kevin shirley

DVD/CD RE-REVIEW: Iron Maiden – Flight 666 – The Film – The Original Soundtrack (2009)

“Since their debut in 1980, Iron Maiden have become one of the biggest bands in the world.  With little support from radio or mainstream media, they have sold over 70 million records and played some of the most legendary concerts in rock history – including Britain’s Donington Festival, Rock In Rio, and Poland during the height of communism.  In 2008, they embarked on the most challenging and adventurous tour of their career…”  – Sam Dunn

IRON MAIDEN:

Flight 666 – The Film (2009 UM DVD)
Flight 666 – The Original Soundtrack (2009 EMI CD)

Supporting their newest compilation album, Somewhere Back In Time (released May 11 or 12 2008), Iron Maiden embarked upon a new kind of tour.  Lead singer and licensed pilot Bruce Dickinson wondered if there was a way for the band to buy a plane, modify it to carry all their gear and still have room for the road crew, and fly it from gig to gig.  As an added twist, Bruce often flew the plane himself.  The tour had to be captured on a documentary, so Sam Dunn and Scot McFadyen of Banger films took the job.

Since Somewhere Back In Time focused on the Dickinson albums from Number of the Beast to Seventh Son of a Seventh Son, Iron Maiden chose a setlist that (mostly) reflected this, with one notable exception.  The interesting thing about this setlist is, because there is only one song played from the Janick Gers era of Iron Maiden (which we’ll get to), he gets more solos on older songs than usual.  The final film was released theatrically, and later on DVD with a CD soundtrack.  The film featured 16 songs, each taped in a different city all over the world, from India to Japan to Brazil.  The concert footage was edited seamlessly into the documentary, but the DVD offers a second disc with the complete songs, unedited.  If you just want the audio experience, the 2 CD soundtrack has you covered.  Since the film had the songs in a certain order to suit the timeline of the tour, we will (mostly) follow the film song order for this review.  The CD features fade-outs between songs, since we all know they are from different shows.  This is the first and only Iron Maiden live album to date, to fade out from song to song.

Flight 666 was recorded over six weeks, from February 1 to March 16, 2008.  The film was released on April 21, 2009 with the soundtrack following on May 11, and the DVD on June 9.  With a running time of 113 minutes, the film made $233,193 at the box office.

1. “ACES HIGH” (Mumbai)

Cut to the airport, and Sam Dunn is boarding the plane Ed Force One.  Bruce is in his pilot’s uniform, and he explains how he came up with this idea to fly themselves on their own plane.  The plane had to be specially modified to carry the gear.  Guitarist Adrian Smith was skeptical.  Special authorization was needed and only came last minute.  Then, a wheel had to be replaced.  The road crew loved the luxury of it, and Dickie Bells gives the slovenly ex-colonial Canadians hell for standing there with their hands in their pockets.  First stop: India.  The band is completely mobbed by a crowd that has been waiting since 6 am.  “Wrathchild” can be heard at soundcheck.  The stage is just made of wood!

You can see a glimpse of the backstage prep before the band hits the stage.  Nicko walks to the stage in flip flops.  The show begins with “Churchill’s Speech”.  The “Aces High” song intro is the studio recording, before breaking into noticeably thicker live version (because of the three guitars).  Bruce in a toque, jumping and leaping everywhere!  He also enjoys playing a gong!  Davey and Adrian’s solo are both magnificent.  First song of the set, and Janick is already dancing!  Bruce’s voice is rougher and lower than Live After Death after 23 years past, and less melodic, but this is still a rather strong version of “Aces High”.

Bruce isn’t flying the plane in the next flight after the show; he is a passenger.  He is only allowed so many hours of work time if he is to fly the plane.  The band talk about manager Rod Smallwood, and they all do their Rod impressions.  Off to Malaysia and Perth Australia, before hitting Melbourne.

The song “Moonchild” is heard but not seen at this point in the film.  On the second DVD, it appears later, so we’ll pick it up then.

 

2. “2 MINUTES TO MIDNIGHT” (Melbourne)

“SCREAM FOR ME MELBOURNE!”   The crowd handles most of the chorus!  The Australians are absolutely nuts.  Bruce is in great voice.  Janick, dancing once again, twirling his guitar around his body,  irritating some and delighting others.  Adrian’s solo is more effects-laden than the album, but still the same notes.  Bruce and Steve run all over the stage, from left to right.  Top version of “Midnight ” – the best since Live After Death, in fact.

After the show, Adrian seems unhappy about the sound that night, but stresses that you have to push through for the crowd.  Bruce and Nicko praises Adrian’s ability to find all the right notes.

The band enjoys a day off, Adrian plays tennis with Wimbleton champ Pat Cash.  Nicko and Davey go golfing.  Steve brings his kids and enjoys family time.

