Iron Maiden

BOOK REVIEW: Paul Di’Anno – The Beast (2010)

Part 10 of my series of Iron Maiden reviews! Although this book came out in 2010, I decided to talk about Paul Di’Anno during the 1987 period, when Paul released his Paul Di’Anno’s Battlezone album, Children of Madness. This was the first time I heard any of Paul’s post-Maiden music.

PAUL DI’ANNO – The Beast (2010 John Black Publishing)

Paul Di’Anno, when not in jail for assault or disability fraud, is in a state of perpetual arrested development. Scattered among the cool rock stories about touring with Kiss and rocking the stage aside Steve Harris, Di’Anno is like a little boy who will never learn his lesson. Girlfriend after girlfriend, fight after fight, arrest after arrest, Di’Anno never seems to grow up. As if an apology makes up for it, he says he is “deeply ashamed of” a drunken incident when he repeatedly pummeled a woman half his size in the face. Di’Anno states that ,”if I could turn back the clock, I would,” but he also admits that it wasn’t the first time it happened.

Paul continues to snort and drink everything that passes his way, while bedding every “bird” and smashing every bloke that gets in his way. In the meantime, there’s this story in the background about this band he was in called Iron Maiden. He talks about singing Deep Purple’s “Dealer” and “All Right Now” by Free at his audition. He describes the feeling of helping to build this band, and it sounds like being in the center of a tornado. It doesn’t take long for fame to have its effect in a negative way.

Only two albums in, Paul sheds some light on his departure. There were musical differences as he did not like the polished, more progressive direction that the band was seeking. His heart was no longer in it, and he knew it. This seems to have manifested itself in bad behaviour, and deteriorating relationships. After a final gig in Copenhagen, Paul handed in his resignation. While he has nothing bad to say about the guy who replaced him, he has special praise for Adrian Smith, “the best all around guitarist that Maiden have had.”

I just wish this book was more about the music and less about the drinking, drugs, and fighting. It doesn’t take too long to realize that Paul Di’Anno isn’t much for self-improvement. He tells his story with several winks and smiles, and lots of laughs too. At this same time this there’s dark undercurrent of violence and underachievement.

The Beast isn’t what I’d call an inspiring read, but it’s raw and real. The man has loads of stories. Whether they’re your cup of tea is really up to you!

2.5/5 stars

Part 123 / NON-REVIEW: Iron Maiden – Missing Maidens! (Live!! +one and more)

Not really part of my series of Iron Maiden reviews.

There are a few Iron Maiden musical items that I’ll probably never own.  I know I won’t own all the singles, but that’s OK — The First Ten Years set, and the first 10 albums with bonus discs takes care of those songs.  There are rarer things to be discussed.  As I pause between Live After Death and Somewhere In Time in my review series, this is a good time to talk about a couple items.

IRON MAIDEN – Live!! +one (EP, 1980 Japan, 1984 Greece reissue)

This four song EP was released in Japan shortly after the “Women In Uniform” single came out.  It contains two songs from that single:  the title track, and the live version of “Phantom of the Opera” from the Marquee.

It also contains two live songs not available anywhere else:  “Sanctuary” and “Drifter” from the same Marquee show.  They’re awesome of course, if you’ve heard the early live Di’Anno stuff that I talked about in my Maiden reviews, then you can imagine these are just as good.  Di’Anno does his “yo, yo yo yo” thing on “Drifter”.

I have seen them go for around $100 on eBay.   This is definitely on my current “Holy Grail” list.

4/5 stars

IRON MAIDEN – Best of the Beast (1996 four-LP box set)

For this, I’m going to take a moment and slide into a Record Store Tale because this is one of those moments that I wish I could change!

RECORD STORE TALES PART 123:  Missing Maidens!

Trevor and I frequented record shows several times a year.  On one such excursion, we were in a Dr. Disc store.  It was in Hamilton, Ontario.  That same visit, the same Dr. Disc store even had Chikara, a rare Japanese Kiss compilation, on CD.  But I passed on that, and I passed on the vinyl edition of Best of the Beast, too….

You know those high shelves where they put the expensive items?  And you have to ask someone to get it down for you?  And they’d go to the back room and get a step ladder?  That’s where Best of the Beast was.

Back then, information about such sets wasn’t readily available.  I didn’t know it existed until I saw it.  If I did, I would have known that the vinyl version had an exclusive live cut of “Revelations”… not the live version from Live After Death!  This wasn’t immediately obvious from the back cover.  It is only today that I know this!

