roy z

REVIEW: Bruce Dickinson – More Balls to Picasso (2025)

For a review of the original Balls to Picasso album, click here.

BRUCE DICKINSON – More Balls to Picasso (2025 BMG)

A time of turmoil!  As Bruce explains in the excellent liner notes within, there was a lot going on in the early 1990s.  Aside from leaving Iron Maiden in order to spread his wings as an artist, Bruce ended up scrapping the new solo album a couple times.  The first was an attempt with the UK band Skin.  Bruce was dissatisfied.  He tried again in America with Keith Olsen, a more pop version that Bruce said was influenced by Peter Gabriel.  Olsen had some issues, and that record too was scrapped when Bruce met a band called Tribe of Gypsies.  Immediately finding chemistry with guitarist Roy Z, Bruce started over again with producer Shay Baby, retaining only the song “Tears of the Dragon” from the earlier attempts.  Most of the Olsen album was ultimately released on B-sides, and on the 2 CD deluxe edition of Balls to Picasso.  The released 1994 album was heavy, and very 90s.  Little did we know, however, that Bruce wasn’t fully satisfied with the final album either.  By the time Bruce reunited with Roy and the Tribe of Gypsies in the late 1990s on Accident of Birth and Chemical Wedding, Bruce was questioning if Balls to Picasso should have been heavier.  More guitars.

Now, you can decide for yourself.  More Balls to Picasso is a remixed version of the album, with guitars added after the fact, and other enhancements made using the original tapes.  Given that the original is considered an important album in Bruce’s solo j0urney, it’s a risky record to revisit in this way.  Yet, Bruce did have a point.  As good as it was, it stands out in the discography as different; a lone rock.

The running order is unchanged.  “Cyclops”, a song more relevant today lyrically, is about living in the camera’s eye.  The sonic changes are immediate.  You can hear the sparse instrumentation of the original mix, but with thicker guitars and an added keyboard part that just shrieks.  It’s a very cool enhancement and the first clue that messing with this album was not a bad idea.  All the original elements are there, from Roy’s sparse guitar to the exotic percussion that often set the stage on this album.  Now there is just more to listen to.  You realize, there was always room for more.

“Hell No” opens as the original did, with more percussion and more guitar chords.  The bass has more thump, and the keyboard licks are a nice touch.  “Gods of War” has an added “war drum” part, along with some keys that sound like howling winds.  This song is one of the more transformed of the lot, though still not drastically so.  “1000 Points of Light” has one of the best enhancements.  In the chorus, you get a sudden guitar and keyboard duo lick that was never there before, and never would have existed in 1994.  It’s much more in line with the kind of metal melodies that Bruce did later in his solo career.  This hook improves the song 1000 percent, but never would have made the 1994 record.

Side two would have come at this point on the original album, which opens with “Laughing in the Hiding Bush”, never a standout song, but similarly remixed with additional atmosphere.  Now, “Change of Heart” is one that shouldn’t be messed with.  You don’t enhance perfection.  The keyboard/string arrangement is a nice touch, but the original is just too ingrained.  Its sparse arrangement was part of what gave it such lonely impact.  Now it sounds less special.  Less unique.  Less like a dark room with a sole occupant.  On the other hand, “Shoot All the Clowns” (which was a single) is much improved.  The song always felt a little cringey, with Bruce doing that rap part.  Now, with a horn section added, it makes much more sense.  A solid improvement.  “Fire”, meanwhile has more going on with the guitar and bass, and feels more engaging.  There are also what sounds like keyboards playing horn-like parts.  Moving on to the blazing “Sacred Cowboys”, this one would be difficult to improve upon.  Bruce’s double-tracked vocal on the original was so hypnotic.  This remixed version sounds strangely nasal.  Finally, “Tears of the Dragon” is another sacred song that you don’t want to mess around with.  The added string-like keys don’t really add.  Once again, the original was already perfect and this new one is like Bruce’s version of Drastic Symphonies.  Some may love it, but the original will remain the go-to for most.

Two added “live in the studio” bonus tracks are included.  Previously unreleased, these are heavy versions that should have been issued last time they released this album!  Bruce absolutely wails on “Gods of War”.  “Shoot All the Clowns” meanwhile gives you something to compare the horn version with, but Bruce’s vocals are very different on the verses.  They’re actually cooler here.

