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!