IRON MAIDEN (UK) - Live After Death (2 LP, EMI, 1985)

RATING: *****

Many bands out there are renowned for being top-class live acts, as we all know; similarly, many live albums can easily be ranked among the very best in the history of rock music (and we're dealing with one such record right here, no doubt about that). But it's interesting to find out there are not that many classic tours connected to the metal scene, if you know what I mean - jaunts that became something of a legend in their own right, so eventful and significant in a band's (or subgenre's) history that, as soon as someone mention it, we all know what we're talking about. We all love "Strangers in the Night", for instance, but many may not even know that UFO recorded that one during a series of shows in the USA; we all know Deep Purple recorded "Made in Japan" in Japan (duh), but you possibly don't know a single fact about that particular tour, because there's nothing too extraordinary about it to be regarded as a piece of heavy metal lore. On the other hand, if I stick my head out and say "The Big 4" everyone will immediately know what I mean, even if the live registers from such tour are not regarded as classics of the metal genre.

I guess this is a good way to define "Live After Death", the first full-length live release from Iron Maiden: it's a classic live album from a classic world tour - the immense and bombastic World Slavery Tour put together to promote the career-defining "Powerslave" LP, that is. As we all know, Iron Maiden played everywhere and made no prisoners on their way, a year-long excursion that pretty much redefined what should be considered "huge" in a heavy metal setting. Whether we would regard this particular tour that highly, had it not resulted in a kickass 2-LP package like this one, is open to debate; I personally think the album was pretty much imposed by the superlative numbers and impressive achievements associated with the jaunt, as it would have been a bummer to have such an impressive effort of mass domination failing to be immortalised on vinyl. 

I won't delve too deep into a track-by-track analysis around here, as I'm positive you all know that every single tune here featured is a heavy metal classic, as simple as that. Similarly, there is no point in a peroration about the production values (come on, Martin Birch damn sure knew how to get the job done) or artwork (Derek Riggs could do no wrong in the 80s): instead, let's try to focus on what makes "Live After Death" a strong (possibly unbeatable) candidate for the best metal live album ever, with only a minor concession to a discussion about songs along the way, as I can't leave this one behind without bringing one particular subject to the table. Fine? Let's go, then. 

First, the repertoire. It's not about particular songs, see: the thing is, they managed to create a live experience that runs smoothly from start to end, with every single piece being in the exact place it should be to achieve maximum effect. It doesn't say much about the final five songs, admitedly, as these are cuts from a different series of shows (London's Hammersmith, that is, instead of the Long Beach Arena performances compiled in tracks 01-12) and have more of a "bonus side" vibe rather than being part of the main setlist. Still, sides A to C conjure an atmosphere that is no less than spellbinding, and it has a lot to do with the fact that one great song comes right next to the other, with not a single letdown and no chance for the adrenaline levels to drop. The crowd surely has a lot to do with that too, as they show their appreciation in no uncertain terms and react to the band's interactions in a way hardly any other metalheads do. If you have ever been in a Maiden concert, you sure know what I mean.

Another strong element in "Live After Death"'s appeal has to do with the band's performances. Every single musician is at the top of their game here, to such an extent that sometimes you just can't decide who you should pay attention to, as they're just killing it all at the same time. Adrian Smith and Dave Murray are easily one of the most impressive guitar duos to have ever walked the face of the Earth, and their interplay works beautifully throughout, not to mention some exhilarating solos by both players. Nicko McBrain shows himself to be totally at home with the Maiden setup, and his very intense, high-energy performance is sure to keep necks in motion throughout the listening experience. And Steve Harris is something of a revolutionary on bass, even though few outside of metal are immediately inclined to admit it: more than simply supplying a backbone for the songs, good old 'Arry is consistently moving things forward with his commanding basslines, giving Maiden's sound most of the ambition and dynamics it is renowned for. As for Bruce Dickinson, I sincerely think he would become an even more complete singer in later years (the late 90s / early 2000s, that is), but it's undeniable he was an impressive force of nature back then, with a powerful, soaring voice that is as confident as it is impressive. Furthermore, Bruce's penchant for theatrics was getting stronger with every gig, and it's a joy to hear (or behold, in case you're watching the video) his ability to command a crowd really coming to full strength.

Then you have to consider the timing of this release. Halfway through the 80s, heavy metal as a genre was consolating its shift towards pop-infused, radio-friendly waters - a changing of tides that would inflict us embarassing releases in droves, most of those totally devoid of artistic integrity or even the slightest glimpse of a meaningful thing to say. On the other hand, the "sex, drugs and rock n' roll" bullshit had truly become the ethos of the metal scene, with concepts as profound as getting laid and drinking yourself unconscious being regarded almost as a identity, something to be proud of rather than just things you do when you feel like doing it. To summarise, heavy metal was turning into something immature, innofensive and silly all at the same time - and Iron Maiden were something of a symbol pointing to a different direction, champions of a metal fanbase that never really felt like selling out or joining the mainstream party, even though the band members never fancied themselves so. In such a context, "Live After Death" is like a shower of honesty, a testimony of commitment and work ethic from a band that got almost as big as you can get, but without compromising a single note of their spirit and vision in the process. It comes as no surprise that bands as disparate as Anthrax, Slipknot, Slayer, Ghost, Metallica, Arch Enemy and Cannibal Corpse (to name a few, and leaving Lady Gaga out of the picture!) have named Iron Maiden as heroes - because, well, they are.

And now to a small commentary about songs. Personally, I have four main candidates for the "best metal song ever written" award, that take turns in the top position depending on how I'm feeling at a given time - and two of such songs are featured here: "Rime of the Ancient Mariner" and "Hallowed Be Thy Name" (my other two candidates would be Rainbow's "Stargazer" and Black Sabbath's "War Pigs"). When you come to think of all the aspect that make a metal song truly memorable - the heaviness, the energy, the atmosphere of power, the ambition, the ability to surprise the listener, the lyrical subjects, the technical dexterity, the inventiveness and so on - these are the songs that rank the highest IMO, and this is the very first release to include two of such landmark tunes on the same package. At the time of writing, I'm inclined to say "Hallowed Be Thy Name" wins by a small margin: the poignant story of a man about to be executed is as thought-provoking as it gets, and the way the song moves towards its dramatic conclusion is awe-inspiring, to say the least. It's a bit like "The Godfather" or "Citizen Kane" in the shape of a heavy metal song, and it pretty much defined what a metal epic should be from that point onwards. "Live After Death" brings one of the very best renditions Iron Maiden ever delivered, and it's something of a crowning jewel for this insanely classic live album.

I have no hesitation to say that "Live After Death" is the best live package ever released by a metal band - and we're talking about a genre that gifted us with beauties like "Unleashed in the East" and "No Sleep 'til Hammersmith", to name a few! In fact, it's easily one of the very best live albums ever, regardless of genres, a tremendous record that any self-respecting rock fan should hold in high regard indeed. If you don't have a copy, I really don't know what to say, unless that you should stop whatever the hell you're doing (reading this review, perhaps?) and move straight to your local (or virtual) record store to buy it. I don't care if you don't have the money right now: go there and get one. It's like a foundation for any metal collection, you know - if you don't have it, risks are that it will soon start falling apart.

Thanks a lot to ximmix for front and back cover scans!

Bruce Dickinson (V), Dave Murray (G), Adrian Smith (G), Steve Harris (B), Nicko McBrain (D).

01. Churchill's Speech / Aces High (Harris) 5:16
02. 2 Minutes to Midnight (Smith/Dickinson) 5:52
03. The Trooper (Harris) 3:59
04. Revelations (Dickinson) 5:59
05. Flight of Icarus (Smith/Dickinson) 3:21
06. Rime of the Ancient Mariner (Harris) 13:03
07. Powerslave (Dickinson) 7:06
08. The Number of the Beast (Harris) 4:48
09. Hallowed Be Thy Name (Harris) 7:17
10. Iron Maiden (Harris) 4:11
11. Run to the Hills (Harris) 3:52
12. Running Free (Harris/Di'Anno) 8:16
13. Wrathchild (Harris) 2:54
14. 22 Acacia Avenue (Harris/Smith) 6:04
15. Children of the Damned (Harris) 4:19
16. Die With Your Boots On (Smith/Dickinson/Harris) 4:51
17. Phantom of the Opera (Harris) 7:01

Have you been involved with any of the bands mentioned here? Have any extra info and/or corrections? Please e-mail me (drequon@gmail.com) and let me know!