What this sounds like is Bigger Balls to Picasso.  It’s the same album.  With a couple exceptions, what we loved about the original record is still here.   In the liner notes, Bruce talks about being most comfortable in a “band” situation, rather than just with a bunch of hired musicians.  This sounds like the same band, but bigger.  It’s basically the Balls to Picasso band, as if they added a backing guitarist and a keyboardist and went out to play the songs live in the new configuration.  Some songs lose in the exchange, but more end up sounding better.  That’s it in a nutshell.

4/5 stars

 

REVIEW: Bruce Dickinson – “Resurrection Men” (2024 CD single)

BRUCE DICKINSON – “Resurrection Men” (2024 BMG CD single)

The Mandrake Project is a dense album.  It takes a lot of time to absorb and understand.  The concept goes way over my head, but the songs are heavy and the direction is metal.  Bruce Dickinson is nothing if not ambitious, and of course that means taking the new album on the road.  His live band this time out includes the always reliable Dave Moreno on drums, and Whitenake bassist Tanya O’Callaghan.  Bruce has released two singles from the album with exclusive B-sides, and the second is “Resurrection Men”.

“Resurrection Men” is long for a single, at almost six and a half minutes.  It is loaded with drama, and the acoustic intro really sets a mood.  Then it goes into something more western, like from a Clint Eastwood film, with interesting percussion.  That soon subsides and we go full electric.  This song lunges all over the place, from slow grinding verses to quiet bass-driven parts, and a powerhouse chorus.  Ultimately it’s not really single material, but that’s one thing that makes this release so interesting.  It’s also impressive how Bruce continues to sing with such lung power.

Live from Sao Paolo comes “Afterglow of Ragnarok“, the first single from The Mandrake Project.  A song about “what happens after the end of the world,” according to Bruce.  It is tight, and does not deviate far from the original cut.  The live setting is unforgiving, but even without multitracked vocals, Bruce nails it.  The stage energy is palpable, and Moreno kills it on drums.

The most exciting track is the very first live version of “Abduction” from Tyranny of Souls.  This one absolutely smokes, with breakneck pace, lightning drum fills, and melodic guitar harmonies.  A lot of solo Bruce stuff could almost be considered Iron Maiden made modern, louder and more intense.  “Abduction” falls into that category.  This live version has some really cool guitar solo work, very different from Roy Z’s on the album.

It is truly wonderful to see artists such as Def Leppard, Deep Purple, and Bruce Dickinson releasing physical singles with actual B-sides in 2024.  Keep it up.

4.5/5 stars

 

REVIEW: Bruce Dickinson – “Afterglow of Ragnarok” (2023 single)

BRUCE DICKINSON – “Afterglow of Ragnarok” (2023 BMG 7″ single)

In 2024 we will be graced by a new Bruce Dickinson platter, his first solo album since Tyranny of Souls in 2005.  He’s back with Roy Z, and a forthcoming concept album called The Mandrake Project.  This single is billed as a “prequel”.  It comes with a beautiful, full colour comic book insert, installed in the middle of the gatefold.  The story will be fully revealed next year, but this is a project that Bruce has been working on a long long time…

Witness:  The B-side “If Eternity Should Fail”, a demo version of a song that Iron Maiden re-recorded on The Book of Souls.  It’s not the first time Maiden have lifted a song from Bruce’s solo compositions!  He remarks in the liner notes that the song is radically re-imagined on the final Mandrake Project album, but that the keyboards on this demo actually made it to the Maiden version!  Bruce on keys, Roy Z on bass and guitar.  It’s really not that different at all!  The drums are most noticeable.  Presumably this is a drum machine.  Roy’s bass work is pretty cool too.  It introduces the character of Necropolis, who will feature on the album.

The A-side, “Afterglow of Ragnarok”, is promising.  Drums thunder, in cavernous hugeness. Downtuned guitars provide a metallic gutpunch, with a riff that is as solid as any in Bruce and Roy’s impressive history.  The chorus is another demonstration of power and melody.  A Bruce classic, this will be.

Looking forward to The Mandrake Project, we are.  Bruce’s solo work has often rivalled Maiden in quality, not to set expectations too high.  This single is a positive omen.

4.5/5 stars

#724: Balls to Picasso

GETTING MORE TALE #724: Balls to Picasso

In 1993, Iron Maiden announced the departure of Bruce Dickinson, and my world was shattered.

