mixed too low.  Then he and Scott Gorham added previously unheard lyrics, solos and fills. The result is some fine alternate versions that won’t replace the originals but serve as interesting companion pieces. I especially enjoyed the previously unheard lyrics from Phil.

The remixes are followed by some live takes. BBC recordings of the title track, “Emerald”, and others are nice and clean. Just as you would expect from the BBC. Then there is an extended cut of “Fight Or Fall” with some very tasty slide guitar brought up to the forefront. It’s a nice touch. “Blues Boy” is a completely unreleased track, a blues as you might have guessed. It is complete with some skeletal vocals from Phil, but this is essentially a blues jam. As an unreleased song, this is a valuable inclusion, albeit not a standout song. The album ends with a live take called “Derby Blues”, which is an embrionic version of “Cowboy Song”. “This is a new number, this one!” says Phil.  “As yet untitled. We’ll call it ‘Derby Blues'”. It still has all the energy and fire that it would later embody.  (“Derby Blues” is also on a more recent release called UK Tour 75.)

The liner notes to this edition are quite excellent, among the best I have ever run into in a deluxe edition. As an added bonus, there is a page of notes from Joe Elliott, explaining the included remixes.

If you don’t want to bother with the deluxe, at least make sure you own Jailbreak.
5/5 stars

R.I.P. Clive Burr

CLIVE

Clive Burr (Iron Maiden) 1957-2013

You were awesome.  I have no words.

http://mssociety.ca/en/ MS Society of Canada

http://www.mssociety.org.uk/ UK Multiple Sclerosis Society

http://ultimateclassicrock.com/iron-maiden-clive-burr/ A recent article about Maiden’s charity work with Clive, and MS

REVIEW: Def Leppard – “Hello America” / “Good Morning Freedom” (single)

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HELLO AMERICA FRONT

DEF LEPPARD – “Hello America” / “Good Morning Freedom” (1980 Vertigo/Phonogram)

“Hello America” was the third of three singles from Def Leppard’s debut album, the first two being “Wasted” and “Rock Brigade”.  Like many kids in the late 80’s, I first heard the song “Hello America” on Def Leppard’s video anthology, Historia.  It was a weird video, with Rick Allen’s drums up front and the band in behind!  Nobody would ever say that this was one of Def Leppard’s all time best songs, but it’s catchy with a driving riff.  Joe Elliot hadn’t really found his voice yet.  This is standard hard rock, but not outstanding.  The guitar solo by Steve Clark is quite excellent.

Please note, Leppard’s first single for “Wasted” had an alternate recording of “Hello America” on the B-side.  This is not that version.  This is the standard album version.

The B-side, like the A-side, was produced by (Colonel) Tom Allom who had also produced Judas Priest’s British Steel around the same time.  “Good Morning Freedom” was not on the On Through the Night LP, however.  This is an exclusive track.  Just over three minutes long, “Good Morning Freedom” is a good song, much in the same vein as the rest of Leppard’s music at the time.  “Good Morning Freedom” (parsed as “Goodmorning Freedom” on the vinyl itself) is very New Wave of British Heavy Metal in style.  It almost sounds like an Iron Maiden B-side from the same period.  The track boasts a driving rhythm, rock-solid riff, but also another shaky Joe Elliot lead vocal.  Not an outstanding song, but most definitely collectible.  The tune is credited to Elliot, Clark, guitarist Pete Willis and bassist Rick Savage.  It’s notable for its Rick Allen drum intro.

Not a bad single, comes with a picture sleeve, and rocks harder than their later material.

3/5 stars

Def Lep playing “Good Morning Freedom” in Vegas as part of Viva! Hysteria

Part 171: VIDEO – Record Store Gallery

RECORD STORE TALES Part 171:  Record Store Gallery

Douchebag

GUEST SHOT: 30 Albums that Uncle Meat Thinks You Should Visit (Or Re-Visit) Part 1

By Meat

Music fans love lists.  Maybe it’s the Ten Best Bass Lines of the 1990’s or a list of the songs you wish you lost your virginity to.  I have always been a lists guy as the whole Sausagefest Top 100 thing would attest to.  So here is yet another list.  The albums listed below are not my favorite albums of all time, even though many of my favorites are included.  The point of this list is to possibly introduce to, or maybe even remind, this blog’s readers of 30 albums that I think need to be heard.  Maybe an album that in my opinion was under-appreciated.  Perhaps even an album that inspired me in some way.   Anyways, here are 30 albums that Uncle Meat wants you to visit … or re-visit.  They are in alphabetical by album title.  Enjoy

A EULOGY FOR THE DAMNED  –  ORANGE GOBLIN (2012)

I could have easily listed several other Orange Goblin albums here, but their latest album is an absolutely killer album.  Almost fusing some Black Crowes into their brand of Metal, these British stoner-rockers put out maybe the best Metal album of 2012.  And considering that there are only 3 albums on this whole list that were released before the year 2000, it feels good to actually get some new content in here.  The album ends with the title track, which almost plays out like its own Rock N’ Roll Western.   The band finally tours Canada for the first time coming up in spring of 2013.  As the late Billy Red Lyons used to say, “Don’t ya dare miss it!”