 

The vinyl version had plenty more music as well, including album cuts such as “Where Eagles Dare” and “The Prisoner”.  It also had the only official re-release of The Soundhouse Tapes ever, since the original 5000.   I had that bootleg copy of The Soundhouse Tapes and More so I deemed this to be a less essential purchase.  Especially for the $200 that Dr. Disc was asking.  But it was sealed, mint, brand new.

I recently saw one in questionable shape on eBay for $240.  Some joker on Amazon is asking $900 for sealed copies right now.

So, right now, odds do not seem to be in my favour of lightning striking twice.  I don’t know if I will ever have another chance to own this at a decent price in good condition.  Alas.  I wish I could turn back time!

REVIEW: Iron Maiden – Live After Death (1985,1996 bonus CD, 1998 remastered edition)

Part 8 of my series of Iron Maiden reviews!

IRON MAIDEN – Live After Death (1985, 1996 bonus CD, 1998 remastered edition)

…We shall go on to the end.  We shall fight in France, we shall fight on the seas and oceans, we shall fight with growing confidence and growing strength in the air, we shall defend our Island, whatever the cost may be.  We shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills; we shall never surrender!

With that dramatic, adrenaline pumping speech from Winston Churchill, Iron Maiden hit the stage, careening across the boards ripping to shreds the opening riff to “Aces High”, guitars cranked and perfectly captured by producer Martin “Live Animal” Birch! Live After Death may be the perfect live metal album.  Running over a mammoth 100 minutes (on LP anyway), it required specially skilled engineers to cut the vinyl, so long were the records!

I have played this album so many times I could review it in my sleep. I own three copies of it, each one for its own reasons (more on that later). Iron Maiden could very well have released this album and retired, and their place in metal history would have been secured. Great value for the price of a double live album, this was at the time one of the longest double live albums ever released, with not one second of precious vinyl wasted.  The package was loaded with photos and text.

Inside the gatefold

Recorded in Long Beach, California (you can tell by Bruce’s incessant shouting, “Scream for me, Long Beach!”) and the Hammersmith Odeon, the crowds are absolutely nuts for Maiden. This is one of the best recorded live metal albums of all time, thanks to Birch. The crowd is loud, the band is clear, and the harmony vocals of Adrian and Steve are perfectly audible.  I’m certain there’s overdubs on those backing vocals, they’re too perfect.  Whatever.  Do I like the album?  Hell yeah.

There are some tunes here that you don’t hear live very often, such as “Die With Your Boots On” and the 14 minute epic “Rime of the Ancient Mariner” (made even better with Bruce’s intro: “This is about what not to do if a bird shits on you!”). “Powerslave” is as powerful and dramatic as the original album version, glorious solo intact. There are a handful of key Di’Anno-era tracks, such as the single “Running Free”, the growling “Wrathchild”, and the band’s early opus, “Phantom of the Opera”. Indeed, this album is worth buying for “Phantom” alone, so rarely is this played. As for “Running Free”, this may now be the definitive version of that song.

(Note: the cassette version of the album edited out the long Bruce/crowd interplay.)

Here’s the three versions I own, and why:

1. Vinyl. This was what I bought back in 1985  (my first Maiden LP), and I still have it. The original vinyl was a gatefold sleeve enabling you to read all the hidden messages on the tombstones.  “Letit R.I.P.” was my favourite. Inside, the album unfolds with two fully coloured photo record sleeves and a generous booklet with liner notes from Birch and a complete list of every date on the tour. Also amusing was a list of everything they went through on tour, from guitar strings to cans of beer.

2. The 1998 remastered CD edition. The original CD releases everywhere were only one single disc, and comprised only the first three sides of vinyl, ending after “Running Free”. This CD version restores side 4 on a second CD, which included “Phantom” and “22 Acacia Avenue” among others — you can’t do without these songs!  It also includes a completely different set of photos from the album release, so that’s cool if you already have the vinyl.  No overlap.

3. The 1995 UK CD reissue of this album, which included all three B-sides. The “Running Free” single had two exclusive songs, which were “Sanctuary” and “Murdered In The Rue Morgue”, both with Bruce singing of course. The “Run To The Hills” single included the very rare instrumental “Losfer Words” which, as far as I know, was only played a handful of times and never again.

Briefly on the cover art:  You recall last time we saw Eddie was being buried.  Well, he seems to have recovered.  You can see the pyramid in the background.  How much time has passed?  Maybe we’ll find out next album….