“Oh no.  Not Iron Maiden too…”

I found out via M.E.A.T Magazine, and because of print magazine lead times, the actual announcement came weeks before I found out.

All the big bands seemed to be losing their key members.  Both Motley Crue and Judas Priest were dealing with it, and nobody knew if those bands would survive.  Maiden hurt the most; they had been with me the longest.  What could Maiden do without Bruce?  What could Bruce do without Maiden?

The band tried to keep up appearances, but the split was not amicable.  We wouldn’t know this for years.  In the meantime, my life changed when I was hired at the Record Store.  Though I loved the job, it was starkly obvious that in 1994, heavy metal was passé.  Nobody was buying it, while Soundgarden dominated our rock sales.  No matter how it panned out, both Bruce and Iron Maiden would be facing uphill climbs.

Bruce’s solo outing Balls to Picasso was released in June.  I was surprised that we were carrying it at all, but it wasn’t selling.  I hadn’t got it yet; the review in M.E.A.T stated that the Japanese version had a bonus track.  Drew Masters claimed the bonus acoustic version of “Tears of the Dragon” was better than the album cut, so I was trying to hold off until I could find the Japanese.  All I knew is the album in general was supposed to be very, very different from Iron Maiden.

I never found the Japanese version.  In 1994 it was virtually impossible to find Japanese imports, though I asked the boss to try to order one for me.  HMV in Toronto carried rare imports, but I didn’t know that.

When a used CD copy of Balls to Picasso was traded in, I waited for the boss to leave for the day and then I eagerly put it on the store player.

Where are you going?
What are you doing?
Why are you looking,
At the cameras eye?

By the first chorus of the first track “Cyclops”, I knew I was going to like the album.  Different indeed!  Growling guitar sounds backed by exotic percussion were new twists.

There were two songs that sold the album to me immediately.  I did not want to live my life any longer without the songs “Change of Heart” and “Tears of the Dragon”.  Both songs spoke to me.  I was dealing with the fallout from a nasty breakup and the lyrics seemed to apply to my life.  Not to mention, the music was brilliant!  If Bruce had to leave Iron Maiden to put out a song like “Change of Heart” then so be it.  I played the song over and over.  I even told the boss how good the album was.

“I was playing the new Bruce Dickinson in the store the other night,” I said, “and it’s really good.  Not what you’d expect.”

“Isn’t that too heavy for the store?” he semi-scolded.

“No,” I semi-lied.  “It’s pretty light.”  I obviously didn’t tell him about the white hot “Sacred Cowboys”!

For some reason I chose to buy the cassette, and I played that tape everywhere.  I jammed it in the car for my buddy Aaron.  He particularly liked “Shoot All the Clowns” because he’s terrified of clowns.  Shooting all the clowns was a sentiment he could get behind.

What I liked about the album was that it was modern sounding (“Shoot All the Clowns” had funk and rap!).  I could get away with store play, but yet it had the sterling musicianship and guitar solos that I craved.  I could play it for younger friends like Aaron, who would appreciate the modern production and maybe get past the operatic vocals.

Playing “Change of Heart” today is not the same.  I’m no longer the heartbroken sad sack of shit.  It’s still a brilliant track but I don’t hang on every word anymore.  In 1994 it seemed like every line was for me to sing.  The feelings it used to stir don’t exist anymore.  But man, what a song!  The unusual drumming, the guitar work, the singing…it is one of Bruce’s very best, including those he wrote in Iron Maiden.

I can’t say that I am as passionate about Balls to Picasso in 2018 as I was in 1994.  I still love it, but I daresay Bruce has made better solo albums in his amazing career since.  Still, Balls to Picasso is historically important.  It introduced many of us to Roy Z for the first time, and it may have put him on the map.  Roy’s work in metal since has been highly respected by connoisseurs worldwide.  And then there’s that personal history.  I played this album so much during that cold, depressing winter.  It still stands up today, with a timelessly clear production and some very strong material.

Obviously things eventually worked out between Bruce and Iron Maiden.  He’s been back fronting them for almost 20 years.  Things worked out OK for me too.  Balls to Picasso was a step in both Bruce’s journey, and mine.

