PAUL DI'ANNO'S WARHORSE (UK/CRO) - Paul Di'Anno's Warhorse (CD, BraveWords, 2024)

RATING: 7/10

I really wish I was writing this under different circumstances. As I'm sure you all know quite well by now, our good fellow Paul Di'Anno - one of the most unique vocalists in the history of heavy metal, a man who redefined many notions associated with heavy music during his time as the frontman of Iron Maiden - has left the building. It seems he was suffering from a number of health issues recently, and the repeated cancelling / rescheduling of his intended final European and South American tours were a clear sign he wasn't doing very well, unfortunately. These were times of rehabilitation for the man, both in his health and his career, and it sucks that he didn't have enough time to really sort himself out - because there's good reason to believe that (though in his typically stubborn, erratic way) he was indeed trying hard to get himself back on track this time. I'm damn sure this "Paul Di'Anno's Warhorse" CD wasn't meant to be the man's swansong when it comes to original music, but that's how things turned out to be, unfortunately - and knowing the singer is now gone to the other side sure gives the listening experience a whole different vibe, adding some extra layers of meaning to what was originally supposed to be an upbeat, no-fucks-being-given ride.

While in Croatia, during his reabilitation process after some delicate knee surgeries, Paul Di'Anno crossed paths with two local guitarists, Hrvode Madiraca and Ante 'Pupi' Pupačić, who are both involved with a power/thrash outfit named Rapid Strike (formely named Azazel) and had a number of more traditional Metal tracks demoed for the purposes of a side project. I don't how just how much Stjepan Juras (an Iron Maiden biographer who have acted as both manager and guardian angel for Di'Anno for nearly a decade, so God bless him) got involved here, but fact is that Di'Anno seems to have enjoyed the songs, and agreed to write lyrics and record vocals for what would become a new metal proposition named Warhorse. Not the most original band name by any means (I'm sure Nick Simper would like to have a word or two with you about it, Paul), but an apt choice when it comes to describe the project's spirit, so nevermind. With the much needed help of a few scenesters to fill the blanks - including some members and ex-members of local heroes Osmi Putnik, as well as bass player Becky Baldwin (now playing with none other than Mercyful Fate) and drummer Joe Lazarus (Steve Harris' nephew, and a much in-demand sticksman-for-hire for many projects and bands) - ten tracks were finished, and now comprise the "Paul Di'Anno's Warhorse" I hold in my very hands. To avoid further confusion, I'll just keep on calling the band Paul Di'Anno's Warhorse, as a way to diferentiate it from any namesakes (and oh yeah, some reviews of the old 1970's Warhorse are indeed a possibility around here) and to make it easier to be found in the blog's index.

As the musical contents, well, it's mostly good, unapologetic heavy metal fun, though not without its flaws. For me, opening track "Warhorse" is the best by far, a simple, yet extremely efficient heavy rocker with lyrics that (although not really making that much sense under close scrutiny) have a nice, somewhat evocative feel to it, like Paul is using this mythical, powerful equine as a metaphor to his own life and (often troubled) times as a metal champion working his way back to the top. I would have toned the gang-shouting down a bit, most of all in the chorus, but it's a truly nice track nonetheless, and perhaps one of the very best songs by Paul Di'Anno since at least the late '90s - and God knows how many dross he did record during this period (we'll get to it eventually). 

Though none of the following tracks work quite as well as this very strong opening, most work under the same formula, with a handful of simple-but-effective riffs put to use in some pretty straightforward heavy metal fare. Paul Di'Anno was never a highly skilled poet to be frank, but he sure had an individualistic way to write lyrics, trying to evoke particular feelings or situations rather than engaging in any serious storytelling - and it works quite well in most of the songs here featured, such as "Get Get Ready" (an uplifting tune about, you know, enjoying rock and roll) and "Here Comes the Night" (ditto), two very catchy tunes that are guaranteed to make old metal geezers shake their heads and pump fists in the air. I also really enjoy "Forever Bound", a good-hearted semi-ballad where Di'Anno express some sincere gratitude to those who had helped him while he was down. Pretty heartfelt lyrics here, and the musicianship also works to good effect. But if you want to hear Di'Anno's voice really shine, look no further than "Stop the War", a song about the war in Ukraine that really allows Paul to stretch his vocal pipes. The man still had it, no doubt about that, and this song proves it.

