GETTING MORE TALE #792: The Summer of ’93 – Live Album Explosion
Keeping up with new releases is challenging for anyone. Today, every band is releasing a box set, live album, compilation, EP, or even (gasp) new material! This is not a new phenomenon. As a young collector in an earlier time, 1993 was particularly challenging. I was suffering from “live album burnout” due to a number of double lives that year. I dutifully picked up the most important ones to me, as much as I could afford.
I plotted things out. The first batch of live albums on my radar that year were as follows:
Four of my favourite bands in one brief chunk of time, with two of the four being doubles. I had to budget this out somehow.
I’m not sure when I bought Van Halen’s album, but I most likely bought it first. The dual CD set was at Costco for thirty-something bucks so I put it in the cart. I know it was early in the year because I remember listening to it in the car while driving to school for final exams, which occur in April. Specifically I remember listening to the live version of “Cabo Wabo” on my way there.
I found the Van Halen album underwhelming. Too much stuff from For Unlawful Carnal Knowledge and some clattering solos made it a struggle to finish in one sitting. Sammy Hagar would later comment that the album sucked because too much of it was re-recorded in the studio. I just thought it was a drag.
Kiss were (and are) my #1 band, so I dutifully bought it as quickly as I could. I didn’t get it on the day of release (May 18), but I do know the exact date that I purchased it: May 20. I know this because I remember that we had to get home from the mall (Fairway Park Mall’s HMV store) in time to catch the series finale of Cheers. I got the free poster with my cassette copy. I chose cassette for strategic reasons. Double live albums were a bigger investment, so I liked to get those on CD. I was already starting to distrust the cassette tape format. I’d hate to buy a double cassette set and have one of the tapes go bad. Alive III was a single tape, so I went for that and stayed with that until I got a double vinyl reissue a couple years later.
The Ozzy was a limited edition package. I needed that special grille cover with the two “tattoos” inside. I couldn’t afford it so I put it on my birthday list. I accompanied my mom to HMV to make sure she got the right one. Killed the surprise, but also the anxiety of not getting the exact version I “needed” for my collection!
Ozzy Osbourne had already supersaturated the market with live albums, and his was tedious to listen to. I gave it more it than a fair shot, as I wanted to really hear how Zakk approached the live versions differently than Randy or Tony had. It was an exercize that paid minimal dividends, wading through minute after minute of numbing “extra extra crazy” Ozzy monologues.
I decided to hold off on Iron Maiden as long as I could. The idea of a single disc live Maiden album was a little off-kilter for me. An album of tracks from 1986-1992 didn’t sound all that appealing to me. Maybe I should wait until the second disc, due in October, came out so I could listen to both equally. Maybe I should skip A Real Live One entirely. The album seemed a hasty entity, being released so Maiden could tour to support new product. The cover art was also lo-fi sketchy, compared to predecessor Live After Death.
Good or bad, I decided to hold off on Maiden for the time being. I had enough live metal to digest anyway.
Kiss was the only album I was happy with, though it was clearly an inferior offering to Alive I and II. Unlike Osbourne, it wasn’t too long, and kept the filler to a minimum.
When the next batch of live albums rolled out, I was weary.
Testament – Return to the Apocalyptic City EP – summer 1993
The Bon Jovi live disc came with a pricey special reissue of Keep the Faith, a limited edition. I immediately put that one on my Christmas list and did my best to pester my mom into buying it. I had to make a decision about the others. I scratched Satriani and Testament off my list. They weren’t going to be priorities this time.
As for the final call on Iron Maiden? The decision was made for me when I found Live at Donington, once again at HMV. What was this? It looked like a bootleg, but wasn’t. It had no liner notes. Absolutely bare minimum packaging. Nary an Eddie in sight. It was a “limited edition“, and a double CD with a complete concert. The easy choice was to buy this instead of the other two albums. For the time being, at least. I finally did get all three albums, when I was working at the Record Store, in 1996. The Boxing Day sale enabled me to get both live Maidens and the recent Tesla greatest hits for a reduced price. It took me three years to get ’em!
That busy 1993 list doesn’t include live home videos released that year (Ozzy, Van Halen, Bon Jovi, Kiss) or the albums that I didn’t even know about (Live Cult). I had to draw the line and audio has always been my priority over video.
Too much is too much, and in 1993 we just had too much.
Do you remember what live albums you bought in 1993? Comment below!