UFO (UK) - Lights Out in Tokyo - Live (CD, Razor, 1993)

RATING: **

When it comes to contemporary reviews and album sales, "High Stakes & Dangerous Men" will never be regarded as one of the year highlights from 1992, but the good response from most of those who had a chance to listen to it must have been quite reassuring for UFO, a band still struggling to find their feet after a series of studio failures and never-ending line-up changes during the second half of the 1980s. Understandably reticent to take huge risks, the lads decided to keep things going with a safe bet: a live album recorded in Japan, one of the few places where their popularity never waned and they were always sure to be warmly received, no matter what. Augmented by touring keyboardist Jem Davis (ex-Tobruk), this persevering flying saucer managed to put together a decent CD release with "Lights Out in Tokyo - Live" - and though I'm not really excited to write about non-classic live albums most of the time (even moreso when you consider the sheer number of such releases in UFO's discography), let's just type a few words about it, so the Lawrence Archer chapter may be complete around here.

Quite confident about their latest compositions, the outfit delivers nice renditions of no less than five songs from the previous CD, with "One of Those Nights" and "She's the One" (a song that, being slightly unremarkable in its studio version, fares unexpectedly well in the live environment) being particularly enjoyable. The overall atmosphere is pretty relaxed and entertaining throughout, and you can clearly hear that the five musicians here involved were happy with their roles and enjoying the night. It must have been nice to be in the audience, and the very respectable production values manage to capture the good vibe quite effectively. If you're a fan, this is a CD worth picking up when the opportunity arise, and don't be afraid to spend a few bucks on it, as it will surely be glad to find a nice shelf to call home.

There would a few worries on the horizon, though - and most of it must be credited to Lawrence Archer, I'm afraid. Don't get me wrong, it's not like his performance was laughable or disastrous or anything. But it's just too damn clear that, if he was more than comfortable with the songs he wrote himself, filling Michael Schenker's shoes in concert was a whole different (and very difficult) challenge for him. In crucial songs like "Only You Can Rock Me" and "Doctor Doctor", his riffs and solos are no more than adequate; in more subtle and intense numbers like "Love to Love" (you're all going a bit too fast on this one, lads), he just can't achieve the required standards, unfortunately. A particularly worrying situation appears on "Rock Bottom", where he just can't play the main riff as he should, delivering some sort of reinterpretation which is just downright annoying. Sorry about the criticism, I really don't want to be rude or anything (I love you, Mr. Archer, believe me), but this is one of the most fantastic riffs in the entire history of heavy rock: you just GOTTA play it right, exactly how it was recorded, no room for "creativity" here!

The pauses halfway through the songs (where the lads attempt some semi-jazzy improvisations for some unfathomable reason) are also completely disposable, and adding a softer session in a tune like "Lights Out" is something that should be banned by the Universal Declaration of Human Rights, no less. Though not enough to really spoil the listening experience, these shortcomings were unequivocal evidence to the fact that UFO still had some ground to regain if they wanted to fully recapture their former glory. And they seem to have understood, as they would almost immediately promote some serious changing in the ranks - a resshuffle that would surely fulfill the wet dreams of many a hardcore fan. Both Archer and Edwards would be the casualties, but I guess it was unavoidable really, and I sincerely hope they still keep some good memories from these days: they sure had an important role in pushing UFO to the right direction, and I'm sure all fans are really grateful for that.

Phil Mogg (V), Lawrence Archer (G), Pete Way (B), Clive Edwards (D), Jem Davis (K). 

01. Running Up the Highway
02. Borderline
03. Too Hot to Handle
04. She's the One
05. Cherry
06. Back Door Man
07. One of Those Nights
08. Love to Love
09. Only You Can Rock Me
10. Lights Out
11. Doctor Doctor
12. Rock Bottom
13. Shoot Shoot
14. C'mon Everybody

Have you been involved with any of the bands mentioned here? Have any extra info and/or corrections? Please e-mail me (drequon@gmail.com) and let me know!

UFO (UK) - High Stakes & Dangerous Men (CD, Razor, 1992)

RATING: ***

I guess we can forgive everyone that, after such an exhausting batch of unmemorable releases, considered UFO to be dead meat by the turn of the 90s. But vocalist Phil Mogg is a stubborn individual, you know, and it seems that he never wanted to lay UFO down to rest after all. After the almost non-existant response to 1988's "Ain't Misbehavin'" mini-LP, the flying saucer stayed into the hangar for a while, but in early 1991 things were already in motion once again, with the invaluable presence of Mr. Pete Way on bass guitar. I personally think this mini-reunion was decisive to put UFO's career back on track, as it recovered much of the musical identity that seemed to be lost during the second half of the 80s. After a long period of fooling around with countless hopefuls, Mogg and Way recruited drummer Clive Edwards (who were doing the rounds with Uli Jon Roth in recent years) and axeman Lawrence Archer (ex-Stampede / Grand Slam / Wild Horses, and most recently playing with Rhode Island Red) to write and record what would become "High Stakes & Dangerous Men", featuring the much-needed help of keyboardist Don Airey and released by the humble Razor label (a subsidiary of Castle Communications) sometime in 1992. 

Though far from a remarkable moment in the band's career, this unpretentious record turned out to be quite a surprise actually, as it is a mostly very good album, easily the best thing they did since "Mechanix" in terms of songwriting and enthusiasm. It's a relief to find out that UFO no longer tries to join the trend of the moment (thankfully, I would add, as it would be tragic to hear them trying to be a grunge band) and, seemingly giving up all hopes of having any impact at the charts, this once high-flying entity concentrated their efforts into delivering what they always did best: hard/heavy music with catchy melodies and a somewhat confessional vibe. After such a series of album misfires, and with tales of recent unprofessional behavior abound, it was a balm to find these still much-loved heroes in a confident and relaxed mood, leaving all the bullshit behind them in order to give us some pretty respectable rock and roll. 

Lawrence Archer fits quite well into the UFO setup, and his guitar histrionics are totally adequate, leaving not much room for facile that's-OK-but-Schenker-was-better commentary on this particular occasion. Listening to it in retrospect, there's a lot to connect Archer's tasteful delivery to what Vinnie Moore would do in later years, a functional fusion of dexterity and bluesy intonations that really clicks with Mogg's soulful, maturing voice. The band as a whole sounds more tight than on previous records, and though both Way and Edwards tend to keep things simple most of the time they sure create a strong backbone for Archer and Mogg (the two clear protagonists of the record) to exert their creative muscles.

Some songs are undoubtedly better than others ("Let the Good Times Roll" and "Burning Fire", for instance, are just as unmemorable as their names suggest, and "Primed for Time" is just plain bad), and perhaps a more concise 10-track package would have been a better move after all, but "High Stakes & Dangerous Men" have lots of replay value for any long-serving fans of the group's sound and vision. My personal highlights would be "Borderline" (that shows itself to be quite a non-obvious and well-crafted opening song when you pay some extra attention to it), the poignant "Don't Want to Lose You", "Running Up the Highway" (with nice, groovy riffing and a easy-to-sing-along chorus) and "One of Those Nights", a song that clearly highlights Phil Mogg's voice and sense of interpretation in the best possible manner. OK, tracks like "Back Door Man" and "She's the One" are little more than a rehashing of old ideas, but at least they're presented in a more sincere and assertive manner, being quite serviceable as a result. Surely not a record that you're likely to hear on a weekly basis, granted, but I guess it won't become an outcast from your CD player if you're already a fan, and it's well worth adding to your UFO collection if you can locate it for a fair price.

It didn't cause any major surprises when it comes to album sales, and most people in the music business probably just ignored it altogether, but "High Stakes & Dangerous Men" showed to anyone paying attention that UFO still had something to say, being not only an enjoyable souvenir for loyal fans, but also a significant step towards recovering some of the credibility around UFO's name. After many years in the wilderness, it was surely good news, and an album that would (at last) be a clear signal for better things to come.

Phil Mogg (V), Lawrence Archer (G), Pete Way (B), Clive Edwards (D). Guest musicians: Don Airey (K), Terry Reid, Stevie Lange (backing vocals). All songs by Mogg/Way/Archer, except 4 by Mogg/Way/Archer/Edwards.

01. Borderline 5:17
02. Primed for Time 3:22
03. She's the One 3:44
04. Ain't Life Sweet 3:42
05. Don't Want to Lose You 5:37
06. Burning Fire 4:02
07. Running Up the Highway 4:39
08. Back Door Man 5:06
09. One of Those Nights 4:11
10. Revolution 4:06
11. Love Deadly Love 4:53
12. Let the Good Times Roll 4:12

Have you been involved with any of the bands mentioned here? Have any extra info and/or corrections? Please e-mail me (drequon@gmail.com) and let me know!