There are two covers in the package (The Champs' "Tequila" and Depeche Mode's "Precious"), and none of them are particularly interesting IMO, though at least the latter is a not-remotely-obvious song choice and deserves some respect because of that. I'm not that convinced about "Go" either, though this one is also worth a mention in the lyrics department, as Di'Anno (while telling a not very subtle tale about a female companion that seemingly overstayed her welcome) gives quite an interesting tone to the "never will I bend, never will I break anymore" chorus - like he is, once again, singing to convince himself, more than anyone else. "The Doubt Within" is a more convoluted, serious track that manages to create a pretty effective, somewhat ominous atmosphere - but the choice to keep things simple and direct is somewhat ill-advised here IMO, as the song is cut way too short and really deserved some extra minute or two to fully develop its ideas. The football-hooligan shouting that appears in most tracks also gets quite annoying after a while, sometimes sounding like a silly attempt to give some tough-guy quality to songs that didn't really needed it. But these are minor flaws, to be fair, and "Paul Di'Anno's Warhorse" is mostly a pleasant, enjoyable record that never sounds over-pretentious and easily fulfills most of its promises. 

And oh well, I could not finish this review without mentioning the final track, "Going Home". I wasn't at all impressed the first time I heard it, but then Mr. Di'Anno's untimely death was reported and, oh man, did this particular tune gain a whole new meaning or what? Now, this rough-and-ready heavy rocker sounds like Di'Anno is saying goodbye to us all: "and now I'm going home / to the place where I belong / Now I've lived it all / Somewhere I have to atone". As I said earlier, no Nobel-prize-winning poetry here, but these simple lines really carry the message across: his time here was almost finished, and he somehow knew it, and he was ready to get back home. No fade-out here, by the way: the song ends somewhat abruptly, as if the guy singing it didn't wanted to make a fuss in his last hooray. In the end, it's quite an adequate way for a man like Paul Di'Anno to leave the stage: crowd still cheering, guitars still roaring, ready to enjoy whatever else the night has to offer. Hope he's doing fine now, all pain and physical hindrances forever left behind, and let's raise some glasses for one of the true metal legends. Auf Wiedersehen, Paul, now you're forever running free.

Paul Di'Anno (V), Hrvoje Madiraca (G), Ante 'Pupi' Pupačić (G).

01. Warhorse 3:53
02. Get Get Ready 4:29
03. Go 2:53
04. Stop the War 3:30
05. The Doubt Within 3:24
06. Here Comes the Night 3:50
07. Tequila 2:21
08. Forever Bound 4:20
09. Precious 4:16
10. Going Home 3:28

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! 

DREQUON'S OFFICIAL ANNOUNCEMENT (October 2024)

Yeah, I know. The blog has moved on pretty sluggishly in recent times, as I was completely absorved by daily life and obligations. I also lost access to my e-mail for a long period of time (none to blame but myself, to be honest), and it surely also made things more difficult. But oh well, here I am, and here we go again!

Times have been quite nice here on Drequon's camp, with some nice surprises I hope to share in the near future. I'm thinking about adding a few sections around here, regarding live shows I attended and some NWOBHM news as well - not sure if I'll actually make it happen, but you guys and girls be warned that things may change around here in the coming months. As for now, a new rating system is finally being implemented - something I've been thinking about for a long while, but only now comes to fruition.

Gone are the 5-star rating (which I felt had become too limited and ineffective when it comes to form a previous image of how good a record is), and now comes a 0-10 rating system, that hopefully will be far more informative and actually allow me to evaluate bands and records in a more meaningful manner. You can read the description in the link above, but let's say that ratings ranging from 10-7 are mostly pretty good, while tags 6-5 are for unspectacular, run-of-the-mill releases,  and 4-0 are for records that, most honestly, I would not reccommend you to spend much time with. Older posts will be edited to reflect the change in earnest - hope it won't take too long.

More to come in a reasonable timescale, I suppose. Stay safe, stay lucid, stay metal! \m/

PRAYING MANTIS (UK) - Defiance (CD, Frontiers, 2024)

RATING: 8/10

Praying Mantis has been in great shape for quite a while, if you ask me. At least since the excellent "Sanctuary" (2009), the band has maintained a fairly impressive consistency in their work, always presenting that pleasant mix of AOR, hard rock and NWOBHM that we have become accustomed to hearing from them. That said, the previous work, "Katharsis" (2022) had honestly left a little to be desired, at least for me - of course far from a disappointment (it is a very pleasant album overall), but perhaps a little too formulaic and serviceable for its own good. Although they have never been a band known for wild experimentation, this old carnivorous insect has always had dynamism as one of their main features, and I couldn't help but feeling that their previous CD played a bit too safe. Thus, it is very pleasant to realize that "Defiance" not only rescues the adventurous side of the group's music, but is also one of the most dynamic and enjoyable albums ever recorded by the band.

Anyone who follows Praying Mantis' fortunes sure know by now that, although they were never a proper heavy metal band, the Troy brothers have always known how to sound and look the part, ensuring that their music would always have a denser and more 'serious' atmosphere around it than most bands associated with AOR. This is evident from the opening track, "From the Start": far from being the explosion of euphoria that so many similar bands aim for, it's a song that captivates with its sharp melodies, rock-solid song structure and the excellent vocal performance of Jaycee Cuijpers. It's music written, played and sung by people who damn sure know how to do it - and it is such a level of performance, which will remain unchanged throughout the album, that will ultimately capture the listeners with the band's spell.