 

3. “REVELATIONS” (Sydney)

Bruce comments that it took them a while to get to Sydney.  “WAKIE WAKIE!”  His vocals are powerful – no issue with the demanding song.  On this track, the triple guitar harmonies are…revelatory!  Bruce’s vocal is as passionate as it gets.  This is a top version of “Revelations”, second only to Live After Death.  Davey’s solo is like butter, and then Janick’s is sharp like a blade.  Nicko’s powerful right foot does what some drummers do with two bass pedals.  Bruce disappears backstage during the solos to re-hydrate.

 

4. “THE TROOPER” (Japan)

Bruce talks about his family heritage with the RAF.  On flying:  “You can never be the master of it.  It is a very humbling experience.”  There is an Eddie on the dashboard as they fly to Japan.  It is a place that Nicko has always wanted to visit.  The fans are polite and give gifts.  Backstage, Adrian plays some bluesy jams revealing his talent.  Dick Bell is constantly teased about retirement, and if this will be his last tour.  He is stern and hilarious.

For “The Trooper”, Bruce changes into the red coat waving the Union Jack!  The song is a tad faster but Bruce keeps up, and puts in an impressive powerhouse performance.  We’ve had a lot of live versions of “The Trooper” on their many live albums and singles, but this is a good one.  It’s cool when Bruce says “Hey Tokyo…”  The three guitars are blended really well here.  It is a pleasure to watch Davey bend his strings – wide, accurate and with great “guitar mouth” too.

Maiden fly to Anchorage Alaska, and then south to Los Angeles.  The palm trees are a stark contrast to the February snow!  Steve goes to the studio with Kevin Shirley. and works.  You can hear them listening to “The Longest Day” from A Matter of Life and Death.

 

5. “THE NUMBER OF THE BEAST” (Los Angeles)

Kerry King, Lars Ulrich, Scott Ian, Vinnie Appice, Tom Morello and Chad Kroeger are all at the star-studded gig.

Bruce is now down to a T-shirt.  His voice is pushed to the limits here, but he still manages a pretty great opening scream.  The pyro begins, and Bruce is once again leaping, and Janick is kicking up a storm.  Davey’s solo is wonderful when he extends that one note that he is prone to doing.  He really lets it ring.

Back on the plane, Bruce is flying once again and marvels at the change of seasons as they travel, as the jetlag sets in.  Off to Mexico!  Bruce senses there is always a sense of something exploding in Latin America when they arrive.  OLE OLE OLE OLE OLE!  MAIDEN MAIDEN!

 

6. “WASTED YEARS” (Monterey, Mexico)

A potential highlight of the film and sound track is “Wasted Yeats” from Somewhere In Time.   “It’s great to be in Mexico!” exclaims Bruce, as he playfully sits as the crowd cheers “ole ole ole ole ole”.   It’s cool to watch how Adrian plays the main guitar hook – a lot of open strings.  His solo has slightly evolved but it is now even better!  More energy, more shred!  It is skin-tingling when Bruce shouts out “ADRIAN!” and then Smith sings the next line: “So, understand…”   Later, he contributes vocals to the chorus: “Don’t waste your time always searching for those Wasted Years…”  He did write the song, after all.

Off to Mexico City.  Nicko describes Janick as a “lone soldier”, usually looking for an Irish bar.  Janick is also the jester, says Nicko.  Apparently has a degree in sociology.  He’s a free spirit and plays guitar as a free spirit, says Rod.  In Mexico, he explores a pyramid with Nicko.

 

7. “CAN I PLAY WITH MADNESS” (Mexico City)

Bruce’s voice is a bit rougher, but his huge sombrero is hilarious!  It’s so out of place!  This is a solid version of the song which is always challenging vocally.  Adrian’s presence on backing vocals improves the song over versions without him, such as Donington and A Real Live One.

Off to San Jose, Costa Rica. Maiden are playing a 27,000 seat football stadium.  Fans line the streets! The fans are a whole level above the rest!  They cannot imagine that Iron Maiden has come to Costa Rica , a once in a lifetime experience for them.  These people are truly starved of metal concerts like Maiden, and they are not shy about showing it.  Nicko goes golfing, but gets hit by a golf ball in the wrist.  Fortunately, a minor injury.  Nicko is the social side of Maiden, says Rod.

 

8. “POWERSLAVE” (San Jose, Costa Rica)

Bruce is wearing the full bird mask!  In full voice too!  SCREAM FOR ME COSTA RICA!  This version of the song thumps harder during the riff.  You can also hear keyboards providing backing melody.  Bruce riles up the crowd with a “HEY HEY HEY HEY!”, and this could be the second best version of “Powerslave” ever, after Live After Death.  Adrian’s solo is actually a very different version, a variation perhaps, of the album solo.  Still great, just new.