 

REVIEW: ECW Extreme Music – Various Artists (1998)

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ECW Extreme Music (1998 CMC)

There are way too many CDs in my collection that I don’t like, but I own for one or two rarities.  ECW Extreme Music is one of those many.  I have never watched an ECW wrestling match in my life.  I only know one of the wrestlers pictured inside, Bam Bam Bigelow, because he was in the WWF when I was a kid.  I don’t like the 90s version of wrestling with the blood and barbed wire.  And I don’t like much of the music they used.

First is the generic riff/loop combo of Harry Slash and the Slashtones, whoever that is.  Skip that repetitive crap to get to a White Zombie remix. “El Phantasmo and the Chicken-Run Blast-O-Rama” was a great groove from Astro-Creep: 2000.  The “Wine, Women & Song” mix by Charlie Clouser is from their remix CD Supersexy Swingin’ Sounds.  It’s an enjoyable remix, which is something best appreciated on its own rather than on a remix album.

Somebody named Kilgore did a carbon copy cover of “Walk” by Pantera, presumably because using the original would have cost more?  It’s embarrassingly copycat.  Your friends who don’t know will assume it’s Pantera.  Fortunately a great Megadeth tune is next.  Cryptic Writings is an underrated album, and “Trust” was probably the second best track on it (right after “A Secret Place”).   This instrumental mix is an exclusive and has emphasis on Marty Friedman’s lead guitar which replaces the vocals.

Bruce Dickinson (and Roy Z) is next with a lacklustre cover of “The Zoo” by the Scorpions.  There’s nothing particularly wrong with it, it’s just a cover, but it’s also a non-album track that collectors will want.  Too bad it’s not exceptional like most of Bruce’s output.  It’s just good not great.  Another cover follows:  Motorhead doing “Enter Sandman”!  It’s as bizarre and weirdly perfect as you’d expect it to be.  Grinspoon are next with their fairly stinky version of Prong’s “Snap Your Fingers, Snap Your Neck”, robbed of all its snarl.  John Bush-era Anthrax are more impressive with Metallica’s “Phantom Lord” from Kill ‘Em All.  It’s breakneck, and also very cool to hear a Big Four thrash band covering another Big Four group.

Pantera, minus Phil Anselmo, are here for their cover of ZZ Top’s “Heard it on the X”.  It’s both ZZ Top and Pantera at the same time, and that’s kind of remarkable.  That’s it for this album though — nothing worthwhile from here out. What’s the point of having a cover of “Kick Out the Jams” (courtesy of Monster Magnet) but then beep out the naughty words?  Somebody named Muscadine decided to do “Big Balls” by AC/DC, a pretty obvious bad idea.  Just awful.  Then it’s more of Harry Slash to end the CD with some more pure filler.

CMC International released a lot of low budget crap over the years, and this CD is pretty poor.  There are five pages of merch advertising inside, including one for a ECW Extreme Music 2.  I skipped that one.  This CD is collectable for the Bruce Dickinson, Anthrax and Motorhead tracks.  But these are cover tunes we’re talking about, so tread wisely.

1.5/5 stars

 

 

REVIEW: Sebastian Bach – Angel Down (2007)

SIMULTANEOUS REVIEW! Check out Aaron of the KMA, who is reviewing this same album today!

bach angel down_0001SEBASTIAN BACH – Angel Down (2007 EMI)

You don’t have to like Sebastian Bach (the person) to like Angel Down. He may be a bit of a blow-hard, but damn, he made another great album. By my counting this is his third legitimately great album (Slave to the Grind and Subhuman Race being the other two.)

Baz’s voice is still powerful, and he still has most of his range. In fact, after the disappointing Bring ‘Em Bach Alive I thought it was all over for the voice. Not so! Angel Down proves it. Bach’s still got the goods. He’s got more character in his voice than he did when he was 19 or 20.  More grit.  But his lungs are as powerful as ever, absolutely mind-bogglingly so.

This was (by far) the heaviest album that Baz had made to date. This is way heavier than anything Skid Row has done with or without him. Bach’s working with great people on this, including Roy Z and members of the old Halford band. It doesn’t get much more metal than this. It’s heavier than most Priest albums, and the songs are all strong. They won’t sink into your skull on first listen, or even the third. It’s a challenging listen, the pummeling of guitars and drums are constant and brutal. Having said that, eventually the melodies, riffs, and Bach’s vocals will worm their way into your brain like a virus.