A brief but special spotlight must be directed towards the mike stand, by the way. Many people have already lend their vocal services for Praying Mantis, and I always kept the view that, at the end of the day, they could just have left Chris Troy singing, since the bassist is responsible for most of the (pretty good) vocals on the first albums and his delivery is actually more recognizable than most of the technically excellent (but ultimately unmemorable) singers that came afterwards. Well, Jaycee Cuijpers have sure changed my mind on that subject. On his fourth consecutive album with the Praying Mantis, the Danish singer has already done more than enough to be seen as the definitive holder of the flame - and the truth is that he sings so nicely, and in a way that fits so well with the power and spirit of his current band, that it has now become difficult to imagine Praying Mantis without him. A voice that, in essence, crowns a period of admirable stability in a band quite familiar with internal turbulence: since 2013, Chris (bass) and Tino Troy (guitar), augmented by Cuijpers, have enjoyed the good services of Andy Burgess (guitar) and Hans in't Zandt (drums), a line-up that can easily be ranked among the strongest the band ever had.

"Defiance" is an album that, without reinventing the wheel, still manages to create an air of freshness around it, never sounding like a nostalgic exercise or a simple collection of songs by a band without any greater purpose. From top-notch rockers like "Feeling Lucky" and "I Surrender," to poignant ballads like "Forever in My Heart" and the title track, and culminating in grandiose, epic moments like "One Heart" and "Let's See," what we have here is a band expertly employing their most important elements - the guitar duets, the captivating harmonic progressions, the meticulous vocal arrangements - to create some truly  great, memorable music. And I'm glad to say they are relevant today, in 2024, without the need for us to project our minds into some kind of imaginary time machine. Even the instrumental "Nightswim" is very nice, far from being the mere filler that songs of the type usually turn out to be.
 

Let me say, by way of conclusion, that I feel the 'defiance' mentioned in the album's title does not refer to any life-challenging endeavor, but to something way more mundane, with which we can all identify: the daily challenge of holding firm to our principles and convictions. Completing 50 years of history, Praying Mantis continues to be successful in this battle. Long may it continue.

Jaycee Cuijpers (V), Tino Troy (G), Andy Burgess (G), Chris Troy (B), Hans in't Zandt (D).

01. From the Start (C.Troy) 4:26
02. Defiance (C.Troy) 4:06
03. Feelin' Lucky (Burgess, C.Troy) 3:45
04. I Surrender (R.Ballard) 3:40
05. Forever in My Heart (C.Troy, Cuijpers) 4:32
06. Never Can Say Goodbye (C.Troy) 4:10
07. One Heart (C.Troy) 4:31
08. Give it Up (Burgess, C.Troy) 3:35
09. Nightswim (T.Troy, Burgess) 3:42
10. Standing Tall (T.Troy) 5:18
11. Let's See (C.Troy) 4:56

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! 

NEMESIS (GG) - The Hills are Alive with the Sound of Metal (CD, independent, 2007)

RATING: 7/10

I guess everyone can be excused for not taking Guernsey into any strong consideration when looking for some heavy metal. I mean, the Channel Islands as a whole never harbored anything remotely close to a thriving rock scene (which is understandable when you consider that the whole archipelago holds little more than 170.000 people in total), and locating any items released by local bands is not exactly straightforward, if you know what I mean. In a remote location with seemingly little competition, I think it's safe to assume that Nemesis are the undisputed champions of all things metal, with a convoluted story that harks back to the second half of the 1980s and with roots even further in the past, this particular entity having pretty significant links with Vengeance, arguably the only bona fide NWOBHM manifestation to have ever come out of Guernsey - a combo that, unfortunately, doesn't seem to have released any demos to the public during their somewhat fleeting existence, but it's still fondly reminded by those who were there as a hard-working unit that promoted dozens of metal-related shows and festivals around the Channel Islands.

With vocalist/rhythm guitarist Danny Joyce as main creative force, Nemesis seems to have had two main periods of activity. Released in 1989, their "Unleash the Beast" 12'' mini-album (an independent affair, as nearly everything ever put out by the group) had a stronger connection with hard rock, whereas the elusive "Smile or Die" cassette (does anyone have it?) from 1991 seems to show the band veering towards more thrash/crossover landscapes. I also believe the line-up was different by this juncture, with guitarists Mike Helyar and Glenn Holmes (an ex-Vengeance veteran) doing the 6-string work and Joyce concentrating on his singing duties on the live environment at least. Whatever the story, the renewed sound direction of the tape was probably little more than a piece of experimentation, and the band seems to deem this particular release as unrepresentative, as none of its songs appear on the "Unleash the Beast" compilation CD issued by Cult Metal Classics in 2014 (and one I'm surely going to review in the near future).