WHITESNAKE – Slip of the Tongue(originally 1989, 2019 (6 CD/1 DVD 30th Anniversary Rhino box set)
There’s a theme you may have noticed every time we review a Whitesnake box set: David does it right.
Here’s another one: Coverdale cares.
Slip of the Tongue gets the super-deluxe treatment this time, the third of the “big three” to go that way. This is the album that divided fans the most. Replacing Vivian Campbell was none other than ex-David Lee Roth stringbender Steve Vai.
“What the hell would that sound like?” we all wondered.
Longtime Whitesnake fans felt it was a step too far into the world nebulously defined as “hair metal”. Others loved the guitar mania inside, with Vai stretching out in ways different from his prior bands. Not the “definitive” Vai record that they still wanted (and would get a year later), but certainly a platter they could sink their teeth into. And it was a weird reason that Steve was playing on Slip of the Tongue at all.
As you’ll see from a feature on the included DVD (“A Look Back: Whitesnake Chronicles with DC and Adrian Vandenberg”), the album was written and thoroughly demoed with Adrian. They wouldn’t need a guitarist until it was time to tour. At this point, Adrian injured his wrist and was unable to finish. Steve Vai and David Coverdale found that they got along famously and the seven-string wizard brought his unique and advanced stylings to the blues-based Whitesnake.
What the hell would it sound like?
It sounds absolutely mental.
With the benefit of now hearing all the demos that Adrian laid down, it’s obvious Steve Vai didn’t just pick up his guitar and play the parts. It’s clear right from opener “Slip of the Tongue”. Compare the album to Adrian’s demos on the other discs. Vai changes one of the chord progressions to high-pitched harmonics, and, let’s face it, improves the song. Elsewhere there are unique trick-filled runs and fills that add another dimension to the music. If Whitesnake was always 3D rock, Vai upped it to 4. The guitar work is blazingly busy, never cliche, and always to the advancement of the song. With all respect to Adrian Vandenberg who wrote these great songs, Steve Vai was more than just icing on a cake. Slip of the Tongue arguably sounds more a Vai album than Whitesnake, even though he didn’t write any of it.
The beauty of this set is that if you’re more into ‘Snake than alien love secrets, you can finally hear the purity of Adrian’s vision in the multitude of early demos included.
Unfortunately, if you’re familiar with the album you’ll hear something’s up by track 2. “Kitten’s Got Claws”? That song used to close side one. What’s up? The album running order has been tampered with, and so has “Kitten’s Got Claws”. It’s now missing the Steve Vai “cat guitar symphony” that used to open it. It could be a different remix altogether. My advice is to hang on to your original Slip of the Tongue CD. You’re probably going to still want to hear the album and song as they were.
This running order puts “Cheap An’ Nasty” third, a song that structurally resembles the ol’ Slide It In Whitesnake vibe. Of course Vai’s space age squeals and solos modernized it. Listen to that whammy bar insanity at the 2:00 mark! Up next is “Now You’re Gone”, a classy rocker/ballad hybrid that has always been an album highlight. The demos on the other discs allow us to hear how much this song was improved in the final touches. That cool answering vocal in the chorus, and the hooks that Vai added, came much later. Strangely, this box set puts the other ballad, “The Deeper the Love”, up next. Keyboard overdubs made it a little too smooth around the edges, but a good song it remains.
The Zeppelinesque “Judgement Day” is a track that used to piss off some fans, who felt it was an abject rip off from “Kashmir”. The Vai touch of sitar (replacing guitar in the early demos) probably aided and abetted this. Regardless it succeeds in being the big rock epic of the album, and a favourite today. Another strange choice in running order follows: “Sailing Ships”, formerly the album closer. It’s quite shocking to hear it in this slot. Again, Vai replaced guitar with sitar, and David goes contemplative. Then suddenly, it gets heavy and Steve takes it to the stratosphere.
“Wings of the Storm” used to open side two; now it’s after “Sailing Ships”. Some tasty Tommy Aldridge double bass drums kick off this tornado of a tune. Vai’s multitracks of madness and pick-scrapes of doom are something to behold. Then it’s “Slow Poke Music”, a sleazy rocker like old ‘Snake.