Iron Maiden now head Columbia, where soldiers are everywhere.  Bruce is very apprehensive, in case something goes wrong outside.  People camped out for days, sleeping under tarps waiting for Iron Maiden.  Security confiscates all food and all cameras.  There is a lot of tension in the air.

 

9. “RUN TO THE HILLS” (Bogota, Columbia)

Now Bruce is wearing a vest.  The crowd is mixed very loud in the chorus.  Davey’s wah-wah laden solo is cool, but otherwise this is just another version of “Run to the Hills”.  The crowd is what makes this version different as they are absolutely nuts.  One fan who caught Nicko’s drum stick is crying with emotion at the end of the show (during “Always Look on the Bright Side of Life”).  He thanks God, as other fans nearby weep in joy.

Nicko eats a pizza – says he likes the “sweaty feet” kind of cheese.   Off to Sao Paulo, Brazil next.  Bruce talks about their 1985 visit to Rock In Rio, and old video footage is shown from the televised event (which is also “Run to the Hills”).  Fascinatingly, there is a Priest who has a ministry in Brazil with 162 Iron Maiden tattoos.  He includes their lyrics in his sermons.  He named his son Steve Harris.  Incredible.

 

10. “HEAVEN CAN WAIT” (Sao Paulo, Brazil)

The band is seen playing football, and then we cut to the stage.  The football players have joined for the “Woah oh oh!” singing on “Heaven Can Wait”.   It’s pandemonium on stage, with dozens of people jumping up and down.  Janick takes the first guitar solo while Bruce hides behind a sarcophagus.  Bruce kicks the gong this time!  The triple guitars don’t seem to blend so well on the harmony solo, but Bruce is killing it on the vocals (aside from only singing “Heaven can…” most of the time.)   Janick’s solos are great here, defying those who call him second rate.  Again, Nicko’s right foot is doing the work of two feet.

The band continues to travel through South America for several more gigs, into Buenos Ares, Argentina.  They are greeted by fans at the airport once again.  Fans following them around 24 hours a day and it gets to be a bit much for Adrian.  He wants peace and quiet when he’s at the hotel, but fans are a mob at the front door.

 

11. “FEAR OF THE DARK” (Buenos Ares, Argentina)

This is the one and only song that does not fit into the Somewhere Back In Time era.  Why was it included?  It probably serves a dual purpose:  to give Janick a song from his era on this tour, and because it has become a concert staple.  The Argentinians don’t seem to mind.  The crowd are almost louder than the band.  Though we have many versions of “Fear of the Dark”, this one is solid.  Janick’s single harmonic note is always a favourite part.  The way the crowd blends with Bruce on the chorus is powerful.  Dickinson is in great voice, and you can hear every delicious pick scrape on the guitars.  This is a solid go-to version.

Off to Chile, and once again the fans are over-the-top crazy to see the band, mobbing them at the airport and making the national news.  At one point, Iron Maiden were banned in Chile for “Satanic” lyrics, so this is a big deal for the fans.

 

12. “IRON MAIDEN” (Santiago, Chile)

Bruce creates a neat muffled voice effect by singing “SCREAM FOR ME SANTIAGO!” into a paper drinking cup.

Out comes the Somewhere In Time Eddie!  You can see the guy controlling him too, with a massive remote.  Nicko is particularly pounding on this version of “Iron Maiden”.  Janick throws guitar in the air, and twirls it around, which the South Americans don’t seem to be complaining about.

 

13. “MOONCHILD” (San Juan, Puerto Rico)  Full song on CD and DVD disc two

Contrary to other live versions, the acoustic intro is live this time, not pre-recorded.  The usual synth part is re-created on guitar with an echo effect, by Adrian.  A unique version unlike the prior ones, and Steve is killing it on the bass, too.  Thge bass is  very prominent in the mix.  This is a great version of “Moonchild” and a delight to fans of Seventh Son era Maiden.

 

14. “THE CLAIRVOYANT” (Curitiba, Brazil)  Not in film at all – only on CD and DVD disc two

A fan makes it on stage and is promptly escorted off, you can see Bruce mouth “Who’s he?” to the audience.  The opening guitar harmonies are rich with the three guitars, and Bruce is in strong voice, bellowing the verses.

 

15. “RIME OF THE ANCIENT MARINER” (New Jersey)

Back to North America.  This the other show highlight.  “Rime” has a heavier riff with the three guitars.