Highlights for this listener included:

  • “(Love Is) A Bitchslap”, which you may have heard in preview form on season 7 of Trailer Park Boys.  This smoker is a duet with Baz’s buddy W. Axl Rose!  You can literally smell the rubber burning.
  • “Back In The Saddle”, the powerful Aero-cover, and another duet with the reclusive Axl Rose. To hear Axl and Baz singing together again is awesome; two rock gods shattering the glass and gargling with it after.
  • “You Don’t Understand” with its patented Roy Z guitar riff (which really is just a patented Maiden riff).
  • “Falling Into You”, a Skid-Row-esque ballad along the lines of “Wasted Time” with some gorgeous strings (synth?) and guitar harmonies.  Another standout ballad is “By Your Side”, along similar lines.
  • The brutally heavy “American Metalhead”. Ignore the fact that Baz lived most his childhood in Canada and considers himself Canadian. I can appreciate that singing “Canadian Metalhead” wouldn’t have the same impact to his core (American) record buyers. Either way, it’s a brutal assault of the ears, as Baz screams his way out of your headphones.
  • “Angel Down”, the title track, which starts atmospheric like a Sabbath opener before hitting that pummeling Pantera riff;  Baz ripping the vocal cords again.

14 songs, and that’s just a handful of favourites listed above. There are lots of great moments on this CD. I can’t praise it enough, songwriting and performance wise.  It really surprised me.  I didn’t expect something this solid.  Top it off with another of his dad’s paintings on the cover, and this was the comeback album that fans were hoping for but never expecting.

Think you can handle it? Buy Angel Down.

4/5 stars.

DVD REVIEW: Bruce Dickinson – Anthology (2006)

I acquired this DVD for ridiculously cheap at my old place of employ via their web order service, but after I left their employ so no staff discount.  Its condition is impeccable!  Very impressive.

BRUCE DICKINSON – Anthology (2006 Sanctuary)

Bruce Dickinson is that rare kind of artist, one whose solo work has the same level of quality, integrity and emotional impact as the work with his better-known band. I think it is safe to say that most Iron Maiden fans have enjoyed Bruce Dickinson’s solo work, or at least most of it. This DVD Anthology is a complete collection of all of Dickinson’s solo video material in one 3-disc package.

Up first is Bruce’s live video supporting his first solo album whilst still in Maiden, Tattooed Millionaire. This video, which was extremely rare when it first came out (I never located a copy), was called Dive! Dive! Live! and featured Maiden guitarist Janick Gers. It also features every song from that Tattooed Millionaire performed live, plus several B-sides and a handful of covers.  No Maiden.  As Bruce was proud to say, this video is very raw. Also on the first DVD is the video Skunkworks Live, which was released in the mid 1990’s. It featured Dickinson’s new solo band, also called Skunkworks, featuring guitarist Alex Dickson. I was not a huge fan of Skunkworks, as I found their style (particularly the bass by Chris Dale) not to mesh so well with Bruce’s songs. Most of the Skunkworks album is performed live, plus some older songs and B-sides, and one Maiden cover (“The Prisoner”). This is another very rare performance as once again, the original video was very hard to find.

Disc 2 is the Scream For Me Brazil show, featuring my favourite lineup of Bruce’s band. Roy Z and Adrian Smith on guitars, the hulking Eddie Casilias on bass, and the talented tribal and bizarre Dave Ingraham on drums. This to me was Bruce’s finest moment as a solo artist. The performance itself was never meant to be released at first, this is a rough and raw video feed. However, as grainy as it is, the raw energy and sheer performance chops of Bruce and his ace band come through. The tracklist is a mix of songs from the three albums featuring Roy Z (Balls to Picasso, Accident of Birth, and Chemical Wedding).

Disc 3 is my personal favourite disc, seeing as Bruce’s music videos were rarely shown on Much. Every video is included here. There are some really off the wall videos directed by Storm Thorgerson (check out “Tattooed Millionaire”! Shoes for hats?) and some really cool horror-chiller-theater-type videos directed by Julian Doyle. Further on, I loved “Accident Of Birth” (directed by Bruce himself), mainly because Dave Ingraham makes awesome faces while playing the drums, and is wearing this funny leather aviation hat through the whole thing. But that’s nothing, wait until you see “Road To Hell”. Ingraham is now wearing a gas mask through the whole thing! Julian Doyle’s “Abduction” video is also cool, as Bruce himself is captured by mysterious Men in Black, and experimented upon….