If you don’t own Live After Death yet, then it’s time to fix that!

5/5 stars.

I’m going to pause here for a few days, as this seems a natural place to do so.  Not only does Live After Death summarize the previous 6 years appropriately, but the Iron Maiden that emerged after it would be a newly modernized Beast, “Caught somewhere in time…”

Inside the gatefold

REVIEW: Iron Maiden – Piece Of Mind (1983, 1996 bonus disc)

Part 6 of my series of Iron Maiden reviews!

IRON MAIDEN – Piece Of Mind (1983, 1996 bonus disc)

Exit Clive Burr.  Enter that hilarious crazed drum dynamo Nicko McBrain!  Surely one of the most beloved characters to ever grace an Iron Maiden album, the band decided to kick off Nicko’s first album with a drum flurry.  Like machine guns strafing the sky, Nicko opened “Where Eagles Dare” with a decidedly skillful salvo.

Piece Of Mind is one of Steve Harris’ favourite albums, and one of mine too.  Each of its nine songs is worthy of the album; no filler.  The subject matter is increasingly more interesting to me as well, as Steve punders history, literature and movies.  “Where Eagles Dare” was based on the classic Clint Eastwood film of the same name, and does not disappoint.  It is over six minutes of soaring vocals and solos, with the band riffing steadily behind it.

This is followed by one of Maiden’s epic slow tunes, and first ever Bruce Dickinson writing credit on a Maiden album, “Revelations”.  Almost seven minutes long, “Revelations” is lyrically complex and melodically incredible.  I recall one of my old highschool buddies, Andy Kandic, sang “Revelations” at a highschool audition because he wanted something that would blow the judges away.  This is one of Bruce’s best vocal performances ever, but not the last of his writing contributions.

The first of Bruce’s many collaborations with Adrian Smith is next.  The hit single “Flight of Icarus” is a shorter number, the type of hard rock song that Maiden occasionally pull out for use as a single.  Its chorus soars like the title character, without that annoying crash at the end!  This is certainly one of Maiden’s most memorable songs.

As if that wasn’t enough to exhaust you, Bruce and Adrian teamed up with Steve to pen “Die With Your Boots On”.  Right from first listen, this was one of my favourite Maiden tunes.  Loosely based on Nostradamus, the lyrics are great!  “In thirteen the Beast is rising, The Frenchman did surmise, Through earthquakes and starvation, The warlord will arise.”  But the bottom line according to Maiden is “The truth of all predictions is always in your hands!”  If you’re gonna die, die with your boots on.  Great song, great singalong chorus.

Side two is kicked off by one of the greatest Maiden songs of all time:  “The Trooper”.  This is one that has steadfastly remained in setlists, even through the Blaze Bayley years.  It’s a great example of the trademark Maiden gallop.  Lyrically this one is about the Charge of the Light Brigade, and the Crimean War.  This is where I think Maiden deserves some credit from the educational field.  Sure, a five-minute song is not going to sum up the Crimean War, but it got many, many kids into history.  My father was always impressed that I had interest and knowledge in history, partly thanks to Maiden songs.  He always encouraged me to listen to songs like “The Trooper”, and then follow it with some reading.


Dave Murray’s “Still Life” slows the pace, introduced by Nicko’s backwards Idi Amin impression!  Then it picks up, big time.  This haunting number is a story of possession, perhaps along the lyrical lines of “The Number of the Beast” and the later “Dance of Death”.  I love this song.  It was rarely played live, but can be found in live version on a later B-side.

“Still Life” is followed by two lesser known cuts.  Slightly less impressive than the rest of the album, “Quest For Fire” and “Sun and Steel” both blow away many songs by the average metal bands out there.  Both are short hard rockers, under four minutes in length, anchored by memorable choruses.  “Quest For Fire” is not surprisingly based on the film of the same name, but isn’t quite as exciting as the previous stories on this album. “Sun and Steel” though is a fencing number, of course written by Bruce with Adrian.  The protangonist killed his first man at 13, and goes on to live a life of battle with the blade.  This would not be Bruce’s last foray into fencing with his lyrics.

Finally, another long Steve Harris epic ends this album:  “To Tame A Land”.  Musically and lyrically very complex, it is based on Dune by Frank Herbert.  It is very, very difficult to sing along to this labyrinth of lyrics:  “He is the Kwisatz Haderach, he was born of Caledon, and will take the Gom Jabbar.”  Without reading the books, you’ll be lost.  After reading the books however, I thoroughly enjoyed this one.  Today this is one of my favourite Maiden classics.  It’s certainly hard to get into instantly, but once those tricky melodies and riffs burrow their way into your head, they are there to stay!