The new version of Slip of the Tongue closes on “Fool for Your Loving”, a re-recording of an old classic from Ready An’ Willing. The new version is an accelerated Vai vehicle, lightyears away from its origins. Coverdale initially wrote it to give to B.B. King. Vai is as far removed from B.B. King as you can imagine. The original has the right vibe, laid back and urgent. This one is just caffeinated.
The only album B-side “Sweet Lady Luck” is the first bonus track on Disc 1. By now it is the least-rare B-side in the universe, having been reissued on a multitude of Whitesnake and Vai collections. Valuable to have to complete the album, but easy to acquire. It’s basically a second-tiered speed rocker with the guitar as the focus. Other B-sides from this era were remixes, and they are included here as well. The Chris Lord-Alge mix of “Now Your Gone” is the kind that most people won’t know the difference. Vai said that Lord-Alge could make the cymbals sound “like they have air in them.” Then there’s the “Vai Voltage Mix” of “Fool for Your Loving”, which has completely different guitar tracks building an arrangement with way, way, way more emphasis on the instrument. The rest of the disc is packed with four more alternate remixes: “Slip of the Tongue”, “Cheap An’ Nasty”, “Judgement Day” and “Fool for Your Loving”. These mixes have some bits and pieces different from the album cuts. Vai fans will want the alternate solo to “Cheap An’ Nasty”, though it’s less whammy mad.
Of course, “Sweet Lady Luck” wasn’t the only song that didn’t make the album. In old vintage interviews, Coverdale teased the names of additional tracks we didn’t get to hear: “Parking Ticket”, “Kill for the Cut”, and “Burning Heart”. They’ve been safely buried in Coverdale’s vault, until now. Additionally, it turns out that Whitesnake also re-recorded a couple more of their old songs: “Ain’t Gonna Cry No More” and “We Wish You Well”. They’re all here in different forms on the demo discs.
Perhaps “Kill for the Cut” would have been one dirty song too many for the album. It ain’t half bad, and has a unique little bumpin’ riff. “Parking Ticket” had potential too. Rudy Sarzo gave it a pulse that might have taken it on the radio. The 1989 monitor mix would have been perfect for B-side release. Why did Cov have to hold out on us all these years? “Burning Heart” was a special song, a re-recording of an old Vandenberg track that David really loved. Unfortunately the monitor mix is is only a skeleton of what could have been a sensational Whitesnake ballad. “Ain’t Gonna Cry No More” is heavily modernized, with keyboards sounding like they were trying to recapture “Here I Go Again” (which they were). “We Wish You Well” is more contemplative, with piano as the focus.
All of this previously unheard material is scattered over several discs. “Evolutions” (Disc 3) is a familiar concept to fans of these box sets. Demos from various stages of completion are spliced together into one cohesive track. You will be able to hear the songs “evolve” as the band worked on them. Every track from the album plus “Sweet Lady Luck”, “Parking Ticket” and “Kill for the Cut” can be heard this way. Disc 4 is a collection of monitor mixes with all the album songs and all the unreleased ones too. These discs are the ones that allow us to really hear the album the way it would have been if Adrian didn’t hurt his wrist. We would have got an album that sounded a lot more like Whitesnake. It was audibly different even if familiar.
Perhaps the best disc in the entire set is “A Trip to Granny’s House: Session Tapes, Wheezy Interludes & Jams”. It’s just as loose as it sounds. Enjoy the funk of “Death Disco”, the funkiest David’s been since Come Taste the Band. If you’ve always wanted to hear David sing “Tie a Yellow Ribbon ‘Round the Old Oak Tree”, now you finally can! There’s a lot of goofing off in some of these tracks, but also a lot of rock. It’s live off the floor as they rehearse the songs, as a four piece band with Adrian. Not all the final lyrics or solos are set, but the songs are so raw and fresh. Some of the jams show a side of Whitesnake we rarely got to see. Kind of Purple-y in the way they just could take off and rip some blues.
Given all the rich audio extras, it’s OK if one of the CDs is a little impoverished. That would be disc 2, “The Wagging Tongue Edition”. This is a reproduction of an old promo CD, featuring the album Slip of the Tongue with a Dirty David interview interspersed. This was meant for radio premieres. It has the entire album in the correct order, but because it’s faded in and out of interviews, it’s really not a substitute for a proper copy of the original album. At least the vintage 1989 interviews are interesting. It saves collectors from buying a copy on Discogs. (Coverdale claims “Judgement Day” was originally titled “Up Yours Robert”. Ooft.)