But there are some pretty bad videos too. “Tears of the Dragon” comes to mind, a great song, but a terrible video. Here’s Bruce, looking all pensive…then there’s some weird sumo wrestler looking guy…fire…a beach…Bruce wrecking stuff…I would have preferred to see his band. It was the early 90’s, and this was the kind of video that people were sick of seeing, pompous and self-important. Awful video.

Lastly as a bonus there is an old Samson video directed by Julian Temple. I don’t even know what to say about Biceps of Steel except it’s an odd one! There is also a lot of supplimentary bonus material, including some introductions and explanations from Bruce himself….

This package was extremely well assembled, and is very enjoyable for all Bruce Dickinson fans. You won’t be let down.  Completists in particular will appreciate that Bruce is very hands-on with his product and tends to give the fans what they wanted along with stuff they didn’t know existed.  Full endorsement from LeBrain.

5/5 stars

More BRUCE DICKINSON at mikeladano.com:

Accident of Birth (1997) Man of Sorrows EP (1997)
Balls To Picasso (1994 & deluxe edition)
The Chemical Wedding (1998 Japanese import)
Skunkworks, Skunkworks Live EP (1996)
Tattooed Millionaire (1990, 2005 Sanctuary 2 disc set)
Tyranny of Souls (2005, Japanese version)
RECORD STORE TALES Part 148: Navigate the Seas of the Sun

REVIEW: Halford – Resurrection (2000)

Part 5 in a miniseries on Rob Halford’s solo career!  Missed the last part?  Click here!

HALFORD – Resurrection (2000 Japanese edition, 2008 remastered edition)

Note:  There have been several versions of this CD.  The original CD and Japanese import versions had a certain tracklisting, but the track order was changed up a bit for the Remastered edition (see tracklists at bottom).  Since that’s the version that’s out right now, that’s what I’ve decided to review.  I got mine in a combo pack with the DVD, Resurrection World Tour Live at Rock in Rio III.  Rob has also retroactively started to number his solo albums; as such the remastered version is technically Halford 1: Resurrection.

Voyeurs by Two was not a mega seller regardless of the association with Trent Reznor and Nothing Records.  Rob needed to return to heavy metal or risk alienating his fanbase.

RESURRECTION_0005I think pretty much everyone was enthused by the title track and lead off single, “Resurrection”.  This wasn’t techno wizardry with whispery vocals.  This was heavy metal, with screams!  Although Rob was already headed in that direction at the end of Two, while working with Bob Marlette, it is Roy Z that drives this one single home.  Yes, Roy Z, the Roy Z that Bruce Dickinson utilized to collaborate on many a great solo album.  With Halford now drinking at the well of riffage that is Roy Z, “Resurrection” was bound to smoke.  And it does.  Take the sound of classic Judas Priest circa Painkiller, adjust for 10 years of sonic trends, stir in Roy Z, and you have “Resurrection”.  Rob makes sure you know he’s serious from the very opening, screaming as only he can.

What I dislike are the lyrics.  “I walked alone into a Fight”?  Rob, you weren’t alone, you had Scott Travis with you!  “I tried to look too far ahead, and saw the road lead to my past instead.”  In other words, sorry about the Two album, this is what I really want to be doing.

The first three tracks totally smoke, all falling somewhere in a Defenders/Painkiller vibe of Priestly goodness.  At first I didn’t like “Night Fall”, the fourth track, too much.  Its redeeming value is a great chorus, totally in the Defenders mold.

“Silent Screams” is one of the songs that Rob was working on with Marlette at the end of Two.  Rob was especially proud of this lengthy number, and he released a demo version of it for free on his official website.  The demo version is an evolution from Two.  It has screams (appropriately enough) and heavy guitar riffs.  The album version has a more emotional lead vocal and tones down the keyboards.  The song is a bit slow and ploddy to start with but it is epic in quality and it sure does rock by the halfway point!

The big gimmick on the album was the duet with Bruce Dickinson, “The One You Love to Hate”.  The connection is Roy Z, but obviously a matchup like this would generate much hype.  Arguably the two best singers in metal, together at last.  Bruce sounds great, holding his own against the Metal God, who sounds vintage 80’s.  I have to say I enjoyed this one a lot.  Shortly thereafter, there were rumours of a coming supergroup called the Three Tremors – Rob, Bruce, and Geoff Tate of Queensryche.  All three artists were touring together at the time, but this idea was never meant to be taken seriously.