They couldn’t get permission from Herbert to use the name “Dune” as the title of the song.  Reportedly, when asked, his people responded, “Mr. Herbert does not like rock bands, especially heavy metal bands, and especially heavy metal bands like Iron Maiden!”  A shame that was, as “To Tame A Land” was the gateway drug for many to discover the delights of planet Dune.

On Derek Riggs’ cover art, Eddie has been lobotomized, chained up in a padded cell.  An open window and a disembodied hand tease him on the back cover.  This would have made a great gatefold sleeve!  I always imagined that Derek was sequentially trying to tell a story.  Previously, we saw that Eddie was pulling the Devil’s strings on The Number of the Beast.  But if you looked carefully, you would see that the Devil was really pulling Eddie’s.  Now Eddie’s been captured and lobotomized.  Further albums covers show Eddie’s burial, resurrection, cybernetic enhancement, and his offspring.  I like to think that there was a hidden narrative going on with the artwork.

The bonus CD contains the two B-sides from this album’s sessions, both covers:  Montrose’s “I’ve Got The Fire” and Jethro Tull’s “Cross Eyed Mary”.  “I’ve Got The Fire” was previously covered by the Di’Anno-led version of Maiden, but this version’s even better.  The solos and Bruce’s vocal brings the song to a whole new level, although it does lose some of Di’Anno’s punk-like reckless abandon.  “Cross Eyed Mary” is not my favourite Tull song of all time, but I’m not surprised that Maiden are fans!  This was probably a good choice, and Maiden do a solid job on it.

Not to overstate the obvious, but Piece of Mind is one of Maiden’s all time best.  5/5 stars

REVIEW: Iron Maiden – The Number Of The Beast (1982, 1996 bonus disc)

Part 5 in my series of Iron Maiden reviews!

IRON MAIDEN – The Number Of The Beast (1982, 1996 bonus disc)

One of Maiden’s greatest album covers happened to house a great album inside.  There was a segment of Maiden fans that were very much against the replacement of Paul Di’Anno, but Bruce Dickinson was undeniably the right man for Iron Maiden.  Formerly known as the ridiculously monikered “Bruce Bruce” of rival band Samson, Dickinson fit in quickly and triumphantly.

From the first song, “Invaders” (a history lesson on the Norman invasion), The Number Of The Beast does not disappoint.  “Invaders” is a storming opening, but not nearly the quality of the next number:  “Children of the Damned”.  Along the lines of the older “Remember Tomorrow”, this song proved why Bruce was the man for the job.  The dramatically powerful music is only enhanced by Bruce’s wail.  They nicknamed this man “Air Raid Siren” for a reason.  “Children of the Damned” still sends shivers up my spine…

Another classic, “The Prisoner”, follows.  Significantly, this is the first Adrian Smith co-write on the album, and in Iron Maiden.  He has three co-writes on the record, and Adrian’s writing lent a melodic hard rock side to the band.  His composition style is unique from the other members of the band, and identifiable.  “The Prisoner” starts with that famous intro:  “We want information… information… information!”  The band had McGoohan’s permission to use it, and effective it is!  It’s a catchy, singalong Maiden song, the kind of thing that worked great live.  And Bruce really delivers on that chorus.

Charlotte the Harlot makes her return on “22 Acacia Avenue”.  The lyrics boast, “You can tell her that you know me, you might even get in free.”  But it’s not as simple and straightforward as that anymore, as Maiden have grown musically, so have they lyrically.  Another character, perhaps a family member, turns up and asks Charlotte, “isn’t it time you stopped this mad life?”  But if you’re not paying attention to that because the song rocks so hard, I understand.  This one too bears the stamp of Adrian Smith who was no doubt responsible for those terrific riffs.

With the addition of Smith and Dickinson, the band had obviously grown and intensified.  But the next two songs, opening side two, blew the doors off.  “The Number of the Beast” and “Run To the Hills” were a double whammy:  two awesome singles in a row that would help send the band off into immortality.  I’m not saying that with a shred of hyperbole.  If you’re reading this and don’t know these two songs, then I don’t know what’s wrong with the world!