Bruce is now dressed in a black cloak, spending a lot of time on the ramp over the drum kit.  This is the song he was most excited to revisit.  It really is a dramatic scene, and the fans are clearly psyched to hear this song again.  Keyboard accents (in spots) are added to provide a melodic backing.  There are loads of explosions and after the middle section is finished.  Quite a spectacle!  Adrian throws in a brand new tapping section into the guitar solo.  The triple harmony part at the end of the solos is thick, fresh and exciting.  Never before have we had this with three guitars.  A landmark version of the song.

Bruce is interviewed by Eddie Trunk.  He explains that they are doing this setlist for new, young fans who never got to hear these songs before.  Bruce notes that their audience keeps getting younger.  He doesn’t mention backlash to the Matter of Life and Death tour, which featured the new album played live in its entirety, but that probably also impacted their seasons to “play classics” this time.

Finally, onto Toronto Canada!  The CN tower can be clearly seen as they land in snowy Toronto.  Last show.  They did it.  It’s a successful tour.

 

16. “HALLOWED BE THY NAME” (Toronto)

SCREAM FOR ME TORONTO!  The atmosphere is electric as the fans clap along, and sing the opening section.  The beautiful harmonics on the guitar by Janick add texture.  Once the song picks up, everyone is leaping in the air.  Bruce is in great voice here, hitting the higher notes, and clearly putting 100% into his performance.  One of the heaviest versions of “Hallowed” available.  A good go-to live version of the song.

That’s the album, and that’s the film.  We go out to the end credits music:  Monty Python’s “Always Look On The Bright Side of Life”.

 

Taken as an album, this is a top three Iron Maiden live album.  Taken as a film, it is for fans only.  Unlike other metal documentaries, there is not much in terms of narrative or drama.  Nicko being hit by a golf ball, and Adrian complaining about mobs is as dramatic as it gets.  Who cares?  It’s Iron Maiden.  It’s a fascinating trip around the world in under two hours.   To be able to be a fly on the plane bulkhead wall with Iron Maiden is the whole point.

5/5 stars

 

50 Years of IRON MAIDEN episode 26: Dance of Death with Lana Teramae

50 Years of IRON MAIDEN episode 26:  Dance of Death

With special guest Lana Teramae

GRAB A STACK OF ROCK #127

Brave New World was a new beginning for Iron Maiden, but the real test to any reunion (or new lineup, for that matter) is “can they do it twice”.  Dance of Death was Iron Maiden’s chance to repeat or exceed.  The road-seasoned lineup was hot with new ideas and got back to work with Kevin Shirley producing once again, but the new album was no re-hash.  The band pushed boldly on.

Joining us for the first time on Grab A Stack of Rock is Lana Teramae, an old friend and writer for Metal Express Radio.  Time zones once again collide in new ways, as Lana is the only guest from the state of Hawaii to ever join us!  Harrison and I have not worked with Lana since our old show (the LeBrain Train), so it is wonderful to have her on with us once again.  Her interviews with many of our heroes on Metal Express Radio might make us jealous, but when we started this series we wanted to include Lana.  She chose Dance of Death of the albums up for grabs.  In her words:

Check me out on Grab A Stack of Rock with Michael Ladano and Harrison Kopp as we discuss one of my favorite Iron Maiden albums, Dance of Death! The episode is set to premiere on YouTube on Friday, November 28, at 2:00 p.m. Hawaii Standard Time. I’m nowhere near as educated as these lovely gentlemen when it comes to Iron Maiden. I was just there for moral support!

Lana offered a new perspective that we have not often seen on the show:  that of a fan that is not a “super-fan” like Harrison and myself.  Lana may prefer Judas Priest to Iron Maiden, but she brings a new voice to the series and several insightful observations on this album that might be considered one that sometimes falls through the cracks.

After finishing an exhausting discussion on the 11 album tracks, we break down every B-side from the three singles:  “Wildest Dreams” (including DVD single), “Rainmaker” (Japanese CD single with two extra tracks), and “No More Lies” (boxed single with unlisted bonus track).  There is a lot to talk about with these B-sides as they included rare Iron Maiden jams, exclusive live versions, and unusual remixes.

As usual, Harrison takes us through the tour, though not too too much, since we will cover the live album Death on the Road in a future episode with special returning guest Jex Russell.  And, of course…we have to address the atrocious cover art.

On a personal note, this was the final episode recorded at the cottage in the 2025 season.  Will 50 Years of Iron Maiden still be going when we re-open in April 2026?  It might be possible as there is still a flurry of albums, live records, singles and compilations left to go.

Join Mike, Harrison and special guest Lana Teramae tonight.  We always try to comment along with you.

Friday November 28 at 7:00 P.M. E.S.T., 2:00 PM Hawaii Standard Time.  Enjoy on YouTube.