Nemesis were laid to rest in 1993, but some well regarded comeback gigs (with both Holmes and Helyar on guitars) have reignited the fire a full decade later. Thus, 2007's "The Hills are Alive with the Sound of Metal" (god, I love this title) full-length CD is something of a comeback release for the outfit, while also restablishing their reputation as a more unequivocal heavy metal proposition. For this endeavor, Joyce is accompanied by Zack Mousetrappe (G), Brin Harrison (B) and Darran James (D) - the band's original line-up from the 80s, no less - and I have to say that the effort to record and release a fully independent album was worth it in this particular case, as "The Hills are Alive" are quite an entertaining listen for the most part. The title track opens the record with a bang, showcasing some simple-but-effective riffing and a truly memorable chorus that you'll be well excused to sing along on occasion. Quite a nice way to kickstart the record, and "Nemesis Awakes" keeps the energy high, with a more syncopated main riff drive that works very well and may even invite some discreet headbanging if you're in the right frame of mind (the final section reminds me of Motörhead a little, and it's also a nice touch). The contents are definitely metal of the most traditional brand, with some much welcomed power metal thrown in for good measure, a recipe that is usually much appreciated around here.

Unfortunately, I must admit track three "Supercharged" lost me a little, and the CD as a whole would never fully recover its appeal for me afterwards. Not that the band has done nothing wrong, mind you - but this song brings forth the more hard rocking side of Nemesis, which is not exactly of my personal liking, I'm afraid. Nothing sticks out as particularly bad (though "Everyday is a Good Day (To Rock)" is so cheesy that it gets perilously close to parody), but I tend to think that tunes such as "News for the Girls" and "Kings of Rock" don't get along that well with the more hard-hitting side of the band, sometimes almost sounding like a different combo altogether - an issue that significantly hinders the overall flow of the album, if we're to be honest here. I understand that they most probably simply enjoy writing and playing songs in that vein, and that I can keep any feeble reservations to myself for all they care - and they're probably right, as I'm trying right now to purchase a copy of the CD to call my own, so what do I know? But I can't help feeling that, had they recorded a couple more aggressive-sounding songs to replace some of the more sleazy tracks here featured, the final results would be way more memorable and enjoyable.

With that said (and who knows, maybe you'll listen to the hard rocking tunes here and enjoy it all immensely), there are redeeming features aplenty in the shape of tracks such as "The Footsteps of Vengeance", "Blood Red Sun" (a more meditative tune with nice guitar work throughout) and "Kingdom of Steel", that closes proceedings with silly lyrics that could well have been inspired by He-Man and the Masters of the Universe, but still quite enjoyable due to its uncompromising, don't-take-it-too-seriously vibe. In fact, most of the undeniable charm of "The Hills are Alive with the Sound of Metal" comes from the not-too-pretentious energy it emanates: the production is simple and adequate, the songwriting is uncomplicated, there's nothing disruptive of though-provoking being proposed at any level. Nemesis aren't trying to teach us a lesson or to astound us with their sheer heavy metal prowess or whatever: they just happen to enjoy the whole metal thing quite a lot, and want us to join them and have fun. I honestly see no reason to refuse their invitation.

Danny Joyce (V/G), Zack Mousetrappe (G), Brin Harrison (B), Darran James (D). All songs by Joyce/Mousetrappe. All lyrics by Joyce.

01. The Hills are Alive with the Sound of Metal 3:44
02. Nemesis Awakes 3:13
03. Supercharged 3:20
04. Everyday is a Good Day (to Rock) 3:39
05. Blood Red Sun 5:20
06. News for the Girls 4:33
07. She Bitch (Q.O.D.) 3:11
08. The Footsteps of Vengeance 3:34
09. Kings of Rock 4:27
10. Kingdom of Steel 4:14

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! 

TYGA MYRA (UK) - Deliverance (LP, Ebony, 1986)

RATING: 7/10

Though obviously developed to allow a better understanding of a crucial period in the history of heavy rock music, the whole "post-NWOBHM" concept, if not used sparingly, can easily make things even more confusing. I mean, how do we draw a line between NWOBHM and post-NWOBHM - which also means to ask, how clear is the line between pre-NWOBHM and the 'bonafide' NWOBHM acts? Some consider that the whole NWOBHM thing quietly started sometime in the mid-1970's and grew from there; is there any evidence cast in stone to say it's wrong? Similarly, some people concerned with the matter tend to think that the NWOBHM did not end abruptly sometime in 1983 or thereabouts, but that it slowly fizzled out throughtout the decade - being perfectly possible, if you agree with that basis, to say that there was some residual NWOBHM happening in the late '80s, or perhaps even into the early '90s. I personally don't think like that, really: for me, the NWOBHM era roughly runs from 1979 to 1984, making little sense (apart from some notable exceptions, such as Blitzkrieg's "A Time of Changes" and the two singles from Urchin) to use the much-famous acronym before or after that timeframe. Of course, all this rumination is little more than an introduction to Tyga Myra's "Deliverance" LP from 1986 - a record whose appreciation really welcomes such questions, as it stands with one foot on each side, if that makes any sense to you.