IRON MAIDEN (UK) - Powerslave (LP, EMI, 1984)

RATING: *****

Anyone who appreciates Iron Maiden's music above the 'near indifference' level most surely have spend many a day pondering about a pivotal question: what is the best Maiden album? It's a fascinating riddle, most of all because it's potentially impossible to crack. You have good grounds to lean in favor of at least six different studio albums, perhaps even more, and please note that I'm leaving live records out of the picture as I don't want to complicate matters even further. You may want to turn the question around a little, asking what would be the quintessential Iron Maiden record instead, but it wouldn't really make things that easier, and the preliminary challenge of defining what the elements that define the "perfect Maiden sound" are could easily become an impossible task in itself. But I'd say that, on a purely personal level, dividing the answer in two parts helps me to feel satisfied with my conclusion: I don't consider "Powerslave" to be the best studio LP Iron Maiden ever released (the pinnacle was still a couple records away IMO), but I'm entirely convinced it is the quintessential Maiden album, the one that captures all things that make this band such a stunning, genre-defining entity in the best possible light. In a time when Harris, Dickinson, Murray, Smith and McBrain had the world at their mercy, they managed to create a truly monumental LP, an all-time classic and a landmark for heavy metal as we know it; they were at the top of their game, plain and simple, and the metal scene would never be the same afterwards.

Everything about "Powerslave" is grandiose. The front cover (perhaps my favorite work from Derek Riggs) sets the mood in no uncertain terms: when you see Eddie turned into a pharaoh, with a giant pyramid gleaming with a eerie energy behind him, you damn sure know you're heading for a hell of a ride. The whole Ancient Egypt imagery was a perfect fit for the superlative tour that followed, a seemingly never-ending jaunt that went to nearly everywhere a metal band had ever set feet on, and then some - including a series of shows in then Communist countries (nicely documented on the "Behind the Iron Curtain" video) and a groundbreaking performance in Brazil, during the innaugural Rock in Rio festival - a memorable night that pretty much turned them into demigods in South America, no less. The stage props were huge, the venues got bigger and bigger, and it was mission accomplished when it comes to secure their presence in the difficult United States' market, with over a hundred dates in North America alone. Gruelling, no doubt, but also very worthwhile, as "Powerslave" went platinum in both Canada and the USA. Hard work will sometimes pay off, you know.  

When it comes to the music, the record is something of a culmination, bringing both the unrelenting drive of "The Number of the Beast" and the ambitious songwriting of "Piece of Mind" to its powerful, world-conquering conclusion. It's a very difficult balance to reach, you know: being an immense band able to command the masses without losing touch with the hunger and enthusiasm from your street-level days. These are songs written for stadiums, but without any of the elements we're accostumed to associate with an arena band. They're not softening their edge, they're not trying to be radio-friendly or simplifying their song structures - in fact, they're doing nearly the exact opposite: getting faster and heavier, sounding more intrincate and progressive while keeping the pedal to the floor most of the time, not to mention some truly challenging lyrics on a few far-from-commonplace topics. Iron Maiden were getting huge, but not a sane person in the world would have the guts to accuse them of selling out. From all the metal bands that ever made it real big, Iron Maiden were the very first to get there with such a hard-hitting, uncompromising approach to their sound, and we should all be forever grateful to them.

Iron Maiden were never exactly renowned for kickstarting their records with instant classics (they have used tracks like "Invaders" and "Tailgunner" as opening numbers, for God's sake), but "Aces High" is easily the best opening track they ever had: fast paced, dynamic, with exhilarating energy and one of the most memorable and sing-along choruses ever penned by the band, no less. No band ever wrote a WWII air battle song as good as this one, and most probably no one ever will. Next comes "2 Minutes to Midnight", a somber tune about war as a means for political and financial gain that is easily on my top 5 Maiden songs of all time. Every single instant of this song is pure perfection, and if don't agree with me, I'm sorry, but you're wrong. 

In fact, when you try to dissect "Powerslave" with a more inquisitive mind, you'll realize that it is divided into three very defined parts: a more direct, all-guns-blazing start and an epic, prog-oriented ending, glued together by a pair of songs that make something of a bridge between these two extremes. The insanely dynamic instrumental "Losfer Words (Big 'Orra)" (some people tend to overlook it, but I really can't see why, as it's a damn cool song) paves the way for "Flash of the Blade", perhaps the less complex song on the entire record, but carried along beatifully by truly memorable guitar interplay and a chorus to die for. Structurally, it's a bit like they've redone "Sun and Steel" from "Piece of Mind", as the two tracks are quite similar - but this particular cut is immensely better than its somewhat lacklustre predecessor, a kickass track that is easily one of the hidden gems in Maiden's repertoire. 

Then you have the two epics that close the record, and both are almost good beyond belief. The title-track uses Middle Eastern melodies once again, like "To Tame a Land" did little more than a year previously, but in an seriously more eerie, menacing way - an atmosphere that perfectly match the lyrics about the ephemerality of power and how even gods on Earth may die. The whole song is pure genius, but the instrumental mid section deserves some particular praise: there's a lot of space for everyone to shine, and the technical prowess only enhances the sense of gloom and unease the song conjures. Superb, really. As for "Rime of the Ancient Mariner", it's something of a template for the many extended epics Steve Harris would devote himself to create in later years - and it's undoubtedly one of his very best, a retelling of the classic Coleridge poem that manages to narrate a spellbinding story while keeping a muscular, unmistakeably heavy drive most of the time. Yeah, the atmospheric part halfway through is amazing, and the emotional build-up towards the "then down it falls comes the RAAAAAAAAAA" part is one of the most memorable moments in the band's entire repertoire, but the most impressive thing about this song IMO is just how headbanging-inducing it is: no obstrusive embellishments, no distractions and no wasting of time, just some good, old-fashioned, immensely memorable heavy metal. And it works like a beast, you can bet your ass it does.

The problem with "Powerslave" (and please note I'm using the world "problem" very lightly and just for the sake of argument) is in the middle of the park. Both "The Duellists" and "Back in the Village", though obviously good enough, are considerably lacking when compared to the rest of the package: though lyrically connected to "Flash of the Blade" before it (both are about battling with swords and stuff), "The Duellists" present some of the least interesting vocal lines from 80's-era Maiden (the OOOH-OH! during the chorus is particularly nondescript), and "Back in the Village" revisits the storyline of 'The Prisoner' TV series, but lacks the charm of "The Prisoner" (the song), sounding a bit aimless and redundant in comparison - although the lyrics are way more on topic now than in its rather vague predecessor. Both songs have a lot of redeeming features (the former brings some extremely tight and dynamic instrumentation to the table, while the latter presents razor-sharp riffing played at almost frantic pace), and you'll be hardly inclined to skip the pair while listening to the album, but the bridge is undoubtedly the more difficult part to cross while listening to "Powerslave", and this is what prevents me from saying this is the best Maiden album - even if it is, most of the time, my personal favorite.

Minor (in fact, really minor) shortcomings that are far from enough to diminish the lasting impact of this LP. This is the moment when the mighty Iron Maiden really gelled, when their many strong points finally turned into an entity stronger than the simple sum of its parts. The promises were many, and the challenges were huge, but these five young men from England fulfilled all of them with great aplomb, and the metal world would be all a better place because of it. It looks perfect, it sounds perfect (Martin Birch knew how to do his job, zero doubt about that), the performances are all stellar, and the music contents are among the very best any heavy metal band ever managed to lay down on tape. All things considered, "Powerslave" is a 5-star record without any shadow of a doubt, and if you don't follow me on this, well, are you sure metal is really your thing? 

Bruce Dickinson (V), Dave Murray (G), Adrian Smith (G), Steve Harris (B), Nicko McBrain (D).

01. Aces High (Harris) 4:31
02. 2 Minutes to Midnight (Smith/Dickinson) 6:04
03. Losfer Words (Big 'Orra) (Harris) 4:15
04. Flash of the Blade (Dickinson) 4:05
05. The Duellists (Harris) 6:18
06. Back in the Village (Smith/Dickinson) 5:02
07. Powerslave (Dickinson) 7:12
08. Rime of the Ancient Mariner (Harris) 13:45

Have you been involved with any of the bands mentioned here? Have any extra info and/or corrections? Please e-mail me (drequon@gmail.com) and let me know!

IRON MAIDEN (UK) - Piece of Mind (LP, EMI, 1983)

RATING: ****

 If Iron Maiden were already on the road to worldwide stardom by the time "The Number of the Beast" came out in early 1982, there was no stopping them afterwards. More than steady, their growth rate became a geometric progression pointing to the heights: everybody wanted to buy their records, attend their concerts, wear their t-shirts, be part of their entourage and make any possible sort of business with them. That's how it goes when everybody knows you're going to make it big, I guess. The fact that Maiden managed to record so many amazing albums in a row is an astounding feat, you know, even moreso when you consider how fast things were moving inside the band's particular universe. In the latter months of 1982, drummer Clive Burr was out of the picture; in a matter of days, Nicko McBrain was recruited (it was so unexpected that the newcomer had to use an Eddie mask during his first appearance with the band, as there had been no time to explain Burr's departure to the press); and he had no more than a couple months before entering studio with his new bandmates, in order to get a new record done. You can't really achieve any sort of peace of mind under such a tight schedule, so I suppose the play of words that came to baptize "Piece of Mind" makes perfectly sense, when you take a closer look at it.