Past episodes:

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50 Years of IRON MAIDEN episode 25: Visions of the Beast featuring Bob Cesca from Camp Chaos

50 Years of IRON MAIDEN episode 25:  Visions of the Beast featuring Bob Cesca from Camp Chaos

GRAB A STACK OF ROCK #124

Back in 1999/2000, a little video called “Napster Bad!” went viral.  You know it, you shared it, you loved it.  Well, not Harrison because he was not born yet.  Bob Cesca (founder of Camp Chaos) created that video and many others, including official music videos for bands such as Motley Crue, Yes, and…Iron Maiden!

Bob is a talented jack of many trades, and also a massive Rush fan.  In this effortless interview, Bob tells us everything you wanted to know about him and Iron Maiden.  2003’s Visions of the Beast double DVD was a massive collection, and Camp Chaos did six music videos for it.  These videos mixed animation with the original familiar music video footage.  We break them all down in detail, including how to access the Easter Eggs.  How was he contacted by the Maiden camp?  How much input did Iron Maiden have on his creative process?  Why did he choose certain Eddies and settings, and how did he decide what to edit out of the originals to make way for animation?  It is a fascinating trip back in time, as current events impacted some of the videos, even though the songs themselves were oldies.  Hey…are there 10 ME-109s out of the sun…or not?

Bob also answered all our non-Maiden questions, such as why James Hetfield and Lars Ulrich have no noses in “Napster Bad”?

After Bob had answered all our questions, Harrison and Mike took a deep dive on the rest of the contents of the DVD set.  If you owned Visions of the Beast back in the day, own it now, or not yet…you will want to pop it in after this episode.

Please welcome Mr. Bob Cesca to Grab A Stack of Rock, and 50 Years of Iron Maiden!  Join us at the premiere in the comments tonight – we love interacting with you!

A big thanks to Tim Durling for introducing us to Bob!

Friday November 7 at 7:00 P.M. E.S.T.  Enjoy on YouTube.

Past episodes:

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50 Years of IRON MAIDEN episode 24: Eddie’s Archive and Edward the Great

50 Years of IRON MAIDEN episode 24: Eddie’s Archive and Edward the Great

GRAB A STACK OF ROCK #121

Post-Brave New World, Iron Maiden were back on top.  With the struggles of the 1990s well behind them, Iron Maiden forged forward with new releases such as Rock In Rio, Edward the Great, and Eddie’s Archive.  Rock in Rio was a double-live, the likes not seen since last Bruce was in.  We covered this in our previous episode.  The latter two were Iron Maiden collections aimed at two very different groups of fans.

Edward the Great was a “hits compilation” aimed at new fans.  As a single disc compilation, it was limited by its length, and an interesting selection of tracks.  As a whole, it offered nothing besides new artwork for the seasoned Iron Maiden fan.  They were advised to save their money and buy the massive, limited edition Eddie’s Archive instead.

The Archive was a generous six-disc collection of three:

Discs 1 & 2 – BBC Archives.  We covered the first four songs in this set on our debut episode of 50 Years of Iron Maiden, so we won’t be tackling these again tonight.  These discs span professional BBC recordings from 1980 to ’88.

Discs 3 & 4 – Beast Over Hammersmith.  Episode 6 of 50 Years of Iron Maiden was dedicated to this double-live album, so there is little need to repeat our praise.

Discs 5 & 6 – Best of the B’Sides.  We already critiqued all of these songs on the relevant albums, so our commentary here is focused more on value to the fan.

Mike and Harrison will break down the above releases, including Edward the Great, and have lots to show as well.  The goodies on display include two complete Eddie’s Archives:  One pre-ordered and delivered back in 2002, with rear sticker still intact, and one “Archive of Theseus” that Harrison will explain the origins of.

This magnificent metal episode is brought to you by the letter E, not to mention Mike and Harrison.  Please check out the premiere tonight if you can!  We love to interact in the comments section.

Friday October 17 at 7:00 P.M. E.S.T.  Enjoy on YouTube.

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🅻🅸🆅🅴 50 Years of IRON MAIDEN episode 23: Rock in Rio

50 Years of IRON MAIDEN episode 23: Rock in Rio

Special 🅻🅸🆅🅴 Episode

GRAB A STACK OF ROCK #120

It was with great joy that we anticipated Iron Maiden’s first live album since Donington 1992:  Rock In Rio!  A decade had passed, and with it, three new studio albums, all of which are represented in the live set.  The new six-man Iron Maiden lineup was on fire, and little did we know it would become the most stable lineup in the band’s history.  Though they had released live B-sides from the Ed Hunter tour, Rock In Rio was the first full live album with the new lineup, and of course, new songs!  We even got a live DVD out of it.

In Rio, Iron Maiden played to approximately 250,000 people; the second largest crowd of their entire career, only topped by the 350,000 people who saw them in Rio in 1985.  They hit the stage with a setlist generous on new songs, classic hits, and respectful nods to the Blaze era.