There’s another disappointment here and it’s difficult to forgive. In 2011, Whitesnake released the long awaited Live at Donington as a 2 CD/1 DVD package. This brilliant performance finally gave us a permanent record of Whitesnake live with Vai. In our previous dedicated review, we had this to say:
Musically, it’s a wild ride. It’s not the Steve Vai show. Adrian gets just as many solos, and his are still spine-tingling if more conventional. It is loaded with ‘Snake hits, leaning heavily on the three Geffen albums. In fact there is only one pre-Slide It In song included: The Bobby “Blue” Bland cover “Ain’t No Love in the Heart of the City”. And, since it is also the pre-grunge era, there are plenty of solos, which today seems excessive. Aldridge does his drum solo at the end of “Still Of The Night”. Vandenberg gets his “Adagio for Strato”/”Flying Dutchman Boogie”. Most excitingly, Steve Vai performs two songs from his then-brand new (and top 40!) album Passion And Warfare: “For The Love Of God” and “The Audience Is Listening”, with Aldridge on drums. Coverdale even introduces him as “Mr. Passion and Warfare!” so I imagine there was no sour grapes that Vai’s album was doing so well. And lemme tell ya folks — the audience WAS listening, and going nuts too!
Unfortunately, to save a little bit of plastic, this set was reduced to a single CD for its inclusion here. The Vai and Adrian solos were cut, though Tommy’s drum solo in “Still of the Night” is retained. To cut the guitar solos in such a guitar focused boxed set is not only unwise but unforgivable. Fans who don’t have Live at Donington are going to want to shell out again just to get the solos. Fortunately, the whole show is uncut on the included DVD.
The DVD has plenty of added value; it’s not just a reissue of Live at Donington. You’ll get the three music videos from the album (“Now You’re Gone”, “The Deeper the Love” and “Fool for Your Loving”). There’s even a brand new clip for “Sweet Lady Luck” cobbled together from existing video. Then, you can go deeper into the album. The aforementioned sitdown with David and Adrian is really enlightening. Another behind the scenes feature narrated by David is fantastic for those who love to watch a band create in the studio. Coverdale’s not a bad guitarist himself.
These Whitesnake box sets also include ample extras on paper. There’s quite a nice miniature reformatted tour program with the majority of cool photos. A large Slip of the Tongue poster can adorn your wall, or remain safely folded up in this box. Finally, there is a 60 page hardcover booklet. This is a treasure trove of press clippings, magazine covers, single artwork, and more. Lyrics and credits wrap it all up in a nice little package.
Because we know that David puts so much into these box sets, it’s that much more heartbreaking that this one is so slightly imperfect. The shuffled running order and lack of guitar kittens on “Kitten’s Got Claws” is a problem. The truncated live album is another. It means I have to hang onto old CDs that I was hoping to phase out of my collection in favour of this sleek set. Alas, I’ll keep them as they are my preferred listening experience.
Otherwise, in every other way, this box set delivers. It makes a lovely display next to its brethren and it justifies its cost.
Sit down Sykes fans, because I’m a Vai kid and this is “my” Whitesnake. The fact that this lineup existed at all is miraculous. The most creative guitarist of all time joining one of the most successful commercial rock bands at the peak of their popularity? Recipe for, at the very least, interesting history. And absolutely perfect box set fodder.
So here we are buying Slip of the Tongue for at least the third time, and finally getting it (mostly) right. At a quick glance, it appears the only detriment to buying this box set is that you will not get the complete Live at Donington concert on CD. In order to fit the whole thing on one CD (disc 6), they axed all the solos. Let’s face it folks. When your band includes Steve Vai, you don’t cut the solos. You’ll have to shell out for the original triple disc Donington set to get them on CD. The good news is that the whole Donington concert is still here on video, on a fully-packed DVD (disc 7). (The DVD also includes a detailed interview with David Coverdale and Adrian Vandenberg, touching on Adrian’s mysterious 1989 wrist injury.)