 

ACT III  –  DEATH ANGEL (1990)

Death Angel’s first two albums are pretty sloppy, sound-wise and in song structure.  Some very heavy moments, but at times it just sounds annoying.   On their third release, Max Norman (Megadeth) got his hands on them and it resulted in a polished sound and the best album of their career.  Gone were the high-pitched shrieks of singer Mark Osegueda that littered their first two records.  It really does seem that the band simply matured.  One of the best Metal albums of the 90’s indeed.  Definitely among the most progressive metal albums I can think of.  A must-have album for every true Metal fan.

 

ARGUS  –  WISHBONE ASH (1972)

It is fair to say that Iron Maiden and Thin Lizzy would never have the musical identity they have, if it wasn’t for Wishbone Ash.   Innovators in twin- lead guitar harmonization, this band never really got its due.  Interestingly enough, the sound engineer on this record is none other than Martin Birch.  Coincidence?  Meat thinks not.  I remember this album sitting in front of my Dad’s stereo for years when I was very young, and then seeing Star Wars and thinking that Darth Vader looked a lot like the guy on the cover of Argus. Check this album out and discover a part of where it all came from.   When you listen to the beginning of the song-clip included here, “Throw Down the Sword”, think “To Live is to Die” by Metallica.  Sounds like Lars and the boys were paying attention as well.

 

ARGYBARGY   –  SQUEEZE (1980)  

Think The Beatles meets The Clash.  The first two songs on this album are both stellar pop moments.  The melodies are McArtney-esque, and that is truly saying something.  “Pulling Mussels From a Shell” is pure song-writing genius.  “Another Nail in my Heart” is one of my favorite songs of all time.  Check out the incredible guitar solo in this song.  Funny enough, like the 2 previous albums listed, this was the band’s third album.  Maybe a trend is happening here.

 

BIG WORLD  –  JOE JACKSON (1986)

For Joe Jackson’s 8th release, he decided to go all out. An original studio album, recorded live in front of a New York City audience who were told to be silent throughout.  Capturing the excitement and spontaneity of a live performance, in which absolutely no post-recording mixing or overdubbing was done, this record is ambitious as it sounds.  It is all here.  You get Jazz, Pop, Punk and everything in between.  Jackson possesses one of the classic all-time voices.  When this double-album was released, it contained three sides of music, leaving the fourth side blank.  A landmark recording.

 

BLUE  –  JONI MITCHELL (1971)

This album came in at Number 30 on Rolling Stone’s Top 500 Albums of All-Time chart, the highest placing for any female artist.  So why is this album on this list?  Honestly because I still believe this album is truly under-appreciated.  Too many people do not realize how great this album is.  Simply, some of the best lyrics of all time are here.  If this album was any more personal it would contain a video of Joni Mitchell going to the bathroom.  Listen to this front to back when you want to feel like someone understands your pain.   A truly cathartic experience, when she played this album originally to Kris Kristofferson he was reported to respond, “Joni… You really should keep some of that to yourself”.  I am glad she didn’t take heed of his advice.

 

DOGMAN  –  KING’S X (1994)

It seems as soon as Brendan O’Brien (Pearl Jam/STP/Black Crowes) got his hands on King’s X, the band’s sound fattened up.  Thick, lush and pounding would be a good overall description of the sound on this album.  The songs are great too.  I saw King’s X at the legendary El Mocambo in Toronto and was standing literally beside Dimebag Darrell and the rest of Pantera.   While I love almost every song on this album, the title track is an absolute killer.  When the first Woodstock concert in 25 years began, it was King’s X who took the stage to kick it all off.  Check out this live performance from the old Jon Stewart show from back in the day and crank it.  One of my favorite youtube videos ever.

 

DUKE ELLINGTON & JOHN COLTRANE   –  DUKE ELLINGTON & JOHN COLTRANE  (1962)

This might be my favorite jazz album of all time.  Duke was 63 and Trane was 36 when this album was recorded.  With a running time of 35:05 this album is short and oh so very sweet.  Ellington’s “In a Sentimental Mood” starts this album off and it never lets up.   “Big Nick” is just a wonderfully happy shuffle.  True story: I once got so fed up with Metal that I became a Jazzatarian for a few months, listening to nothing but old school Jazz.  I started with John Coltrane and went from there.  I never did find a jazz artist after him that I enjoy more.

 

EL CORAZON  –  STEVE EARLE (1997) 

Simply put, this album is easily in my Top 3 albums of all time, of any genre.  True storytelling at its finest, El Corazon is a complete masterpiece.  It seems that sobriety allowed Steve Earle to realize how great of a songwriter he really is and on this album he branches out and removes any constraints of style.   Of all the 30 records included on this list, this is the one I am not asking you to check out, but I am TELLING you to check out.  Comparing the laid-back intensity of “Christmas in Washington” to the sheer power of “Here I Am” truly makes you appreciate the diversity of this record.   Steve Earle is THE man.  A lifetime Bro-mance going on here.