The entity we came to know as Tyga Myra (a bizarre name, that, apparently related to serial killer Myra Hindley, dubbed "the most evil woman in Britain") were doing the rounds in the West Midlands area since at least 1984 (and possibly earlier), originally using the non-remotely-original moniker Vixen. Curiously, there's a strong connection with Cynic (the one who released the "Suicide" single in 1983), as bassist Barry Pedlingham was a regular fixture in Tyga Myra - though, bizarrely, he chose to rename himself as Randy Lingham, for reasons known only by himself. After seemingly dozens of line-up changes (and a now esoteric demo from 1985, from which I personally don't know of anyone claiming to possess a copy), a more stable formation seems to have been achieved early in 1986, with the presence of a few respectable members of the local scene - namely Teggi, who once played guitar for Savage (and also seem to have taken to himself the lion's share of songwriting), and Steve Dean, who used to pound the skins with local hopefuls Steeler - plus vocalist/guitarist Mike Jurgens, who probably also had some previous connections I'm not aware of at present. They seem to have had some good friends in the business, as they managed to sign the dotted line with Ebony (not an astounding feat, I'll give you that) and to enjoy the mentoring of Grim Reaper's guitarist/songwriter Nick Bowcott, who acted as something of a guest producer for the band's debut LP.

Now, I can almost hear you asking me, is "Deliverance" a post-NWOBHM record? It depends on how you look at it, you know. There's a lot of NWOBHM within the grooves, and tracks like "Right Through the Night" and "Never Givin' Up" even veer towards the more mid-tempo, heavy-rocking side of the spectrum; on the other hand, songs like "Deliverance (Last Rites)" and "Dead Zone" sure point to a more forceful, fast-and-furious direction.  While many Great Britain-based bands were sailing across more chart-friendly, keyboard-tinged waters, Tyga Myra's sole LP is a good representant of another sort of transition, incorporating the more hard-hitting influences from mainland Europe and the USA to create something of a British interpretation for the power/speed metal bandwagon. Think Tröjan, Preyer and, more loosely, Pariah and you'll have a good picture of what ground Tyga Myra were trying to tread. If I had to call any bands post-NWOBHM, a band like Tyga Myra would damn sure be on the list. And it was a work in progress, as "Deliverance" audibly demonstrates.

In fact, I sincerely think the lads were at their best when playing fast, twin-guitar oriented assaults rather than reworking already well-worn NWOBHM stereotypes. The opening with the aformentioned "Deliverance (Last Rites)" is quite good, with a bombastic, demonic intro that really sets the mood nicely (though I think they repeat the main riff a bit too much), while "Ain't Got Long to Go" presents some very muscular, highly engaging guitar interplay. "Rodeo" (an early-demo survivor) is also nice, though perhaps a bit more simplistic than its counterparts. But I still think "Dead Zone" is the best of the lot, a galloping mixture of semi-thrashy riffage and Iron Maiden-esque guitar histrionics that works beautifully. Elsewhere, maybe "Never Givin' Up" may be mentioned as a minor highlight - but I must admit I didn't care that much for "Ride Through the Night" (some unexpected Wrathchild vibes around here) and "Lightning Never Strikes Twice", whereas "Future Vision" is mostly decent, but not the track I would choose to close my debut album with a bang, if you know what I mean. In fact, the energy of the more aggressive tunes, by contrast, kinda emphasizes the middle-of-the-road spirit of the less forceful compositions, something surely not helped by the bare-bones, one-dimensional production - a problem that plagues many Ebony releases, but shows itself particularly bad on this one. It seems Nick Bowcott didn't put that much effort on his studio tutoring after all...

All things considered, "Deliverance" is an interesting album for both NWOBHM aficionados and those interested in the early manifestations of what we now know as both power and speed metal. It's a somewhat uneven ride, but with more than enough good things going to make it worthwhile. Maybe it would be even better if they had taken a few more months to write some extra tracks on a faster style, but that's life. The band seem to have hold some high hopes about the record at first, with a show booked for London's Marquee club in July 1986 (did it happen? I'm not sure) and plans for tours in both England and America being made in advance - but, considering that Mike Jurgens (under the stage name Embo) was hard on work with a new venture named Wreckage in as early as 1987 is strong indication that Tyga Myra was gone - or, at least, in serious disarray - little more than a year after their sole slice of vinyl came out. 