The running order of the songs on Slip of the Tongue, the 30th anniversary remaster, has been slightly shuffled. It’s strange and off-putting enough that I’m keeping my old copy of the album, so I can still listen to it the familiar way. “Sailing Ships” isn’t the last song? “Fool For Your Loving” is. The bonus track versions included, with alternate solos and guitar fills, are stunning additions. Then there’s an entire CD, the “Wagging Tongue” edition, with the songs in the correct order but interviews with David interspersed. This is a reproduction of a vintage 1989 promo CD, for contemporary perspective. Disc 3, the “Evolutions” CD, is a favourite. The “Evolutions” series of tracks, now a Whitesnake reissue trademark, mixes early demos with later demos and and even later versions, so you can hear the tracks evolve as you listen. It’s deconstruction and reconstruction in one. Importantly, you finally get to hear what the album would have sounded like before Steve Vai came in to record it. Disc 4 includes 16 monitor mixes, including some superior rarities. Finally, after 30 years of waiting and teasing, we get the unreleased tunes “Parking Ticket”, “Kill for the Cut”, and “Burning Heart” (originally by Vandenberg). We also get “Ain’t Gonna Cry No More” and “We Wish You Well”. Verdict? Worth the wait. Oh, so worth the wait! There’s no reason some couldn’t have been released as B-sides in 1989, and they should have! “Parking Ticket” has a neat Van Hagar-like, and could have been a summer hit.
Disc 5 is “A Trip to Granny’s House”, actually the name of a rehearsal studio they used. These funny tapes, “Wheezy Interludes & Jams”, are informal fun. A highlight is the funky “Death Disco”, not unlike some of the stuff Purple were doing with Tommy Bolin towards the end. These tracks predate Steve Vai’s involvement, so you’ll get the purity of Adrian’s original playing.
I look forward to investing more time with this box set. Let us hope that David continues to empty the vaults. Next up: Restless Heart?
“Satan’s work is done Donington!” – Bruce Dickinson
IRON MAIDEN – Live At Donington August 22nd 1992 (1993 CD, 1998 remastered edition)
I imagine if Bruce remained in the band, Maiden probably wouldn’t have released three live albums in one year. But they needed time to regroup and figure out what the hell to do next. In the meantime, as if to say, “We’ll be back!” Maiden released Live At Donington August 22nd 1992.
A much better recording than its two predecessors (A Real Live One and A Real Dead One), it’s a very special set. It’ll never be Live After Death (that’s impossible) but this is one of the finer Maiden live albums to come down the pipe. I mean, just look at the first three songs! A smoking “Be Quick Or Be Dead”. An absolutely devastating “Beast” (I like that they threw it in early). A surprising “Wrathchild”, one of the best Maiden songs of all time.
Then I get a little disinterested — “From Here To Eternity” is not a personal fave, and “Can I Play With Madness” is flat sounding again, just like on A Real Live One.
“Wasting Love” is better. The dual guitar harmony is a little off, but it’s live, what you hear is the way it was. Bruce pushing his voice to the breaking point. The mix is nice here. You can hear Nicko’s drums beautifully and both guitars clear as a bell.
A fiery “Tailgunner” takes us out of ballad territory and back into traditional Maiden: pumping guitars and lyrics about good ol’ WWII. I like when Bruce sings, “No more bomber just one big bomb, hey hey, whooo! Pussshhhttt!” as if to imitate the sound of a bomb going off!
Then, “The Evil That Men Do” lives on and on. Bruce urges Donington to scream for him; they do and he responds with a solid “Fuck yeah!”
Incidentally, does anyone know why Bruce always seems to sing the words to this song wrong, live? This album and A Real Live One, he sings:
“And I will pray for her,
Someday I may return,
I will bleed for her,
If I could only make her learn.”
The actual lyric on the album is:
“And I will pray for you,
Someday I may return,
Don’t you cry for me,
Beyond is where I learn.”
Anybody?
Bruce then introduces the modern war ballad, “Afraid To Shoot Strangers”. I think this is one of Maiden’s greater songs, at least once it gets going into that awesome guitar melody…and then another one after that!
The first CD of Donington closed with “Fear Of The Dark”. Interesting — playing this one halfway through the show, and not the end! How things would change, as this song became more and more of a classic. The Donington version is great, I love Janick’s pinch harmonics. The remastered CD loaded four more songs onto disc one from here, freeing that space off disc two for video content. I’m only mentioning this because depending on which version you have, your disc may end on a different song. But I think “Fear Of The Dark” may as well close the disc, as it’s a perfect place to pause!
“Bring Your Daughter” was up next. I can always pass on this song, although the redeeming factor are the wild and crazy guitars! I could do without the singalong intro, but the fans at Donington are sure into it!