RESURRECTION_0002“Cyber World” is fast and heavy but unfortunately also boring and skip-worthy.  Likewise, the groovier “Slow Down”.  Dull title, dull song.  I tend to think of Resurrection as losing steam on side 2.  I guess that’s why the remastered edition inserts the Japanese bonus track “Hell’s Last Survivor” right here.  Sounding something of a Screaming for Vengeance outtake, I think this was placed here to compensate for some of the weaker tracks.

“Temptation” is a little on the boring side, so two new tracks are inserted at this point for the remastered edition:  “God Bringer of Death” and “Fetish”.  In my opinion it doesn’t sound like they belong here.  Rob’s voice had changed a lot in the 8 years since, and the sound is more like later Halford albums.  Neither song is particularly notable.

On the other hand, “Sad Wings”, which was previously only on the Japanese version, is awesome.  It has a sharp riff and a chorus that is designed to remind you what band he was the singer of.  This is followed by “Twist” which sounds like maybe it had its origins in Two, but I like it a lot.  “Drive” is also pretty decent, and the album ends with “Saviour” which has an anthemic chorus.

Bottom line:  Pretty decent if a bit safe comeback.  Rob wasn’t treading any new ground here musically, but Roy Z never fails to class up any album he’s on.  His tasteful and blistering solo work is just marvelous.

3.5/5 stars

REVIEW: Bruce Dickinson – Tyranny of Souls (2005, Japanese version)

Part 37 of my series of Iron Maiden reviews!

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BRUCE DICKINSON – Tyranny of Souls (2005, Japanese version)

I spoke about this album’s lyrics at length previously in a Record Store Tale called Navigate the Seas of the Sun.  Part of the reason I love this album so much is due to the lyrics.  As good as The Chemical Wedding was, science fiction is much more my speed than is William Blake.  Therefore, given that slight edge, I actually do prefer Tyranny of Souls.  If you’re curious about the lyrics then do please check out that aforementioned Record Store Tale.

Lyrics aside, Bruce Dickinson has had a pretty consistent decade as a solo artist, Maiden notwithstanding. Ever since his Accident Of Birth CD, he’s done nothing but truly excellent heavy metal music. Tyranny Of Souls, however is unique among them: It is Dickinson’s first solo album since rejoining Iron Maiden in 1999. Would anything be different this time? After all, usually when one does a solo album, it is to get ideas of one’s chest that are not appropriate for that band.  Sometimes, that can lead to misguided genre experiments that are pleasing to few but the artist.

Reassuringly, Tyranny Of Souls is not a drastic departure from the music Bruce made on his last solo album, The Chemical Wedding. Tyranny uses that album’s sound as its starting point, but actually grows and progresses as you listen to it.  It starts just as heavy, but then starts to explore light and shade.

“Mars Within” is an instrumental bit that sets up the first song, “Abduction”. It’s one of Bruce’s heaviest, but then he takes it even heavier with “Soul Intruders”. This is metal just as awesome as Bruce’s best work.

Then we get a little anthemic with “Kill Devil Hill”, easily one of the best melodies Bruce has ever written.  The Wright brothers’ first flight is the subject here.  We all know Bruce is a pilot and aviation is a passion of his.  The passion ended up producing one of his best tunes.  Just a great, incredible singalong anthem.  I challenge you to get the chorus out of your head.

“Navigate The Seas Of The Sun” is a Maiden-esque power ballad, it could have fit right in with anything on Dance Of Death.  Every bit as good as “Kill Devil Hill” with thoughtful lyrics to boot.  More awesome songs follow:  another anthem called “The River of No Return”, a fast metal tune called “Power of the Sun”, and the insanely catchy “Devil on a Hog”.  Despite the silly title, this is simply a great groover, a ride you do not want to end.

The dull sludgey “Believil” is the only stumble.  Skip worthy and dumb-titled, I consider this one to be filler.  It’s one of those slow dirgey songs that tries to sound modern and fails. Luckily it’s also short, and it is followed by the monstrous title track, which ends the domestic album on a rather sudden note.  I prefer the way the Japanese CD ends, with the epic power ballad “Eternal”.  Roy Z’s incredible guitar soloing propels this one to the clouds, ending the album on a much more satisfactory note.