I won’t dwell on either song.  Yes, “Run To the Hills” is one that I never need to hear again, but I’m sure glad I heard it the first time.  It’s the song that got me into the band.  I absolutely loved the video for “The Number of the Beast”, and those chiming opening guitars.  Then Bruce screams, and we’re off to the races.  Great song, awesome video, funny too.  This is the kind of image that people have of Maiden, that persists forever:  Bruce, long red hair flowing like a precursor to Axl, that fringe of his in front, and those spiked armbands. Classic!

“Gangland”, the only unremarkable song on the album, is a co-write between Adrian and drummer Clive Burr!  My understanding is that with 20/20 hindsight, Steve would have preferred to have “Total Eclipse” on the album instead.  “Gangland” does have a good bridge, but is otherwise pretty stock.

Finally, “Hallowed Be Thy Name”.  I remember this was misspelled “Hallowed By Thy Name” on the old cassette that my buddy Bob had, so I thought that really was the name.  “Hallowed” was to be Steve’s new 7 minute epic, something he’d become known for.  “Hallowed” is one of the best epics, and something that absolutely required the vocals of Bruce Dickinson to bring to complete fruition.  Bruce nails that mournful slow opening, and then absolutely lets rip with some pretty intricate words.  Seriously, do you ever try to sing along at album speed?  I always trip up words somewhere.

“Mark my words, believe my soul lives on don’t worry now that I have gone, I’ve gone beyond to seek the truth.”

And to sing it at his volume with that much emotion?  Unbelievable.

And that’s the album.  The 1998 remasters tacked on “Total Eclipse” as a bonus track, and it’s here on my bonus disc.  This was the B-side to “Run To the Hills”.  My younger sister actually had this single and I don’t know why.  (Kathryn, comment below please!)  “Total Eclipse” was actually performed live, and can be found on the Eddie’s Archive box set.  It’s a mid-tempo rocker with a fast breakdown in the middle, come solo time.  It’s catchier than “Gangland”, and is also co-written by Clive Burr, with Dave Murray and Steve Harris!

The bonus CD this time only has two tracks.  That’s all they released at the time, two singles, two B-sides.  The second B-side is a stunning live version of “Remember Tomorrow” with the new guy singing.  I always prefer Di’Anno, because he co-wrote the song, for his voice, and made it legendary to start with.  But Bruce is no slouch.  Much like Dio used to sing Ozzy’s stuff with more skill and range, so does Bruce in this case.

You’ll notice one guy is absent in the writing credits:  Bruce Dickinson.   Due to lawyers and rigamarole with his old band, Samson, he wasn’t legally able to write with Maiden.  Don’t worry though, he’ll make up for it on the next album!

I don’t want to give Beast a perfect 5/5 score for two reasons.  One, “Gangland”.  Two, better things were still to come.  There has to be room for improvement.  Therefore:

4.7/5 stars

REVIEW: Iron Maiden – Maiden Japan (1981 EMI)

Part 4 of my series of Iron Maiden reviews!

IRON MAIDEN – Maiden Japan (1981 EP)

I don’t know exactly why, but some countries got four songs on this EP while others got five.  Something to do with what would be considered a single vs an EP.  Fortunately for me, Canada was one of the countries that got all five.

A cross section of the best songs from the first two albums, Maiden Japan (how can you not love the title?) was an almost instant love for me.   Expertly recorded by Maiden and Doug Hall, the EP breathes new life into “Running Free” and “Remember Tomorrow”, two songs from Iron Maiden.  Di’Anno’s screams are absolutely awesome.  By and large I often prefer these versions to the originals.

This EP was relatively easy to find here when I was growing up, so it was my first exposure to early Maiden aside from the “Women In Uniform” music video.   A lot of the time, if you hear a good live album first, that is the version that sticks with you through life.

This would prove to be Paul Di’Anno’s final release with Iron Maiden.  The band were already planning his replacement.  An early cover with Eddie decapitating Paul was quickly replaced with another, in light of these developments!

The original cover art

I know this was released on CD, I saw it myself.   It was with the 2 CD edition of Killers, Japanese import version.  Yet another item that I wish I’d splashed out for!

Lineup:  Paul Di’Anno, Steve Harris, Dave Murray, Adrian Smith, Clive Burr.

Changing vocalists proved to be the right move to Maiden; it launched them into a whole new world and tranformed them into a bigger, better Beast…

4/5 stars

REVIEW: Iron Maiden – Killers (1981, 1996 bonus CD)

Part 3 in my series of Iron Maiden reviews!