In fact, it transpires that Wreckage was something of an offshoot from Tyga Myra themselves, many of the previous band's scenesters having a level of involvemente with the newly-assembled combo. Wreckage released a few demos, and got as far as contributing to the thrash-oriented "A Taste of Armageddon" compilation from 1989 (with a track, named "Dogs of War", that sounds remarkably in keeping with Tyga Myra's harder edge), but seemingly gave up their self-penned-material aspirations in the early '90s, opting to metamorphose into a more crowd-pleasing, covers-based entity. I'm not sure for how long they actually lasted, but Jurgens later resurfaced with a Ozzy Osbourne tribute band named Wizards of Oz, assuming the role of the Madman himself and with the help of a few Wreckage survivors as his backing band. On the other hand, Teggi got involved with Fair Warning (the Swindon-based band): though seemingly not taking part in the "Rocking At the Speed of Light" 12'' single from 1987, he got as far as writing material for a full-length release that never saw the light of day, due to the untimely demise of bass player Phil Peters. I know Randy Lingham have been playing with Stone Cold Killers and Us, and Teggi (now living in Australia) also seems to be up for something interesting at present, though no firm info has surfaced as of yet. Tyga Myra have active pages in both Facebook and YouTube, anyway, and plans for official reissues and/or compilations are surely on the cards, so let's hope at least some of it comes to fruition in the near future. All the best, lads.

Many thanks to Heavy Metal Rarities forum and Discogs for picture sleeve / label scans!

Mike Jurgens (V/G), Teggi (G), Randy Lingham (B), Steve Dean (D). All tracks by Reeves, except 04 and 08 by Reeves/Jurgens.

01. Deliverance (Last Rites) 5:44
02. Lightning Never Strikes Twice 4:29
03. Right Through the Night 5:59
04. Ain't Got Long to Go 2:50
05. Rodeo 3:58
06. Never Givin' Up 4:24
07. Dead Zone 4:07
08. Future Vision 3:49

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) - Live At Donington (2 CD, EMI, 1993)

RATING: ****

In a sense, every live album from Iron Maiden since "Live After Death" is an exercise in redundance: no matter how good some of such releases turned out to be (and some of them are actually pretty bloody good), the fact is the band's ultimate live document, with the definitive line-up and all that, had already made its way to every self-respecting heavy metal fan's collection worldwide - and how can you expect to leave an even stronger impression when your definitive statement had already been made? To their credit, they never tried to sell the "Live at Donington" package as something to rival "Live After Death" in terms of relevance - the original release actually been presented and advertised as something of an official bootleg, two CDs housed in a fat box with tracklist, a few production details and not much else. Though recorded during their high profile appearance at 1992's Castle Donnington festival, Iron Maiden clearly didn't wanted to make such a big deal of the album's release - a stance in keeping with the more straighforward, back-on-the-streets approach explored since 1990's "No Prayer for the Dying", and also understandable in terms of business, as both "A Real Live One" and "A Real Dead One" had been released only a few months previously - in the case of the latter, actually, a mere 21 days back (I kid you not).

Now, I don't want to pretend this is something of an underrated classic or anything, but I have no doubt this is actually way better than the two live albums that preceded it, and perhaps one of the most enjoyable on-stage recordings from Iron Maiden's entire discography! For starters, it's clear for all to hear that the band sure delivered a powerful performance that night - something that, to be point-blank honest, wasn't really a usual occurrence during the truly confusing, often very tense days of 1992-1993. I'm sure the prospect of playing such a high-profile gig in their homeland, in front of nearly 80.000 fans, was more than enough for the band members to call a truce and focus all their collective abilities into delivering a strong performance, which was clearly the case that night. The instrumentation is muscular and tight, Bruce Dickinson signs quite well throughout, and everything flows remarkably well from start to end: nothing seems to drag along or overstay its welcome (even "Bring Your Daughter... To the Slaughter", a song that hardly ever works out fine in the live environment IMO, sounds pretty decent around here), and you'll hardly notice that nearly two hours had passed when the album is over, believe me on that. And there's even a (barely noticeable, to be honest) appearance from Adrian Smith himself, this being the (often forgotten) very first time the six-piece line-up we're all used to ever graced a stage, which surely adds a bit of curiosity value to the whole thing.

The setlist brings a good mix of old and new, including only the very best tunes from "Fear of the Dark" in such a way that it doesn't sound at all out of place among the undisputed classics from the past. The opening with "Be Quick or Be Dead" is actually one of the least impressive moments from the whole set - granted, they get away with it well enough, but it seems to me they never felt really comfortable playing such a phisically demanding song live - but things quickly recover with "The Number of the Beast", and it's all top notch from this point onwards. In fact, songs like "Tailgunner" and "Heaven Can Wait" greatly benefit from the live environment, sounding way more engaging than its studio incarnations. The decision to privilege shorter, punchier songs in the setlist also works remarkably well; in fact, if one had only this live record as evidence, would probably be inclined to conclude that Maiden were ready to remain strong well through the 90s, as this gritty edge sure had its place among the Painkillers and Cowboys From Hell from that era.