 

HEAD HUNTERS  –  HERBIE HANCOCK (1973)

Quite possibly the greatest jazz fusion record ever recorded. This record is a funk buffet.  Only 4 songs and all of them are great.  The YouTube clip here of “Watermelon Man” is the shortest song on the album, and is as original as it is velvety-smooth.  I find it hard not to do some sort of jig when this I hear this song.  “Chameleon”, “Sly” and “Vein Melter” complete one of the most influential jazz albums of all time.  Half of this album made 2012’s SausageFest countdown.  I suspect the other half will not be far behind.

Stay tuned for Part 2!

Part 164: “You scratch my back…”

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RECORD STORE TALES Part 164:  “You scratch my back…”

In the past, (Part 120, in fact) I talked about how T-Rev would keep his eyes peeled for discs that he knew I wanted.  It worked out to be a mutually advantageous arrangement;  a large chunk of my collection came to me simply because T-Rev knew I wanted something.  I’m sure the reverse was also true.  But this referred just to discs that showed up in our respective stores.

I had a different arrangement with “QUO”, who worked with me at my own store.  In this case, we’d actually buy each other stuff while we were out on our own record shopping excursions.  I found the following entries in my journal, illustrating exactly the kind of “you scratch my back…” arrangements that we had.  It was pretty awesome.

Date: 2005/10/25
16:26

Today I picked up a Bright Eyes 45, an Arcade Fire 45 for QUO, and the new Motley DVD since I didn’t see the tour. I hope the documentary footage kicks ass! The last Motley DVD (given to me by an ex) really sucked. Maybe Vince actually sings on this one instead of letting the fans do it all!

I actually picked up the Bright Eyes 7″ for QUO as well, but he already had it, so I just kept it for myself.  I don’t know which Arcade Fire I bought for him (it was probably “Rebellion”), but the Bright Eyes was “Gold Mine Gutted”.  (The Motley DVD I am referring to was Carnival of Sins.)

This was in return of a favour QUO did for me, one week prior!

Date: 2005/10/18
10:00

QUO picked up three CDs for me in Toronto last night:

1. Bon Jovi “Have A Nice Day” single (has two live tracks first released on the box set, but in studio versions).
2. Bruce Dickinson Tyranny Of Souls Japanese import with bonus track.
3. Iron Maiden “The Trooper” CD single.

I remember giving QUO a wishlist.  This was back when HMV Toronto still carried Japanese imports (which they no longer do, see rant here).  I remember putting Avril Lavigne CD singles on that wishlist too!

This is what obsessive Record Store Guys do.  We help each other out.  It’s in our blood, the blood of the collector!

REVIEW: Steve Harris – British Lion (2012)

STEVE HARRIS – British Lion (2012 EMI)

Add my voice to the chorus of people disappointed with British Lion, the debut solo offering from Iron Maiden’s visionary founder, Steve Harris.  It’s not just because it doesn’t sound like Iron Maiden, because I wouldn’t want it to sound like Iron Maiden.  It’s because Steve’s hired the most bland lead vocalist I’ve heard in many moons.  Mr. Bland’s name is Richard Taylor, and he lacks any sort of grit, power, or character.  I’m sure there was a method to Steve’s madness, and a reason he chose Mr. Bland to sing for him.  I’ll be damned if I can figure it out.

Steve self-produced this album, with Kevin Shirley mixing, and sonically it sounds good, especially the final track:  The lush “The Lesson” features strings and acoustics, and sounds great.  Unfortunately a good sounding production can’t inject life into these dull songs.

I hate to use such harsh language as “dull” and “bland” where Steve Harris is concerned, but I’ve played the album five or six times now, and I still can’t remember most of these songs distinctly.  There’s one standout:  the pop metal “Eyes of the Young”, which has a catchy chorus and is instantly memorable.  There are far more songs that are instantly forgettable:  the single “This Is My God”, for example, and the aforementioned “The Lesson” despite its production values.  “Us Against the World” isn’t bad, starting with keys and organ before some dual guitar harmonies kick in.  But then Mr. Bland opens his mouth.

Steve’s trademark bass is more groove oriented and less rinky-dink, which is fine.  He seems to gel well with the rest of the band, but unfortunately aside from some tasty guitar solos, the rest of the band is generic sounding and lack a distinct identity.  I lay most of that straight at the feet of Mr. Bland.  A really great singer could have injected some passion into these otherwise unremarkable songs.

A nice added touch:  The CD comes with mp3 copies, so you don’t have to rip to your portable device.  It comes in two forms:  mastered loud, and mastered very loud!

2/5 stars

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

5/5 stars