The circumstances around Clive Burr's escape (not-very-obvious pun intended) from the Iron Maiden orbit were never fully clarified, and the long-held notion that the drummer's spare time activities (e.g., drinking and substance use) had become too unprofessional to endure seems to have been unfair to him, at least to an extent. In fact, when you put all the pieces together, the most credible conclusion appears to be that Clive Burr and Steve Harris simply got weary of each other, and, as the bassist was the mastermind behind the group and would never ever step aside, then the drummer had to go. It was unfortunate for him, that's for sure, but I don't really think there's anyone to blame around here: it just happens, you know. Burr would have an eventful (if not immensely successful) career in later years, handling the drumsticks for acts as disparate as Elixir, Praying Mantis and Dee Snider's Desperado, as well as trying his own thing with Clive Burr's Escape, later rechristened as Stratus and that got as far as releasing a decent record named "Throwing Shapes" in 1985. As we all know, the sticksman sadly passed away in 2013 after a valiant battle against multiple sclerosis - and the fact that Iron Maiden would take great lengths in order to help paying his hospital bills speaks volumes about how all the altercations were water under the bridge by then (they're not that inclined to do the same for Paul Di'Anno, you know). RIP dude, and rest assured that your contribution to music will always be fondly remembered and acknowledged by all metal fans worldwide.

Nicko McBrain was a seasoned drummer with a number of allegiances to his name, having recording credits with Pat Travers, Goldon Giltrap and the Streetwalkers, among others. More recently, he was doing the rounds with Trust (a band I really like BTW, and that will hopefully appear on this space in the not-too-distant future), and rapidly proved himself to be yet another good choice for Maiden, as Steve Harris soon became good friends with him and both built a strong partnership that remains unscathed to this day. Though not as smooth and groovy as Burr's signature sound, Nicko's busy patterns and muscular, indefatigable delivery made a lot of difference when Maiden started to move towards even more technical and ambitious territories, consolidating the band's reputation as a seamless, unrelenting wall of sound.

The punkish vibe, still present in some corners of "The Number of the Beast", is totally absent on "Piece of Mind", and would be almost nowhere to be found from this point onwards: now Maiden present themselves as a much more serious entity, their ever-present focus now directed towards a newfound passion for storytelling and drama. They would sure perfect the formula in later years (and, in a sense, they are still doing it to this day), but this is a very important landmark "Piece of Mind" set for future releases, and it adds historical significance for a record that would already be very impressive if valued by musical merits alone. Describing this particular LP as pretentious would not be too far off the mark, but I wouldn't consider this to be too derisive a comment after all: Iron Maiden were indeed trying a bit too hard to be artsy and impressive, but it comes from a place of honesty, from a band that tries to expand on the avenues opened by "The Number of the Beast" rather than simply put a series of good songs together with a random Eddie on the front cover.

A lot of it surely has to do with Bruce Dickinson. Now released from the all contract ties to his Samson days (a situation that prevented him from having a more decisive role in the songwriting process of the previous record), the vocalist brings a lot of ideas to the table this time around, and his determination to leave a personal mark brings some very important changes to Maiden's sound and spirit. Saying that Dickinson wanted to differentiate himself from Paul Di'Anno would tell just a part of the story: he also wanted Iron Maiden to become a slightly (but perceivably) different band, in order to fully accomodate his persona. He is an accomplished fencer, wrote satirical books around a character named Lord Iffy Boatrace, has a degree in History, worked for radio and television - and he's also a airplane flyer who got as far as to rescue some endangered turtles on occasion! A larger than life individual, if any of us ever saw one, and surely not one to do as he's told when in a band. Fortunately for all of us, Dickinson's ambition found a great songwriting partner in Adrian Smith, and was also in tune with the creative vision Steve Harris had for the band. Thank god these guys got together, and "Piece of Mind" is the first record to show this 'new Iron Maiden' in all its glory.

The album starts off with "Where Eagles Dare" and "Revelations", two considerably long tracks that perfectly illustrate what Eddie and his friends had in mind this time around. In fact, the very fact that they chose this particular pairing speaks volumes: let's face it, picking two convoluted songs without catchy choruses or easy-to-understand motifs to open proceedings on your much-anticipated new record is hardly a common thing in metal nowadays, let alone in 1983. You're telling something to the listener when you take such a route, you know: this is not a casual listen, we're not fooling around, you better pay attention to this. And it works on this particular instance, you can bet it does: "Where Eagles Dare" is vigorous and complex, with an unforgettable performance from Nicko, and "Revelations" is a dark semi-ballad with highly symbolic lyrics and an arcane, mysterious vibe. Both kick serious ass, you know, and God know how hyped the listener is bound to be after giving the first spin to these two.

In fact, judging from the first six tracks, this could easily rank as one of the best metal albums ever. Both "Flight of Icarus" and "The Trooper" are immensely memorable singles, the latter showcasing perhaps the most iconic guitar work ever delivered by the band, while "Still Life", though often overlooked, is a remarkable piece of composition that conjures both tension and menace in a way few songwriters out there can (and oh yeah, I love Bruce's singing on this one). As for "Die with Your Boots On", it's something of an echo from Maiden's fast-and-furious early days, but done with such ferocity and skill that the results are simply exhilarating, one of the most headbanging-inducing songs ever penned by Maiden (think about it and I'm sure you'll agree). Half an hour of varied, confident and uncompromising genius, no less.

Unfortunately, the final three songs, though markedly superior to what nearly all competition could do at the time, are not in the same league of what precedes it, plain and simple. "Quest for Fire" sounds somewhat silly, both in subject matter and the melodies that go with it, to such an extent that it simply breaks some of the pensive, dead-serious atmosphere most of the album conjures. I always though it could have been a great B-side for a single under different circumstances, but its presence here is somewhat detrimental to the whole package, which is a shame really. "Sun and Steel" doesn't work much better, unfortunately, and its chorus (rhyming "steel", "ideal" and "wheel") is one of my least favorites from the entire '80s era of the band. Finally, "To Tame a Land" comes out as a ambitious retelling of Frank Herbert's impressive "Dune" saga, and it surely works to a great extent, with progressive intonations and a very Middle Eastern-ish guitar work. Still, I tend to think it's not that unbelievably good as most people seems convinced it is: it moves through its many different parts a bit too fast for my liking, and it ultimately sounds a bit aimless in places, like they were just trying to show how they could play some complex shit rather than putting their undeniable prowess to use in a well-crafted, naturally demanding song. I know tons of metalheads around the world will beg to differ, but I'm just being honest here, you know - and the fact that the band themselves never added this one to their setlists since 1984 is evidence that they agree with me, at least to an extent.

Saying that "Piece of Mind" is not that good would be downright stupid anyway: it's actually a monster of a record, an astounding feat of creative genius and a quintessential LP that you're simply not allowed to live without, no excuses. The fact that it is not mind-bogglingly good in all its parts is just a nuance, you see, and anyone who dwells too much on it should be regarded as something of a fool. The four-star rating is as close as a five-star as it could possibly be, and it only makes sense in comparison with other albums released by the same band. For nearly everyone else, "Piece of Mind" is like the summit of Everest: it's there, but most of us will never reach it, and many will die trying.

Bruce Dickinson (V), Dave Murray (G), Adrian Smith (G), Steve Harris (B), Nicko McBrain (D).

01. Where Eagles Dare (Harris) 6:08
02. Revelations (Dickinson) 6:51
03. Flight of Icarus (Smith/Dickinson) 3:49
04. Die with Your Boots On (Smith/Dickinson/Harris) 5:22
05. The Trooper (Harris) 4:10
06. Still Life (Murray/Harris) 4:37
07. Quest for Fire (Harris) 3:40
08. Sun and Steel (Smith/Dickinson) 3:25
09. To Tame a Land (Harris) 7:26

Have you been involved with any of the bands mentioned here? Have any extra info and/or corrections? Please e-mail me (drequon@gmail.com) and let me know!