IRON MAIDEN – Killers (1981, 1996 bonus CD, EMI)

After the masterful introduction that was the first Iron Maiden album, the band jettisoned guitarist Dennis Stratton to get the guy that Steve wanted years before:  Adrian Smith.  An old buddy of Dave Murray, Adrian fit like a glove and the next album was recorded.

Written entirely by Steve Harris except for one Di’Anno co-write, Killers was also produced by Martin Birch.  Birch had already helmed the biggest and best albums by Deep Purple, and was more than capable of capturing the Maiden sound in the studio, unlike former producer Will Malone.

Popular opinion is split on Killers.  Some fans see it as a significant up-shift from the previous, others see it as inferior.  Both aruments hold water.  There is no denying that the partnership with Martin Birch created a better sounding album, one more consistent with the band’s live intensity.  The addition of Smith on guitar meant that you’re hearing a more unified sound, two guitar players in great sync with each other.  The songs are also harder and more intricate, with even more sections and changes.

While Killers is a good album in those respects, the songs were not as memorable this time out.  There are two scorchers on this record that are among my all-time Maiden favourites:  “Wrathchild” and “Killers” itself.  Then you have some second tier goodies like “Murders In The Rue Morgue”, “Innocent Exile”, and “Drifter”.  Beyond that, there’s little else here that would make my Maiden road tape.  I don’t know why, but time after time, listen after listen, year after year, the rest stubbornly refuses to grow on me.

Killers contains one ballad (“Prodigal Son”, which is almost like Iron Zeppelin) and two instrumentals (“The Ides of March” and “Genghis Khan”).  Oddly enough, one of those instrumentals, “The Ides of March” is identical to a song by rival NWOBHM band Samson, called “Thunderburst”.  The song was originally an Iron Maiden idea; Samson’s drummer Thunderstick was very briefly in Iron Maiden during the late 1970’s.  Samson’s singer was some guy called Bruce Bruce, known to his mum as Bruce Dickinson.

This picture disc edition of Killers came with a bonus CD containing all the associated non-album songs.  “Twilight Zone”, included here, is actually an A-side of a non-album single.  The US version of Killers had “Twilight Zone” on the album.  Its selection as a single ahead of something like “Wrathchild” seems strange with hindsight.  I never really liked the song that much, aside from Di’Anno’s screamy chorus.  This one was a Dave Murray co-write as well.

Another non-album single, the infamous “Women In Uniform” is also included.  This is the one that the band hated, a cover from a German band called Skyhooks.  I liked it because of my early association with the cheesey music video.  I wouldn’t call it a standout track, but I like it better than “Twilight Zone”.  This single acually pre-dated Killers, and Dennis Stratton is still on guitar.  Its two B-sides, “Invasion” and “Phantom Of The Opera (Live)” are both included.  “Invasion” is an improved remake of the song from the first EP, The Soundhouse Tapes.  It’s still not up to the standard of anything on album #1, but it’s still an entertaining tale of the Norsemen comin’, “raping and pillaging, robbin’ and lootin’ the land.”  An early Maiden history lesson from Steve Harris.

I’ll have to say something about Derek Rigg’s artwork as well:  Now we know what Eddie was up in that back alley on the last album!  No good, clearly, as he’s weilding a bloody hatchet, as a man’s hands can be seen grasping his shirt.  Behind Eddie, you can see a “kinky sex shop” and the Ruskin Arms, where many legendary Maiden gigs went down.  Is that Charlotte in the red window?

Rating Killers is very difficult.  It’s still better than most band’s best albums, yet it’s one of my least favourite.  Trying to be objective here, I will rate Killers:

3.5/5 stars

Also pictured below:  A bootleg CD from the tour called Another Live.

MOVIE REVIEW: FUBAR (2002)

FUBAR (2002, directed by Michael Dowse)

Ferrell Mitchner, an amature filmaker, wants to look at two locals who live the party life, fast and hard. Terry and Deaner are two “bangers” living in Calgary Alberta.  They shotgun their beers, vandalize stuff, and avoid getting a real job, and to them that’s just fine.  They live a worry and care-free lifestyle with a killer soundtrack behind them:  AC/DC, Iron Maiden, Thor, and original metal music too.

All’s not well in partyland though:  Terry and Dean’s best friend, Tron (Troy) isn’t hanging out with them anymore.  Things seem pretty dull in Calgary until Terry blabs to Ferrell that Dean’s got cancer.