I personally tend to think that the most important quality a live record needs to offer is to sound like the real deal - I mean, it has to make a listener feel like being there. It doesn't really matter if it's full of overdubs or not, you know: albums like "Unleashed in the East" and "Live and Dangerous" are mostly re-recorded in a studio, but still they sound right, as they create the illusion one wants to feel when listening to a live record - something that many real-to-reel recordings simply doesn't capture to any enjoyable extent. It's hard to define, really: when it's there, you know it, and that's all. "Live After Death" has it in spades; "Live at Donington" may not be as bombastic, but it sure does have a fair bit of real live fire within its grooves. A good one to have in your collection to kick off a saturday evening, I'd say. And don't be too disheartened if you can't locate a copy from the 1st edition (or if you don't feel like paying good money on such a spartan package), as the 1998 reissue looks quite nice (with the original artwork from the festival's poster) and is improved by a remastered sound and some interesting multimedia material in the enhanced CD version.

As we all know by now, Bruce Dickinson's departure would be quite a traumatic one (his very poor performances during most of the 1993's European tour sure having a lot to do with that), and there was no love lost between the singer and the rest of the band when the final stand took place on August 28, 1993 - a special performance on Pinewood Studios, London that would be broadcast live on pay-per-view and later become the "Raising Hell" video from 1994. It's a fun watch if you're a fan, though far from being a particularly passionate delivery, and the tongue-in-cheek magic tricks (such as "amputating" Dave Murray's hands and "executing" Bruce in an iron maiden torture device), though cheesy as hell, are amusing enough to make for good entertainment. Whatever the case, I guess you'll excuse me for not writing a review, as it never received any audio-only treatment (and understandably so, as it was all tailored for TV in the first place), and this small corner of the internet is meant for discography-related releases only. Anyway, when it was over, it was clearly over - with some heavy words said by Nicko McBrain and Steve Harris giving strong indication that hell would have to freeze over in order for Bruce to be readmited. We all know how it turned out to be less than a decade later, but let's not rush things...

Bruce Dickinson (V), Dave Murray (G), Janick Gers (G), Steve Harris (B), Nicko McBrain (D). Guest appearance: Adrian Smith (G).

01. Be Quick or Be Dead (Dickinson/Gers) 3:53
02. The Number of the Beast (Harris) 4:53
03. Wrathchild (Harris) 2:54
04. From Here to Eternity (Harris) 4:44
05. Can I Play With Madness (Smith/Dickinson/Harris) 3:33
06. Wasting Love (Dickinson/Gers) 5:36
07. Tailgunner (Harris/Dickinson) 4:07
08. The Evil that Men Do (Smith/Dickinson/Harris) 7:51
09. Afraid to Shoot Strangers (Harris) 6:59
10. Fear of the Dark (Harris) 7:08
11. Bring Your Daughter... To the Slaughter (Dickinson) 6:12
12. The Clairvoyant (Harris) 4:21
13. Heaven Can Wait (Harris) 7:20
14. Run to the Hills (Harris) 4:16
15. 2 Minutes to Midnight (Smith/Dickinson) 5:42
16. Iron Maiden (Harris) 8:14
17. Hallowed Be Thy Name (Harris) 7:27
18. The Trooper (Harris) 3:52
19. Sanctuary (Harris/Murray/Di'Anno) 5:18
20. Running Free (Harris/Di'Anno) 7:56

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) - A Real Live One (LP, EMI, 1993) plus A Real Dead One (LP, EMI, 1993)

RATING: ***

I guess a bit of clarification is needed here. Though the "A Real Live Dead One" have been showcased as one live package since the late 1990's, the fact is that these recordings originally came out as two different sets, "A Real Live One" (released in March 1993) and "A Real Dead One" (October 1993) - and it's actually very relevant to bear them in mind as sepparate entities, as the "Dead" part contain songs from the infamous 1993's 'farewell tour' with Bruce Dickinson, while the "Live" album has only tracks that were recorded during the jaunts to promote "Fear of the Dark". Still (and I know it may sound contradictory), I don't see much of a point on reviewing the two parts sepparately, as they were meant to exist together pretty much from the start, as a two-album set rather than your usual double CD, and it would be hopelessly pedantic to pretend we're back in 1993, when you didn't knew what was coming for you and had to wait seven frickin' months to get the other one. Let's just write a single review for both records, then - if anything, it will allow us to get through this (to be frank) pretty mediocre batch of songs all too sooner, so we can focus our attentions on more pleasant-looking pastures.