IRON MAIDEN (UK) - The Number of the Beast (LP, EMI, 1982)

RATING: *****

This is a difficult album to review, you know. I mean, there's simply no reasonable way I could give "The Number of the Beast" anything but a 5-star rating, as it is one of the landmark releases in the history of heavy metal, no less. You can't assume yourself to have even the slightest understanding about metal without giving this record at least a few respectful spins, and anyone who considers forming a metal collection without owning a copy of this record simply can't be taken seriously. It's a fucking classic, you need to have it, and that's it. On the other hand, you don't need to be a particularly inquisitive listener to acknowledge that it's something of a bumpy ride, and roughly half the tracks are flawed with shortcomings, to say the least. It's a transitional record, you see, and the fact that a band could manage to release such a monster while still obviously not at the top of their game is astonishing, to say the least. Both ends of the spectrum are absolutely true, and trying to reconcile such divergent approaches is a challenging task, but I really think that reviewers should always try to use hindsight on their favor, rather than taking long-standing views as some sort of dogma. May God have mercy on my soul, as I'm about to share my views about "The Number of the Beast", the 3rd and legendary LP by Iron Maiden - and the five stars you see at the top of this entry, though unavoidable and thoroughly deserved due to the immense relevance of the record in question, should not at all be taken as the end of the story, as there's quite a lot to be discussed about this release. 

As far as changing vocalist go, we are all well aware of (though not necessarily reconciled with) the fact that Paul Di'Anno's departure was a necessary move, due to his unprofessional behavior and diminishing interest in the whole venture. But there's another aspect to it, that is perhaps even more significant in the grand scheme of things: Iron Maiden were destined to be one of the biggest metal bands ever, and they would have never got that far with Di'Anno as a frontman. He was the punk among the metalheads, the tough guy from the streets, a reckless rebel with all the charm of a young man looking for trouble. He was absolutely awesome, and still easily rank among the most memorable metal frontmen in living memory - but he was a force of nature meant for the clubs, and Iron Maiden's calling was to conquer stadiums, you know. You can't honestly argue Paul Di'Anno had what it takes to take Long Beach Arena by storm several nights in a row, or to command hundreds of thousands of people in Rio de Janeiro during Rock in Rio, no matter how much your heart wants to believe otherwise. In order to fulfill their collective destiny, Maiden needed a larger-than-life persona, a soul filled to the brim with sheer ambition, a frontman with a theatrical presence and a powerful voice for the masses. They needed someone like Bruce Dickinson. 

In my honest opinion, Dickinson's arrival in late September 1981 marks the most well-succeeded replacement in the history of metal, and anyone willing to disagree will have a hard time finding an argument against me, I guess. He was doing fine with Samson, that's for sure, but let's face it, there was no prospect of really making it big for the lads - and Bruce Bruce, as he was known back then, sure wanted more. He wanted to be in Maiden, and, as it turns out, Steve Harris wanted him in Maiden too, and there's no denying he was absolutely right about that. Songs like "Prodigal Son", "Phantom of the Opera" and even "Murders in the Rue Morgue" hinted of the more ambitious songwriting avenues good old 'Arry was eager to explore - and Dickinson's operatic, melodic-yet-punchy delivery was exactly what the bassist needed to fan his creative fire. 

It was also the right time for an album like "The Number of the Beast", you know. The convergence of heavy metal towards a more radio-friendly, pop-infused sound was gathering steam, and even stablished bands/artists like Judas Priest, Whitesnake and Ozzy Osbourne were ready an' willing (pun intended) to try their luck with that. On the other hand, strong contenders like Saxon and Motörhead were as street-level as it gets, and giants like Black Sabbath and Deep Purple were trying to survive through confuse times, or just plain inactive. There was clearly an open niche for a band that could manage to be, let's say, as superlative as Queen, but still keeping the uncompromising spirit so many headbangers would always associate with metal. Metallica were just around the corner of course, but it would take a little while until they finally peaked, so there was really no competition when Iron Maiden came out with "The Number of the Beast" in March 1982 - and, if we're to be frank, there wouldn't be much of a competition for them for the best part of a decade afterwards.

With that all said, this is a transitional LP, and you better bear this in mind if somehow you're going to listen to it for the first time. Both "22 Acacia Avenue" and "Gangland" are songs directly connected to the rough-and-ready, street-level approach of "Killers", and it's not at all difficult to imagine an hypothetical follow-up with Paul Di'Anno centered around these songs. Both are perfectly fine, and "22 Acacia Avenue" even stayed on the setlists for a number of world treks through the years, but both are not really representative of the direction Maiden is heading to elsewhere; in a sense (and I know how disagreeable this may sound), these songs are already the Maiden of old. Singing about a prostitute doing the rounds on London's East End made perfect sense in the context of the first two records, but sounds markedly out of place when you consider Maiden's newfound personality and perspective. As for "Invaders", it's simply not as good as the rest of the package, and (despite the fact that it is something of a prelude for the many history-themed epics to come), its simple presence in the final product is somewhat surprising, let alone the bizarre option of using it as an opening number. It doesn't even show Dickinson in a very favorable light: the verses are rushed, the chorus sounds awkward, and the singer is never allowed to use his powerful pipes to full strenght. Many people consider "Gangland" to be the album's weakest spot, but I beg to differ: "Invaders" is easily the most lacking song here to my ears, and one of the least accomplished tunes from the entire '80s run of the band. Sorry, but it is what it is.

Everywhere else, "The Number of the Beast" is a work of genius. There are rough edges in places, and the songwriting still had ground to mature, but this is the birth of quintessential Iron Maiden, a bombastic, unrelenting force that unifies energy, technique and artistry like few before or ever since - and that is still going strong to this day, on their own terms. Even a slightly lesser cut like "Children of the Damned" can put nearly all contemporary contenders to shame: though the song's structure is a bit less interesting than it seems to be at first, the Murray-Smith guitar interplay works beautifully, and Bruce sings with a sense of drama that renders the track a unsettling, even menacing vibe. "The Prisoner" is moved along by an astute stop-and-go riff, and it's the chance I was looking for to applaud one of early Maiden's unsung heroes: the drumming of Clive Burr during the whole record, and on this track in particular, is simply superb. There's no doubt in my mind he delivers the performance of his life on this LP, and in a team full of aces, he damn sure was one of them. Even the B-side-made-album-cut "Total Eclipse" is a total winner, its many different parts sewn together with amazing chops and exhilarating dynamism. 

But this monster of an album has three out-of-this-world, insanely classic tracks, and you all know what I'm talking about. The title track is a marvel of storytelling, with an intro that expertly builds tension until Bruce Dickinson delivers THAT chilling scream - simply put, one of the most memorable moments in the history of metal, no less. The chorus is truly amazing, and the instrumental section is a highlight in itself, a rollercoaster ride of solos and riffs that ends with Steve Harris flexing his muscles with a simple, but unforgettable mini-solo. "Run to the Hills" is the band's first single to reach Top 10 status in the UK, and it's remarkable how this song manages to bring to the table so many seemingly disparate features (the galloping rhythm, the catchy chorus, the poignant lyrics about the plight of Native Americans, the drum-centered intro, the unexpected crescendo towards the end) and still be such an earworm - and it's less than 4 minutes long! And "Hallowed Be Thy Name", oh well... I'll leave most of my comments on the subject for "Live After Death" I guess (let's face it, this review is frickin' long already!), but let's just say this tune is one of my strongest candidates for the Best Metal Song of All Time award. Everything on it is simply perfect, with solemn (yet truly engaging) instrumentation and a cinematic feel that puts you right into the dramatic story it depicts, not to mention some of the most philosopical and heartfelt lyrics ever written by Steve Harris (and he was only 26 years old!). It's an epic for the ages, a stunning compositional triumph, and I better stop right now before this treatise gets hopelessly convoluted. 

Well, there you have it: "The Number of the Beast" is somewhat flawed, but it's still a cornerstone of heavy metal, worthy of all the universal acclaim it can possibly receive. The impact begins long before you play it, with a sinister (but still uncanningly funny) cover art by Derek Riggs that really captures the imagination, and it resonates long after the turntable stops and the needle is back to its resting place. It still resonates to this day, you know. For all of us. The fact that there was still some ground to cover before the band truly gel should not be seen as a hindrance really, but rather as a testimony to the sheer potential around this particular entity. And I think it's beautiful to find out that a classic record doesn't need to be flawless, that its blemishes and occasional shortcomings can also be a part of its irresistible charm. 

Bruce Dickinson (V), Dave Murray (G), Adrian Smith (G), Steve Harris (B), Clive Burr (D).

01. Invaders (Harris) 3:20
02. Children of the Damned (Harris) 4:34
03. The Prisoner (Smith/Harris) 5:34
04. 22 Acacia Avenue (Smith/Harris) 6:34
05. The Number of the Beast (Harris) 4:25
06. Run to the Hills (Harris) 3:50
07. Gangland (Smith/Burr) 3:46
08. Hallowed Be Thy Name (Harris) 7:08

Have you been involved with any of the bands mentioned here? Have any extra info and/or corrections? Please e-mail me (drequon@gmail.com) and let me know!