And it’s bad cancer, too.  Testicular cancer.  While Dean acts like it’s a joke, his on-and-off girlfriend Trixie convinces him to get treatment.  For the sake of their daughter Chastity, Dean decides to go.  But not before one last massive blow-out party weekend.  Camping.  And Ferrell’s going to film the whole thing.

While the cancer aspect doesn’t sound funny, it does lend itself to many lines about Dean’s “giant nut”.  It’s the dense but lovable Terry and Dean who make this comedy work. Eternally quotable, Fubar is equal to or better than Trailer Park Boys’ dialogue.

Even though he cast some nasty fuckin’ evil shit on people, Merlin went to Heaven. That stuff’s real. Merlin was in King Henry’s court.

I liked this one, too.

Some of the best burgers I’ve ever had came from bowling alleys. Bowling alleys have some of the best cooks. Just because they work at a bowling alley, doesn’t mean they’re not gonna put some pride in their fuckin’ burgers.

The fact is, anybody who grew up in the 80’s knew somebody just like Terry and Dean. Dumb, but lovable and loyal, finding amusement in the simplest activities like farts, jumping fences and play fighting.  Terry and Dean are not unlike that guy down the street who wore his jean jacket even on the hottest summer days. Along the way, they encouter real Albertans like themselves, (like, actually real, as in these people didn’t know it was for a fictional movie) .   Guys who drink hard and party hard all weekend, waking at the crack of noon to do it all over again. While some would like to live in denial that such people exist, they’re out there, and they don’t give a shit what you think.

A big part of why this movie works is Paul Spence and David Lawrence.  Somehow they manage to give the characters of Dean and Terry just enough pathos, while keeping them genuine.

This is a truely awesome Canadian cult classic. It is a comedy with a real heart beating inside. Most importantly, it is only the beginning. Hopefully, you’ll want to see what adventures Terry and Deaner are up to when they move to Fort McMurray in Fubar II!

Bonus features are extremely high quality, with deleted scenes that should have made the final cut, and some hilarious commentary tracks.  I’m always a big fan of character commentaries.  The character commentary in this movie is hilarious.  Just as a sad scene is about to take place, commentary Deaner says:

I know I’m supposed to be sad because of what’s gonna happen…but this song’s so good, I can’t be sad.  (“Run To The Hills”)

Note:  You gain absolutely nothing by owning this on blu-ray vs. DVD.  The movie is supposed to look like they shot it with no money (which they basically did), and blu-ray actually looked worse in my opinion.

5/5 stars, just give’r.

Dean Murdoch Paul Spence
Terry Cahill David Lawrence
Farrel Mitchner Gordon Skilling

 

REVIEW: Iron Maiden – Iron Maiden (1980, 1996 bonus CD)

Part 2 in my series of Iron Maiden reviews!

IRON MAIDEN: Iron Maiden (1980, 1996 bonus CD, EMI)

Straight out of the gates, Maiden galloped onto the international scene, with their own sound and a debut album as strong as anybody’s.  An incredible album in fact, Iron Maiden had the benefit of containing songs that Steve Harris had been playing for years, in various incarnations of the band.  They were road tested and taut as muscle.

The cover by Derek Riggs depicts a prototypical, haunting version of Eddie.  But there he is still, roaring under the streetlight of some London back alley, probably up to no good.  This cover was re-painted for the 1998 remastered edition, but I think an original is always best.

Revised 1998 artwork

Although Harris despised punk rock, Iron Maiden is punk-like in its delivery.  While plowing through intricate riffs and time changes, they do so with the intensity of their punk rivals, feeling like they’re about to fly off the rails.  But they never do; Maiden were absolute pros even then.

Producer Will Malone did not capture the full-on Maiden sound, sonically.  It is however a step up from their EP, The Soundhouse Tapes.  Maiden would not find their studio sound until hooking up with Deep Purple/Rainbow producer Martin Birch, next album.

Every song is brilliant.  The opening wah-wah guitar intensity of “Prowler” warns away the timid, before the song trounces forward, propelled by Steve Harris and new drummer Clive Burr.  Paul Di’Anno is absolutely at his peak as a singer, with range, grit, and power to spare.  He throws it all into “Prowler”.

“Remember Tomorrow”, co-written by Paul, is a slow-burner, along the lines of those old slow Black Sabbath songs.  Paul sings his ass off, and if any one song was his showcase, I would say it has to be “Remember Tomorrow”.