Harrison and I will break down the album, produced by Kevin Shirley, track by track in tonight’s special live episode.  Don’t miss this one as we always enjoy interacting with the comments, and we can do this best when we are live.

Much like Iron Maiden, we are best when we are live.  Check it out tonight!

Friday October 10 at 7:00 P.M. E.S.T.  Enjoy on YouTube or Facebook.

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50 Years of IRON MAIDEN episode 22: Brave New World with Davey Cretin

50 Years of IRON MAIDEN episode 22:  Brave New World

Special Guest:  Davey Cretin from Cretin Classics

GRAB A STACK OF ROCK #118

How do you move on from a special interview with former Maiden frontman Blaze Bayley?  By going to the next album, of course!  After the wildly successful Ed Hunter reunion tour, the new six-man Iron Maiden lineup of Bruce Dickinson, Steve Harris, Dave Murray, Janick Gers, Adrian Smith and Nicko McBrain were tasked with creating a new Iron Maiden studio album.  With new producer Kevin “Caveman” Shirley at the boards (whom they tested out on “Wrathchild 1999” – see Episode 21), the band had to capture their classic sound with modern production and a new three-guitar configuration.

The band toiled away in the studio as fans speculated.  Finally we were given a preview of the new Maiden sound on the first single “The Wicker Man”.  This was followed by the rapturous release of Brave New World on 29 May 2000.  Together, with the legendary Davey Cretin of Cretin Classics, Harrison and Mike break down the album’s 10 tracks in incredible detail.  You simply will not find a better analysis of this album anywhere else on the internet.

We don’t just dive deep into the album.  As usual, you can expect us to tackle all the live B-sides from “The Wicker Man” and “Out of the Silent Planet”.  We will also look at some very rare CD singles, including the elusive remix of “The Wicker Man” with additional lyrics.  We will also have a good look at the album and singles artwork, and even a special edition DVD of the Wicker Man movie with Edward Woodward and Sir Christopher Lee.

Before we’re done, Harrison will take us through the Brave New World tour, the setlists and the performances.  Expect the level of detail, analysis and pure love that you have come to know from 50 Years of Iron Maiden.  It’s all here as we enter the brave new world of the Maiden reunion era!

 

Friday September 26 at 7:00 P.M. E.S.T.  Enjoy on YouTube.

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REVIEW: Dream Theater – “Hollow Years” (1997 CD single)

DREAM THEATER – “Hollow Years” (1997 Warner Music Germany)

I always found something about 1997’s Falling Into Infinity to be underwhelming.  Yes, we had the stunning Doug Pinnick cameo in “Lines in the Sand” and a wickedly heavy “Burning My Soul”, but the album didn’t have the same impact or longevity as Awake or Scenes From a Memory.  It wasn’t for lack of effort.  They recruited Desmond Child and Kevin Shirley, and released singles.  The album never broke the top 50 in Canada and received mixed reviews.  A later-released demo version of the album revealed what the band would done if not influenced by Shirley and Child.  One of those demos was first released on the 1997 “Hollow Years” single.

First track on this single is a 4:15 edit of “Hollow Years”, with more than a minute and a half edited out.  The shame is that it didn’t become an instant hit.  With the Spanish guitar melody and subtle keyboard accents, it could have and should have done better for the band.  There is a very pretty piano melody after the chorus by Derek Sherinian, in his last of two outings with Dream Theater.  Yet it’s still Dream Theater, not some ballad band.  John Myung’s fretless bass sets it apart, and Mike Portnoy is always Mike Portnoy no matter the style of music.  The premature fade on the edit version, however, is extremely annoying.  Even if you don’t already know the song, it sounds like a premature fade.  The ending is so good; a song highlight!  The full length version, uncut and as intended, is really the only version to listen to.

“You Or Me” is a version of “You Not Me” from the album, before Desmond Child helped them tweak it.  It opens with the sound of a radio changing stations, and then a cool synth rhythm.  John Petrucci’s riff soon kicks in, and it’s clear Dream Theater were trying new things that might be perceived as more appealing.  Ultimately, the version that ended up on the album is probably the better of the two.  It’s definitely catchier.

The final track is “The Way It Used To Be”, a long non-album song with a Marillion-like guitar melody.  It could have been lifted directly from Seasons End.  Petrucci is the star on this one, as he also employs cool harmonics.  Definitely a cool and valuable bonus track.  If it wasn’t almost eight minutes long with plenty of musical prowess, it might have been a worthy hard rock hit on its own.

Great little CD single, but those edit versions are never as cool as they are collectible.