IRON MAIDEN (UK) - Maiden Japan (Mini-LP, EMI, 1981)

RATING: ***

As Bon Scott once wisely put it, it's a long (and very demanding) way to the top if you want to rock and roll. And Iron Maiden sure worked hard to get there, you can bet your ass on that. The relentless touring would take its toll on Doug Sampson, for instance, the disillusioned drummer concluding he simply wasn't fit enough to survive the vicissitudes of the never-ending road and quiting in late 1979 (with Clive Burr taking his place at the drumstool, as we all know). Much loved frontman Paul Di'Anno was destined to be the next casualty, but for an entirely different set of reasons. In fact, his substance abuse started to get on the way of the band's stage performance, to the point that some shows had to be cancelled (the singer getting as far as being arrested on at least one occasion) and many others getting done only after some strong effort to get the man onstage. One of the unwritten laws of rock and roll is that you can do whatever the hell you want to do and your money can buy, as long as you don't let your band down - and mainman Steve Harris, one of the most focused and committed-to-the-cause individuals you'll ever find in metal, would never take Di'Anno's antics lightly. The vocalist himself would later admit that the whole situation had a lot to do with self-sabotage, as he was tired of touring, insecure about his abilities and uncertain about the band's increasingly convoluted sound. Wherever the truth may lie, the writing was on the wall for Di'Anno, and both band and management were trying to figure out how to handle the situation by the time "Maiden Japan" mini-LP hit the shops in September 1981.

Curiously, the entire situation had a somewhat tragicomic effect on the album's package. The original front cover depicted mascot Eddie proudly holding Di'Anno's severed head - a tongue-in-cheek, seemingly innofensive joke at first, but that was sure to backfire as soon as people knew what was going on in Iron Maiden's camp. Well aware that making fun of a singer you're about to fire isn't exactly a wise move in the business, manager Rod Smallwood understandably panicked as soon as he had a test print on his hands, and comissioned a replacement cover at very short notice, this being the sword-wielding Eddie we're all used with. It wasn't enough to prevent the original cover to be used in seldom-seen Venezuelan and Brazilian editions, though, and if you happen to have one of such copies in your possession, rest assured that many people would love to buy it from you.

It wasn't the first time Iron Maiden released a live record, mind you: the "Live!! + One" EP came out in late 1980, but it was a Japanese-only release with little impact anywhere else (it would later receive a somewhat bizarre reissue in Greece, with songs from "Maiden Japan" added to the running order for whatever reason). Besides, the band opted to re-use its live cuts as B-sides for subsequent CD reissues, rather than keeping the original package as a product of its own, which is strong evidence that Iron Maiden themselves never deemed it very representative in the first place. Still, it makes sense to mention "Live!! + One" around here, as it shows just how interested in Maiden the Japanese market was from an early stage - even more so when you consider that "Maiden Japan" was a direct request from Toshiba, the label distributing EMI's releases in the country. The executives wanted a live album to sell, and the band finally relented to Toshiba's wishes, even though the timing of the original release can surely be called into question.

Recorded in Nagoya in May 23th, 1981, the five tracks featured on the original 12'' release (well, at least my LP version have five tracks) are a faithful enough depiction of the band's energy upon a stage, and are also of great historic value as we'll hardly ever get a better chance to listen to a high-quality, officially sanctioned release with Paul Di'Anno up front (and I'm afraid all the CD releases with the full set played that night are bootlegs, no matter how legitimate they seem to be, so be warned). I'm not talking about video releases of course, as the very good "Live at the Rainbow" is out there for everyone to enjoy as well, but let's not make things too complicated, right? The track selection seems to have been pretty arbitrary anyway, and shows precisely zero respect for the band's usual setlist ("Wrathchild", for instance, opens the B side, when it was notoriously the opening number during the Killer World Tour), which spoils a bit of the fun if you happen to take such things into consideration. 

The production job is very competent, with a punch not at all dissimilar to the results we can hear on the studio recordings of "Killers" - in fact, the guitar tone is perhaps the heaviest you'll ever hear on a Maiden record, which is something of a feature in itself I guess. Paul Di'Anno's singing is very strong throughout, a force of nature really, and it's a joy to listen to Clive Burr's extraordinary performance on drums: I used to be in awe listening to what he does with the hi-hat during the studio version of "Innocent Exile", for instance, and it was quite a surprise to find out he could perfectly replicate that live, with a smooth flow that is no short of spellbinding once you pay attention to it. There’s nothing to complaint about when it comes to sound and performance really, the only downside being that it’s too damn short: you'll most probably enjoy every second of it, but it's going to be over way before it should if you ask me. Perhaps "Maiden Japan" could have become something of a classic, had it been taken more seriously for all those involved, but it is what is, you know: a nice mini-album to have on your collection if you're a strong Maiden fan (and/or if you love Paul Di'Anno), but not a landmark release by anyone's standards, and hardly a record you'll want to hear on a daily basis.

It wasn't meant to be a swansong for Paul Di'Anno's tenure with Maiden, but "Maiden Japan" came out less than a week after the singer's final performance with the band in Copenhagen, Denmark - and probably just a couple days before he was finally informed he was no longer a member of the band. A minority of fans will never accept Iron Maiden without Di'Anno, even to this day, but it's pretty obvious that it was the right move after all: little more than a month later, Bruce Dickinson was making his debut as the new frontman in Italy, and the rest, as they say, is history. And a pretty eventful one, as further reviews will hopefully be enough to demonstrate. Paul Di'Anno would do a little bit of everything in later years, from pop-rock-tinged solo efforts to very heavy albums with Battlezone and Killers (not to mention some embarassing moments like Gogmagog and the whole "The World's First Iron Man" series), as well as a seemingly never ending series of tours and re-recordings of old Maiden classics - but it was all too erratic and unfocused to leave any lasting mark in the business, something not at all helped by all the drama surrounding the man, from benefit fraud to getting involved with gang fights and everything you can imagine in between. By the time of writing, Paul Di'Anno is facing some serious health issues and trying to collect the money needed for a complicated knee surgery, and I wholeheartedly hope he can get through these difficult times and put his career back on full strength, whatever he feels like doing in the future. We all love you, Paul.

Paul Di'Anno (V), Dave Murray (G), Adrian Smith (G), Steve Harris (B), Clive Burr (D).

01. Running Free (Harris/Di'Anno) 2:48
02. Remember Tomorrow (Harris/Di'Anno) 5:27
03. Wrathchild (Harris) 2:52
04. Killers (Harris/Di'Anno) 4:39
05. Innocent Exile (Harris) 3:44

Have you been involved with any of the bands mentioned here? Have any extra info and/or corrections? Please e-mail me (drequon@gmail.com) and let me know!

IRON MAIDEN (UK) - Killers (LP, EMI, 1981)

RATING: ****

To say that people were paying attention to Iron Maiden by the time "Killers" hit the shops in February 1981 would be quite an understatement. In fact, after the very positive response to the eponymous LP, everyone who had a say in the hard/heavy multiverse seemed convinced that those lads from the East End of London were destined to take on the world, and wanted to make business with them if at all possible. Such was the next-big-thing feeling around Maiden at the time that none other that Gene Simmons (c'mon, we all know who he is) took personal effort to make the opening act feel welcome during a tour they made together in late 1980 - and you know, when Gene fuckin Simmons thinks you're a serious contender to worldwide stardom, you better fasten your seatbelts, because it's going to be one hell of a ride. Similarly, famed producer Martin Birch (a man that, let's say, would never have a problem finding a job at all) pretty much offered himself to produce the band's second album, making room in his very busy schedule to accomodate the hopefuls. There was little question if Iron Maiden were going to make it: the matter of doubt was about when it was going to happen, and no one wanted to look the wrong way and miss the takeoff.

As we all know by now, it didn't happen with "Killers". The album was undeniably successful, and there was no losing ground for the band by any stretch - but it was more of a step in the right direction rather than a giant leap forward, a strong move but nothing to give the household names any sleepless nights just yet. In fact, after their collective dissatisfaction with the sound results of the "Women in Uniform" 7'' (a cover from the Skyhooks, and easily one of the most accessible tunes in Maiden's entire repertoire), the lads decided to pick the next singles all by themselves, and both "Twilight Zone" and "Purgatory" failed to cause a strong impression in the charts, the latter actually being their least successful single ever (it made it to number 52 in the UK Singles Chart, which would be quite a good mark for nearly all metal bands out there, but you know what I mean). No one was disappointed or scratching their heads in doubt, that's for sure, but fact is it didn't match the success of the band's debut, plain and simple. And these slightly unimpressive results somehow reflect in the status it holds today: nearly everybody likes it, many actually love it to death (myself included), but those who consider this to be Maiden's best LP are but a tiny minority - most of all because, well, it isn't. 