The tempo picks up again with the first single “Running Free”, a song that I feel never peaked until released in a live verion.  Live, it’s faster and more intense.  In the studio, it feels like it never quite gets up to speed.  However, a classic song it remains, with Maiden’s first undeniable sing-along chorus.

7 minutes of “Phantom Of The Opera” closes side one of the original vinyl.  Steve’s first multi-part epic, this is the song that proved too difficult for many guitarists auditioning for the band.  Long time axeman Dave Murray could handle the material no problem.  Finding a second player proved difficult, until Dennis Stratton showed up and fit the bill.  “Phantom” proved to be his undoing nevertheless.  While the rest of the band were out, he overdubbed Queen-like choir vocals and guitar harmonies, which horrified Harris.  It wasn’t so much that Stratton had initiative and ideas to present, it was that they were so far off what what Steve’s vision of Maiden was.  Stratton proved to be the wrong fit, and this remains his only album with Iron Maiden.

Side two began with the instrumental stomper “Transylvania”.  This fades into a spacey ballad, “Strange World”.  “Strange World” is one of the most immediate songs on the album, perhaps because it’s different from the rest.  If I had to compare it to something else, it might be “Solitude” by Black Sabbath, but with guitars instead of flutes!  And solos too…Dave’s epic side of solo composition.

Dave’s first ever writing credit is up next, “Charlotte The Harlot”.  This fast one introduces the character of Charlotte, who turns up again in future Maiden songs.  This standout song is followed by the band’s signature closer, “Iron Maiden” itself.  I think it’s likely that this song will remain in Maiden’s sets pretty much forever.  Not only is the riff great, but the pace is absolutely perfect for headbanging!

The bonus CD comes with the associated B-sides for this album.  From the “Running Free” single, there’s “Burning Ambition”.  This is an early song that wouldn’t have fit on the album, as it is too much hard rock and not enough heavy metal for the album proper.  The bonus CD also contains the non-album single “Sanctuary”, another classic up there with “Iron Maiden”.  This song was slipped onto the US versions of the album.  It’s awesome of course!  Also from the “Sanctuary” single are live versions of “Drifter” and “I’ve Got The Fire”.  “Drifter” was another earlier song that would show up in studio form next album.  This version has Di’Anno’s reggae-ish “Yo, yo yo yo” singalong which I have always liked.  “I’ve Got The Fire” is an excellent Montrose cover, and not the last time Maiden would cover Montrose (nor this song)!

With an album this this under their belts, the future for Iron Maiden would be bright indeed.

5/5 stars

REVIEW: Iron Maiden – The Soundhouse Tapes

Part 1 of my series of Iron Maiden reviews! 

IRON MAIDEN – The Soundhouse Tapes (1979)

I do not own this EP in its original form, unfortunately.  I probably never will — there were only 5000 made, independently.  Maiden were one of the first metal bands to release an indi EP, and among the most successful. For now I’ll have to be content with the CD bootleg that I have, which is called The Soundhouse Tapes and More.  It’s a physical format, at least.  I think Trevor snagged this one for me, at his store.

The Soundhouse Tapes was Maiden’s first official release, a 3 song limited edition.  Guitarist Tony Parsons had just left the band and Maiden did the EP as a four piece:  Founder Steve Harris (bass), longtime guitarist Dave Murray, Paul Di’Anno on vocals and drummer Doug Sampson.

It sounds essentially like a well recorded demo.  The songs lack the energy, speed and fire of their live counterparts, but they are flawless blueprints.  “Prowler” is present with all its components intact, but without the cocky breakneck pace.  It sounds like Maiden were warming up, and perhaps in a sense they were!

Tracks:

  1. “Iron Maiden”
  2. “Invasion”
  3. “Prowler”

“Iron Maiden” and “Prowler” made the first album, and I probably don’t need to tell you how awesome these songs are.  These versions are inferior, but having said that, they still smoke most of the NWOBHM releases of the time.  “Invasion”, a somewhat lesser song, was destined to become a B-side later on.   Steve would revive the subject matter (the Norman conquest of England) and some of the lyrics later on too….

A fourth song, an embrionic “Strange World” with prototypical solos, was recorded but left unreleased for the next 17 years.  It finally came out on 1996’s Best Of The Beast.  As an added bonus to vinyl collectors, Best Of The Best contained a reissue of  the entire Soundhouse Tapes, but only if you bought vinyl.  Which I had the opportunity to do, but not the balls to spend that much in one place, and I blew it.  This remains the EP’s only official reissue, and will remain so for the forseeable future.

4/5 stars