3.5/5 stars

REVIEW: Iron Maiden – Senjutsu (2021)

IRON MAIDEN – Senjutsu (2021 Parlophone)

Out of the wild blue yonder, Iron Maiden have returned with a new album to allow us to temporarily escape from our pandemic woes.  Once again, it is a 2 CD monster, boasting 82 minutes of music.  With only 10 songs, you can do the math and figure out that most are long-bombers.  The tunes recall all sorts of flavours of Iron Maiden, from Seventh Son to Virtual XI and the Dickinson reunion era.  New influences emerge as well, on this beefy but steadfast Maiden album.  Maiden turned a corner on The X Factor, incorporating quieter atmospheric sections with the riffing, and Senjustu utilizes this technique on many of the tunes.  Senjutsu might be the most Blaze-era-like of the Dickinson albums.

This time Maiden have gone for a Samurai motif with the album artwork, and this is reflected in the opening title track “Senjutsu” (Smith/Harris).  Only the second time, after The Final Frontier, that Maiden have opened with a title track.  It actually has a similar vibe at first to that opener, with stomping drums (which tie into the lyrics).  Nicko McBrain is a superstar on this album.  Then Bruce Dickinson heralds his own return with an exotic melody and still powerful lungs.  Range be damned, he goes for it on every song.  “Senjutsu” is a varied track that relies mostly on a pounding rhythm and is a little different from typical Maiden.

Onto a short 5:00 firecracker, “Stratego” (Gers/Harris) is like a Brave New World song.  To the point, steady gallop, heavy on melody.  Heavy keyboard backing, which is consistent on Senjutsu.  An album highlight if only because there are so few short songs, but strong regardless.

First single “The Writing On the Wall” (Smith/Dickinson) opens with a western motif, a new side to Iron Maiden.  It’s a little drawn out for a single, and takes a few listens to digest.  You could almost say it’s closer to Led Maiden.  In the latter half, Adrian Smith rips out one of those solos that is almost a song unto itself.

Long bomber “Lost In A Lost World” (Harris) unfortunately recalls Spinal Tap’s “Clam Caravan” at the outset.  At the 2:00 mark it drops the Tap and gets to the riff, which is a kicker.  The song meanders a bit, perhaps a little too much, recalling some the Blaze-era’s musical excesses.

“Days of Future Past” (Smith/Dickinson) sounds like reunion-era Maiden, hooky and wailing.  It’s the shortest tune at only four minutes and wastes no time getting to the point.  The effective Smith riff forms the bones of the song, in the tradition of something like “Wicker Man”.

The closer on disc one is called “The Time Machine” (Gers/Harris) and is not based on the movie, nor is it typical Iron Maiden, at least until the gallop returns.  The vocal melody is quite different and keyboards are prominent.  This track could work really well live for those times they want to get the crowd bouncing.

The sound of seagulls and crashing ocean set the stage for “Darkest Hour” (Smith/Dickinson).  Dark, understated, and brilliantly performed by Bruce.  Summoning all the panache he can muster.  The chorus goes full power, and Smith’s solo is something else, a mini composition.  Then Dave Murray comes in with a complementary one, as good as any the duo did in the 80s.

Senjutsu might be defined by its closing trio of songs, all in excess of 10 minutes and all written by Steve Harris.  Indeosyncratic Harris songs, and if you know Iron Maiden then you know what to expect.  Bass intros, soft keyboards, gentle guitar and bashing riffs!

“Death of the Celts” sounds like a sequel to “The Clansman” from Virtual XI (both songs written by Harris).  It lacks the unforgettable cry of “freedom!” but instead has a glorious long instrumental section, and some incredible guitar solo work from Janick Gers, Dave Murray and Adrian Smith in a single row.

A different kind of dark bass intro brings us “The Parchment”, then WHAM!  A riff blasts you in the face.  It’s a little exotic and a lot Iron Maiden.  Think “To Tame a Land” without the Kwisatz Haderach.  Of the Steve epics on this album, “The Parchment” might be the most perfect.  It is definitely the longest.  A big part of its being is a series of great Janick guitar solos, but also a sense of tension.

Finally, “Hell On Earth” is a remarkable closer, as the music goes on and on for a while before Bruce starts singing.  But that music is awesome — textured, powerful, and memorable.  Then Bruce delivers a melody a little left of center, and the song becomes another Maiden classic to be enjoyed years from now, every single time.  So much packed into 11 minutes.  The Maiden March, some wicked Murray soloing, riffs and more.  The total package.  It fades out, and that’s the album.

Janick Gers really shines on this album, as his solos repeatedly jump out of the speakers on tracks like “Stratego”, “The Parchment” and “Death of the Celts”.  Sadly there are no Dave Murray co-writes this time.  Dickinson continues to impress, as he staves off the ravages of time better than many of his contemporaries.  Nicko is a relentless machine, and Adrian and Steve turn in performances as good as the ones they are famous for.