A very important change in the line-up happened in the final months of 1980, when Adrian Smith (who was out in the cold after his beloved Urchin had bitten the dust a few weeks previously) assumed his now legendary place alongside Dave Murray; it seems that Dennis Stratton's inclination towards a overtly melodic sound (summarized by his role in a scrapped, reportedly too-radio-friendly-for-Maiden mix of "Women in Uniform") turned out to be the kiss of death for the unlucky guitarist, a notion that is not at odds with the sound he would later pursue with Lionheart and in his tenure with Praying Mantis. Highly influenced by the more bluesy end of the heavy rock spectrum, the new axeman was still perfectly capable to rock as hard and fast as required, offering Iron Maiden a dynamic edge while keeping a much needed ear for melody - an approach that perfectly complements Murray's instinctive, force-of-nature style. It was a great choice, and his contribution to the group's sound and songwriting can never be overstated.

The production values sure do wonders to enhance the album's merits, with a beefed up, punchy sound that gives the five-piece a more confident, even menacing sonic presence in comparison with their rough-edged debut. The musicianship is sharp and powerful, with the twin-guitar attack we would soon learn to love and a busy, very driving rhythm section - but perhaps Paul Di'Anno manages to shine even brighter than the rest, with a vocal delivery that is no less than superb. There's little doubt in my mind that this one is the performance of his live: every bit as intense as in the debut, but with remarkable levels of confidence and control, not to mention an impressive sense of interpretation. Just listen to his singing on "Murders in the Rue Morgue", the acoustically-driven ballad "Prodigal Son" or the aggressive title-track to know what I mean - and if you still don't get it, well, I'm afraid this whole metal thing is really not for you. Improbable a metal frontman as he arguably was, Di'Anno was at the top of his game here, and I can only wonder what the metal world would look like today if he had kept himself together for a while longer. No wonder Bruce Dickinson always had a hard time making these songs justice.

That said, we need to face the truth: this particular batch of songs is not as impressive as the previous LP, or at least the five studio records that would come out next. Most of the tunes here featured were in Maiden's repertoire for years, repeatedly tried and tested in the live environment - some, such as "Drifter" and "Another Life", being fan favorites even before the outfit had recorded their first demo. While undeniably strong, these tunes have the disadvantage of having been written in a time when the lads were still learning their trade, being slightly unrepresentative when compared to their more contemporary cuts; when you listen to the recently-penned "Murders in the Rue Morgue" and compare it to "Innocent Exile" (a song Steve Harris wrote even before Iron Maiden was born in late 1975), the different levels in songwriting are too clear to be ignored. And I don't mean to say "Innocent Exile" is a bad track, mind you (it's one of my personal favorites around here): it's just that Iron Maiden was evolving real fast at the time, and many songs on "Killers", although very good, were already a thing of the past for them.

But let's not blow this minor criticism out of proportion: "Killers" is still a bombastic album, with a sheer sense of purpose to put nearly all competition to shame. The opening salvo of "The Ides of March" and "Wrathchild" easily rank among the strongest ever recorded by the band, "Genghis Khan" is an instrumental piece that is as mind-blowing as it is powerful, and "Purgatory" is one of the fastest cuts ever recorded by Maiden, with exhilarating guitar work and a singalong chorus to die for. Despite the fluctuations in songwriting prowess, there's surely not a stinker in sight, and even old songs like "Innocent Exile" have a lot to say to any self-respecting headbanger. Subsequent reissues include "Twilight Zone" as an extra track, and it's a bloody good song that pretty much epitomises the NWOBHM urgency and spirit, making the album even better as a result. If you still don't own a copy (you probably do, but who knows?), it's a mistake you should fix ASAP, and your life will be all the better because of it, believe me on that.

For some, the departure of Paul Di'Anno in the later months of 1981 was no less than a tragedy, and some still consider this to be the definitive incarnation of the band - a notion that is not as absurd as it may seem at first, once you consider that the rawness and the punk-infused elements of the whole venture would disappear almost completely from this point onwards. Still, I personally think that it just had to be: Di'Anno was (and still is) a tough guy from the streets, for good and bad, and Iron Maiden would probably never reach their sold-out-arena destiny with such an unruly frontman. Besides, the singer's unprofessional behavior had become something of a cross to bear for the rest of the group, getting as far as the band cancelling gigs due to Di'Anno's being arrested or simply too inebriated to perform. But still there was a final release with his voice to come out, and that is the "Maiden Japan" mini-LP, so let's swiftly move on to the next instalment...

Paul Di'Anno (V), Dave Murray (G), Adrian Smith (G), Steve Harris (B), Clive Burr (D). All songs written by Harris, except 07 by Harris/Di'Anno.

01. The Ides of March 1:48
02. Wrathchild 2:54
03. Murders in the Rue Morgue 4:14
04. Another Life 3:22
05. Genghis Khan 3:02
06. Innocent Exile 3:50
07. Killers 4:58
08. Prodigal Son 6:05
09. Purgatory 3:18
10. Drifter 4:47

Have you been involved with any of the bands mentioned here? Have any extra info and/or corrections? Please e-mail me (drequon@gmail.com) and let me know!

IRON MAIDEN (UK) - Iron Maiden (LP, EMI, 1980)

RATING: *****

This is the first Maiden album I bought, you know.

No, I wasn't around when it first came out in April 1980 - actually, I was still having quite a good time inside my mother's womb, and wouldn't be doing the rounds in this quite strange world (pun intented) until August that year. I would add it to my collection quite a few years later actually, maybe in 1996 or thereabouts - as an official cassette tape, which I still own to this day. I kind of knew what to expect from it, mind you: I'm an Iron Maiden fan since I was a kid, and some albums were already a part of my daily routine, borrowed from friends and neighbours and duly recorded on tape. I was short on money back then, and buying albums would be quite a luxury - I didn't even had a CD Player at home back then, if I'm not mistaken. But my mom gave me enough money to buy a new walkman, as a Christmas  gift, and the change from the cash she gave me was enough to buy two cassette tapes.

I wanted Iron Maiden, you see. Wanted it real bad. And, believe me or not, the eponymous 1980 release was the only Maiden available at the store, apart from Seventh Son of a Seventh Son - a record I had already taped from a friend. There was no choice, and no choice was needed: Iron Maiden 1980, here we go (the other cassette I picked was Metallica's "...And Justice For All", I believe).

It's a silly personal story without much of a meaning, you see, but I enjoy remembering this, because buying that record was something of a revolution for me, as it was for the whole metal world when boys and girls first bought it in 1980. And the reaction was pretty much the same, too: I'd thought I knew what to expect, from my previous knowledge of the band and all that, but I was wrong.

I was blown away. In a sense, it still feels the same, nearly 25 years later for me, over 40 years later for the world.

Now, I don't want this review to become a treatise on how Iron Maiden changed my life and all that, so I'll skip any further visits to Memory Lane for the remainder of it. But I do have a theory: THIS is the quintessential Iron Maiden record. I'm not saying it is the best thing they ever did (it sure isn't), nor that it is their most impressive batch of songs (Powerslave gets the nod IMO), but I would be inclined to affirm that, oh yes, this is the most IMPORTANT album they ever recorded. If there's an Iron Maiden LP that changed the world around it, a release that came to show everyone what should be done and how to do it, a signal that defines heavy metal 'before Maiden' and 'after Maiden', this is the one. Their first statement, and everything that matters is already there, as powerful and impressive as it could possibly be. In a sense, the world was already conquered by Iron Maiden the day this album came out: from that point onwards, it was mostly a matter of fulfilling a destiny.

It was the right record at the right time, really. The whole NWOBHM thing was ready to explode, with many promising acts being monitored by the strongest labels of the period and a fervent fanbase growing exponentially. That new metal thing in the UK needed a band to lead the way, and many combos were trying to head the pack - some (like Diamond Head and Saxon) got quite close, others (Def Leppard) decided to take a different road, in their own terms. Iron Maiden are the ones who made it. And (no matter how many times Steve Harris will try to deny it) it has a lot to do with the perceivable punk influence in Maiden's early sound. Many long-haired metalheads among us will never admit it, but that's a fact nonetheless: the punk rock phenomenon did influence the NWOBHM in no uncertain terms, adding a sense of urgency in songwriting you won't easily find in the forerunners of early 1970's metal scene. Iron Maiden epitomise it rather effectively: their formative songs got faster and faster as the years progressed, and the semi-theatrical elements of their early sets (ex-vocalist Dennis Wilcock spitting blood and all that) would eventually give way to a more concise, straight-to-the-point (and exhilarating) stage performance.