Speaking of Mr. Z, he does co-write and produce once again.  The drums are ably played by a chap named David Moreno, who replaced the very talented David Ingraham in Z’s Tribe of Gypsies.  The bass is handled by a couple guys named Ray Burke and Juan Perez.  I miss the recognizable character of Ingraham and original bassist Eddie Casillas, but this album is still strong without them.

Tyranny of Souls is a triumph in many ways.  One is that Bruce managed to make a heavy metal record different from Maiden, but just as good.  Another is that Bruce made an album worthy of his own back catalogue.  Whether you agree with me that it tops Chemical Wedding is not important.  I realize that’s a tall order.  Hopefully, you will agree that Bruce made yet another winner, a staggering string of great records.

And with this under his belt, Maiden returned to the studio refreshed and renewed, ready to take on A Matter of Life and Death…

5/5 stars

REVIEW: Bruce Dickinson – The Chemical Wedding (1998 Japanese Import, single)

Part 27 of my series of Iron Maiden reviews!

BRUCE DICKINSON – The Chemical Wedding (1998)

Disclaimer:  I know nothing of the writings of William Blake.  Curious because of this album, I decided to take a crack at them.  I did not get far!

Suffice to say The Chemical Wedding is a swirling Blake-inspired non-concept album, a distinct up-ratchet from the excellent Accident of Birth.  Upon hearing The Chemical Wedding, I said, “Well that’s it — Bruce has buried Iron Maiden, and his own back catalogue too!”

Seriously heavy, much heavier than anything Bruce has done before or since, The Chemical Wedding is an absolute triumph.  The lineup remains the same:  Bruce and Roy Z with Adrian Smith, Eddie Casillas, and David Ingraham.  With a little bit ‘o narration from Bruce’s hero Arthur Brown (The Crazy World of Arthur Brown).  The lyrics range from alchemy to the legend that Christ once went to England during his missing years, it’s a spellbinding listen, as long as you don’t hurt your neck from all the headbanging you’re going to do.

I had one customer who was a Christian.  He asked me what was good in new metal, so I put The Chemical Wedding on for him.  He ripped the headphones from his ears — couldn’t stand the lyrics!  He told me they were “too demonic”, particularly the lead single “The Killing Floor”:

Satan has left his killing floor

Satan – hellfires burn no more

Although there is also a line about “Panzer divisions burning in the mud” so to me this is another commentary on the evil present in the world.

Going through the album track by track would get monotonous.  So choose from the adjectives below:  “fast”, “powerful”, “scorching”, “heavy”, “grinding”, “wailing”, “throbbing”, “headache-inducing” for the various songs.

There are numerous highlights, but my two favourites are:

“The Tower” – this one has a unstoppable pulse thanks to Eddie Casillas, and is one of the more melodic songs on the album while retaining its heaviness.

“Book of Thel” – with velocity comes the album epic, this one picks up where “Darkside of Aquarius” left off from the last album.  I don’t know what a book of Thel is, but judging by the heavy evilness coming from my speakers, maybe I don’t wanna know!

Not to be outdone are the scorching opening “King in Crimson” (does not seem to be about a Stephen King character!) and the melodic Maiden-esque Japanese bonus track “Return of the King”.

The single for “The Killing Floor” had two unique B-sides, “Real World” and “Confeos”, neither of which are as strong as anything on the album.  These songs plus “Return of the King” have been collected on the Bruce Dickinson deluxe editions.

When Accident of Birth came out in 1997, I said, “This is incredible, Bruce is back and better than Maiden are.  How the hell is he doing to top this one?”  Unlike previous solo albums, Bruce didn’t do a complete 180 and change direction.  Instead he simply added more fuel to the fire and created one of the best albums of his entire career, one he should be very proud of.

But again, I had to ask the same question, “How the hell does he top The Chemical Wedding“?  I couldn’t see him turning up the gas any hotter without foraging into thrash metal territory, or losing what melody he still had.  Luckily, fate intervened.

It turns out that Iron Maiden themselves were looking for another new singer.  And Bruce was looking to finish his career off doing arenas, not clubs.  A phone call was made….

5/5 stars

…And it is here that we shall pause again. Stay tuned for more Maiden in the days to come.