The brilliant “Clairvoyant” pumps the crowd up once again. Once again, Janick crazies-up the guitar work making the whole thing more manic.
“Heaven Can Wait” of course was the big singalong song, I just wish they’d play something else from Somewhere In Time instead of this number. Although I do like it when Bruce allows Nicko to have a word. “Oiiiyyyeeeee!” This is followed by “Run To The Hills”, which indicates we’re getting closer to the end. Personally I’m tiring of this song, and the guitars sound too thin.
“2 Minutes To Midnight” serves as a reminder of the great tunes that Bruce and Adrian used to write together. Great riff (even if poached from “Wildfire” by Budgie), great song. Funny: As a kid, I loved “Hills” and didn’t really like “2 Minutes”. Now, I really love “2 Minutes”, but I’ve heard “Hills” just too many times.
Then: four classics in a row. “Hallowed”, “Trooper”, “Sanctuary”, and “Running Free”. “Hallowed” is still one of the very greatest Maiden tunes of all time, and in many ways I think it’s better live. In particular, the Live After Death version is great. But Bruce sings his teeth into this one too, and it’s just that much better for it. Once again, I can hear some tasty pinch harmonics in the opening. Is that you Janick? Guess I’ll have to wait until this show comes out on blu-ray in 2013….
“The Trooper” is of course pummeling as ever, and “Sanctuary” a welcome rarity from the earlier punkier days. I like when Bruce introduces Nicko as “old Flatnose himself”.
“Running Free” though was very special indeed, and a harbinger of things to come.
Adrian came out and joined the band for this one, a special appearance at a special gig. For years I had no idea: It’s not like you can really understand what Bruce is saying when Adrian comes out, perhaps overcome with emotion! This really was a preview of the most beloved, long-standing Maiden lineup of all time: Bruce, Steve, Nicko, Davey, Janick, and Adrian. It would be seven years before they played together again, but here’s the first.
The cover art and packaging was decidedly bootleg: A plain white cover with a Maiden logo stencil and the title in sloppy typewriter font. No booklet at all. Thankfully, this was rectified with Mark Wilkinson’s poster art, used for the remastered cover art. The remaster did indeed feature a full booklet packed with photos, and some live video stuff that may or may not work on your current machine.
And thus ends Live At Doningon, and thus ends the last album with this lineup. It would be uncharted waters forward, as Maiden began the audition process for a new lead singer for the first time in a decade.
But there would be one more special show. One more release to talk about: Not an album, but a video. Next time, we’ll talk about Bruce’s final show, called Raising Hell, featuring the decapitation of the band’s lead singer!
I’m not sure when I bought Van Halen’s album, but I most likely bought it first. The dual CD set was at Costco for thirty-something bucks so I put it in the cart. I know it was early in the year because I remember listening to it in the car while driving to school for final exams, which occur in April. Specifically I remember listening to the live version of “Cabo Wabo” on my way there.
Kiss were (and are) my #1 band, so I dutifully bought it as quickly as I could. I didn’t get it on the day of release (May 18), but I do know the exact date that I purchased it: May 20. I know this because I remember that we had to get home from the mall (Fairway Park Mall’s HMV store) in time to catch the series finale of Cheers. I got the free poster with my cassette copy. I chose cassette for strategic reasons. Double live albums were a bigger investment, so I liked to get those on CD. I was already starting to distrust the cassette tape format. I’d hate to buy a double cassette set and have one of the tapes go bad. Alive III was a single tape, so I went for that and stayed with that until I got a double vinyl reissue a couple years later.
The Ozzy was a limited edition package. I needed that special grille cover with the two “tattoos” inside. I couldn’t afford it so I put it on my birthday list. I accompanied my mom to HMV to make sure she got the right one. Killed the surprise, but also the anxiety of not getting the exact version I “needed” for my collection!
As for the final call on Iron Maiden? The decision was made for me when I found Live at Donington, once again at HMV. What was this? It looked like a bootleg, but wasn’t. It had no liner notes. Absolutely bare minimum packaging. Nary an Eddie in sight. It was a “limited edition“, and a double CD with a complete concert. The easy choice was to buy this instead of the other two albums. For the time being, at least. I finally did get all three albums, when I was working at the Record Store, in 1996. The Boxing Day sale enabled me to get both live Maidens and the recent Tesla greatest hits for a reduced price. It took me three years to get ’em!
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