It obviously has a lot to do with Paul Di'Anno. He's a punk singing metal, so to say: though able to reach some pretty effective high notes when required (something that would be far more perceivable on follow-up "Killers", but let's not rush things), what makes his delivery truly unique is the ability to use all the rough edges of his voice in favor of his singing. He's not always perfectly in key (listen carefully to "Charlotte the Harlot", for instance), his range is nothing out of this world, and I'm damn sure he didn't have much in the way of singing lessons when he was a kid - but his raspy, ferocious delivery is all the more highlighted by this lack of refinement, giving to memorable songs such as "Prowler" and "Running Free" a sense of urgency and grit that is no less than spellbinding. He's not bulshitting you, you know: he really is a tough guy that learned to live on the streets, and every single word he sings is filled with youthful swagger, bite and honesty. It's truly great, and I will never get tired of it.

Not that Di'Anno shines on his own, of course. Steve Harris is such a legend that any compliments are bound to be redundant, but I must make my personal exercise in futility here: his basslines are remarkable from an early stage, and he's the glue that keeps it all together really, as this particular line-up was quite short lived and would hardly have been functional if not for his confident playing and sheer sense of purpose. Dave Murray and Dennis Stratton were quite a functional guitar duo to be fair, and it's nice to point out that Stratton's delivery is not that dissimilar to what Adrian Smith would bring to the table in the near future (his solos on "Phantom of the Opera" and "Transylvania", for instance, are very memorable). And drummer Clive Burr (that had joined the group for less than two months when recording sessions commenced) is a beast in his own right, nailing all those complex arrangements and fast tempos with a finesse that makes it look and sound easy, rather than the truly impressive feat it actually is.

This album is a monster. Very few recordings encapsulate the spirit of the scene it stems from as well as Iron Maiden's debut LP: it's as revved-up and irresponsibly gritty as a world still shook by punk rock would demand it to be, and then some, but it's also filled to the brim with a creative ambition that would surely make Harris' heroes like Jethro Tull immensely proud. You can bang your head to it almost to no end, and still a part of your mind will be in awe with all those intricate instrumental passages and unexpected changes in mood and tempo. "Phantom of the Opera", of course, is the song that more perfectly solves this apparent contradiction, and it's no wonder this is one of the greatest classics in the history of metal, no less - but other moments like "Remember Tomorrow", "Transylvania" and even the slightly out-of-place ballad "Strange World" also showcase this magical bridge between punk and prog, made possible only by the musical miracle of early 1980's heavy metal. 

Yeah, the production kinda sucks, but it's also part of the charm: the whole record gains something of an urgent, street-level vibe because of that, and it further distances early Maiden from the inaccessible metal deities of the day, while bringing the band closer to the real people, the fans that were there in the pubs and record stores when the dam began to burst. It wouldn't be such a brilliant album if it was more professionally produced, believe me. From the opening guitar riff of the archetypal classic "Prowler" to the final throes of the equally unforgettable "Iron Maiden", this is a game changer if there ever was one, and if you don't know it, then you don't know nothing. Diamond Head got real close with "Lightning to the Nations", and many bands of the era released amazing records they all should be very proud of, but make no mistake: this is the crowning achievement of the entire NWOBHM, the landmark release of early '80s British metal, and also one of the most classic debut albums ever issued, regardless of musical genres. There was still a lot to learn, that's for sure, and Iron Maiden would bring us tons of marvellous heavy music in later years - but it all begins here, and every self-respecting metal fan should drink from this fountain of youth from time to time.

Thanks a million to Discogs for picture sleeve scans and cassette photo!

Paul Di'Anno (V), Dave Murray (G), Dennis Stratton (G), Steve Harris (B), Clive Burr (D).

01. Prowler (Harris)
02. Remember Tomorrow (Harris/Di'Anno)
03. Running Free (Harris/Di'Anno)
04. Phantom of the Opera (Harris)
05. Transylvania (Harris)
06. Strange World (Harris)
07. Charlotte the Harlot (Murray)
08. Iron Maiden (Harris)

Have you been involved with any of the bands mentioned here? Have any extra info and/or corrections? Please e-mail me (drequon@gmail.com) and let me know!

MORGEN (USA) - Morgen (LP, Probe, 1969)

RATING: ****

For a humble explorer like myself, it's kinda exciting to know there are still so many great Psych Rock bands waiting to be discovered - talented and hopeful musicians that only managed to release one or two slices of vinyl before plunging into near-total oblivion for the decades to come. A common story of course, and it will be the fate of countless rock 'n' roll hopefuls until the world reach its very end. But you don't need to be known to be good, you see, and Morgen were yet another one of those groups who had genuine talent on display but never got anywhere, which was a particular shame in their case if you ask me. Oh well, at least there's a very pleasant LP to forever remind us of their existence, and, even though I'm hardly going to make them more well known by simply writing about them, let's drop a few lines about their pretty good music for posterity's sake. And oh yeah, the use of the revered painting by Edvard Munch on the front cover doesn't go unnoticed: a bit cliché perhaps, but quite an eye-catching choice, right?

Led by guitarist/vocalist/songwriter Steve Morgen and completed by Barry Stock (G), Rennie Genossa (B) and Bob Maiman (D), this 4-piece from Long Island, NY (USA) seems to have been a promising young act by the time Probe (a recently stablished sub-label for ABC Records devoted to psych/prog records) offered them a record deal in early 1969. I really don't know much about them, mind you, and I don't feel like making an extensive research right now (though I would definitely want to hear from you if you happen to know more), but it's safe to say they did deliver a great album full of urgency and dynamics, going from the contemplative to the lascivious with admirable confidence and enthusiasm. The production values are quite fuzzy and raw, with many perceivable rough edges and a mix that puts Steve Morgen's voice way up front in places, sometimes close to the point of distortion. Not the most professional job you'll ever hear, but it actually helps the album's cause rather than hinder it, giving the proceedings a garage feel that surely adds an extra charm to the listening experience.

Opening number "Welcome to the Void" is a fantastic, slightly gloomy and near-hypnotic acid rock tune with a distinct hard rock feel throughout. No flower-power here: Morgen (the band) were surely more about rock and roll excitement than most of its contemporaries, something that makes it particularly appealing for today's listeners. "Of Dreams" is also great, a somewhat atmospheric tune that sounds like The Zombies on acid (weren't they anyway?) and really makes your imagination fly. Steve Morgen's vocals are specially brilliant on this one: some may criticise him for being a bit too over-the-top in places, but I think it's always reassuring to hear someone moving from whispers to near-screaming, from almost spoken parts to explicit sighs and moans, all with no holds barred and genuine amounts of passion. "Purple" is another winner, a rock tune with an excellent drum performance and fuzzy guitars to die for, while "She's the Nitetime" immediately reminds me of Jimi Hendrix, for the best reasons you can think of.

Sometimes the whole thing sounds a bit too thrown-away for comfort, that's for sure: "Beggin' Your Pardon", for instance, drags along way longer than it should, while the otherwise excellent "Eternity in Between" (a strong rocker hugely influenced by The Who) presents a long drum solo for no fathomable reason (and drum solos in a studio record are hardly winners, you know). I think it has something to do with the improvisation-friendly, near-live approach of the whole recording, but I wouldn't be at all surprise if, despite being truly talented, the lads simply didn't have enough songs for a full LP just yet and had to resort to a few tricks in orded to deliver a full-length perfomance. Whatever the case, the carefree spirit of instrumentation works admirably well in the closing number "Love", a superb 11-minute journey through countless textures and swift changes in direction that more than justifies the belated adulation devoted to Morgen by many collectors and music enthusiasts.

It's a shame they didn't last the distance after their very promising debut - a sad state of affairs that supposedly has a lot to do with the fact that the short-lived Probe imprint closed doors in 1970, leaving Morgen with not much to lean on. None of the musicians seem to have move much further in the business; I believe mainman Steve Morgen got involved with some solo experimentation in the early 1970's, but none of it seem to have ever come to fruition, and no subsequent releases ever came out, at least to my knowledge. Maybe it was supposed to be their lifespan anyway: one good album, ignored by their peers but lauded by future generations, and nothing more. Life fast, die young - not a good piece of advice for individuals, but perhaps the right way to do it for many rock bands. Philosopical questions about the meaning of life (and art) aside, anyone with an interest in the development of heavy music throughout the decades should give this album a chance - something made easier by enterprising individuals such as Sunbeam Records, that released the band's sole album on CD for the benefit of eager collectors like myself. 

Thanks a million to Discogs for picture sleeve and label scans!

Steve Morgen (V/G), Barry Stock (G), Rennie Genossa (B), Bob Maiman (D). All songs by S. Morgen.

01. Welcome to the Void 4:42
02. Of Dreams 5:32
03. Beggin' Your Pardon (Miss Joan) 4:47
04. Eternity in Between 4:30
05. Purple 4:00
06. She's the Nitetime 3:28
07. Love 10:50

Have you been involved with any of the bands mentioned here? Have any extra info and/or corrections? Please e-mail me (drequon@gmail.com) and let me know!