Senjustu, the surprise album that we didn’t see coming, is Iron Maiden doing what they do.  There are a few twists and turns, but this is the album we would have expected from them if we knew they were making one!  There are fans who miss the old days and wish Maiden would put out an old fashioned heavy metal album one more time.  They tried that once with No Prayer for the Dying and it didn’t work.  Maiden have been a metal band with a foot in progressive rock for a long time now, and they show no interest in abandoning this direction.  Long songs with Maidenesque writing and structure is what you will get.  And most of us will just be grateful for it.

4.5/5 stars

REVIEW: Smith/Kotzen – Smith/Kotzen (2021)

SMITH/KOTZEN – Smith/Kotzen (2021 BMG)

Had this album come out 30 years ago, it might have been called Smith/Curran.  According to our good pal Andy Curran from Coney Hatch, Iron Maiden’s Adrian Smith has been looking for a project like this for quite some time.  The right partner arrived with soulful singer/songwriter/shredder Richie Kotzen.  As heard on the nine-track debut, everything clicked.  It was Smith’s wife Nathalie that introduced the two.  Friendship turned to jamming, and jamming turned to writing and recording.  We owe Nathalie a huge debt of rocking’ gratitude.

Fans of Kotzen, either via his solo work or the Winery Dogs, won’t be shocked by what they hear.  It is the Maiden fans who are in for an adjustment.  Not that Smith/Kotzen is wimpy — it isn’t at all — but it is vastly different from the traditional metal that Maiden peddle in.  This is a soul/blues/rock fusion from the heart.

None of the nine songs should earn a “skip” in your player.  Each one boasts a wicked blend of guitars and voices.  Who would have thought that two players and singers, so different in style, would mix so naturally?  You can usually pick out who is playing what, but it all works as one monolithic gestalt.  The whole thing is brilliant.  You can choose your own peaks, because everyone will have their own favourites.

“Running” should be an uptempo high point in anyone’s scorebook.  On the opposite end of the spectrum is the power ballad “Scars” (if you want to call it that).  Over six minutes with heartfelt playing and harmonizing over a slow riff — pigeonhole it any way you like.  The guitar tones on this album are rich and sometimes trippy.  Fans of both guitarists are in for a tour-de-force of feel.

Another high water mark is “Glory Road” which may be a slower blues, but boasts a melodic power chorus that you can imagine Iron Maiden pulling off successfully.  That gives way to a wicked series of solo trade-offs that blow the mind and punch the gut all at once.  But if you really like Maiden, there is no way you will not recognize the one and only Nicko McBrain on the Purple-y “Solar Fire”.  (The drums on the rest of the album are performed by Kotzen and Tal Bergman, which Richie and Adrian share bass duties.)  Picture the Coverdale/Hughes/Blackmore vibe.  An album highlight, “Solar Fire” is as hot as the stellar eruptions it’s named for.

Pick a song — “I Wanna Stay”, “Some People”, “Taking My Chances”, or “‘Til Tomorrow”  — all are excellent choices.  Smith/Kotzen has nine remarkable tracks to choose from.  They’ve all been road tested, and given fair play at home and on the porch.  Though they vary in tempo and direction, all nine promise excellent, memorable melodies and powerful playing.  This is an album for the summer of 2021 — an album we need.

4.5/5 stars

Just Listening to…Aerosmith – Nine Lives

It’s been a while since we’ve been “Just Listening” to an album here, but this one’s always good for a revisit.  The last truly great Aerosmith album was 1997’s Nine Lives.  I stand by that, because it’s a killer album.  We reviewed it back in 2015, so if you’re looking for a more in-depth analysis, check that out.  Today we’re just appreciating an album that is too often overlooked for the strengths it has.

The heavy stuff was heavy enough, and the ballads had balls.  Songs like “Nine Lives” and “Taste of India” are juggernauts.  Drummer Joey Kramer really took them to the next level, which is remarkable since he was sidelined for part of the making of the album.  His partner in rhythm, bassist Tom Hamilton, is also on top of things with his lyrical bassline meanderings.  You’ll rarely find a better guitar tag team than Joe Perry and Brad Whitford, but Steven Tyler’s words are also noteworthy.  The guy is a poet with a dirty mind, and Nine Lives has some of his better lyrics.   “‘Cause love is like the right dress on the wrong girl, You never know what you’re gonna find.”

Most people think of Pump or Get a Grip as the last decent Aerosmith.  Although it didn’t have as many great singles, Nine Lives is actually a better album than Get a Grip.  It has less filler, and rock fans don’t really care about singles anyway.  The fact is, from beginning to end, Nine Lives is just a smoother ride.