Not that the "A Real Live Dead One" is devoid of interesting features, mind you. Historically speaking, it illustrates a very important period of the band: the departure of Bruce Dickinson, made known to the public in the early days of 1993. It was a long time coming in a sense, though the metal community would be taken by surprise nonetheless; in later interviews, Bruce would describe his increasing feeling of alienation and creative disconnection with the whole thing. The split was meant to be peaceful at first, and the fulfillment of some final European dates in the summer of '93 should have had a more light-hearted, good-humored outlook, something like a last hurrah for the much-loved vocalist - but that's not how it turned out to be, as we all know: the whole tour gone south very quickly, with bitter accusations that Bruce was deliberately under-performing at several concerts, saving his best performance for the high-profile dates. Bruce was always adamant that it wasn't the case, his lack of enthusiasm being a reaction to the bad vibes around the tour - but I did hear some bootlegs from the period, and his singing needed some serious improvement in order to reach sub-par status, if you know what I mean. 

None of this truly dreadful performances made its way into this particular package, fortunately, but trained ears can easily detect the dwindling enthusiasm between the grooves - and I don't mean just vocally, you see. It's nice to have the chance to hear live renditions of tracks such as "Prowler", "Remember Tomorrow", "Where Eagles Dare" and "Transylvania" (some nuggets offered by "A Real Dead One" that seldom, if ever, made way into the band repertoires ever since), but none are carried along with any great degree of enthusiasm, unfortunately - something that sure has a lot to do with Bruce Dickinson uninspired singing, but is also noticeable in the surprisingly loose, restrained instrumentation. I suppose it's understandable that a bad atmosphere and a crumbling line-up will result in less-than-memorable performances, but the wisdom of using such recordings for a live release can be seriously called into question. More common inclusions such as "The Number of the Beast" and "Hallowed Be Thy Name" have nothing too spectacular going on either (though I actually like this particular rendition of "2 Minutes to Midnight" quite a lot), so I think it's safe to conclude that "A Real Dead One" is one for Maiden fanatics, being of little real benefit for anyone less obsessed about the band. 

Curiously, though comprising only tracks from the 1986-1992 period, "A Real Live One" is actually way more worthy a listen than its rather lackluster (though initially promising) counterpart. There's nothing truly remarkable going on, mind you, but it's interesting to hear tracks such as "Tailgunner", "From Here to Eternity", "Afraid to Shoot Strangers" and "Wasting Love" faring pretty well in the live environment, the entire band seeming a way more interested (and interesting) unit during those tracks (it's no surprise most of these were recorded early in the tour supporting "Fear of the Dark"). There's a sense of coherence and intention around "A Real Live One" that is sorely missing on its "Dead" twin, the former sounding more like an album rather than a haphazard compilation of live recordings. I would surely have enjoyed a few different tracks around here ("Wasted Years" is a glaring absence, and "Bring Your Daughter to the Slaughter" just drags along without any perceivable merit), but it's all pretty decent overall, and I'm sure most fans will be listening to CD 2 way more often than CD 1 (not that any of it will be spinning on your turntable on a daily basis, but I'm sure you'd catch my drift).

Both "A Real Live One" and "A Real Dead One" sold well enough at the time, and I guess the whole project served its purpose both as a souvenir of the period and a way to keep things going while assessing the difficult task of finding a substitute for Bruce Dickinson. I wouldn't say the discs sound dated nowadays or anything, but it's clear for me that "A Real Live Dead One" is a product of its time, so deeply connected with the events surrounding it that it's almost impossible to remove it from its context while giving it a listen. I don't think you really need it, but it's OK to have it if you have the chance, and you may even enjoy listening to it from time to time. Just don't overestimate it, and you'll be fine. 

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

A Real Live One (CD 2 of 'A Real Live Dead One')

01. Be Quick Or Be Dead (Dickinson, Gers) 3:15
02. From Here to Eternity (Harris) 4:19
03. Can I Play With Madness (Smith, Dickinson, Harris) 4:42
04. Wasting Love (Dickinson, Gers) 5:47
05. Tailgunner (Harris, Dickinson) 4:09
06. The Evil that Men Do (Smith, Dickinson, Harris) 5:25
07. Afraid to Shoot Strangers (Harris) 6:47
08. Bring Your Daughter... To the Slaughter (Dickinson) 5:17
09. Heaven Can Wait (Harris) 7:28
10. The Clairvoyant (Harris) 4:29
11. Fear of the Dark (Harris) 7:11

A Real Dead One (CD 1 of 'A Real Live Dead One')

01. The Number of the Beast (Harris) 4:54
02. The Trooper (Harris) 3:55
03. Prowler (Harris) 4:15
04. Transylvania (Harris) 4:25
05. Remember Tomorrow (Harris, Di'Anno) 5:52
06. Where Eagles Dare (Harris) 4:49
07. Sanctuary (Harris, Murray, Di'Anno) 4:53
08. Running Free (Harris, Di'Anno) 3:48
09. Run to the Hills (Harris) 3:57
10. 2 Minutes to Midnight (Smith, Dickinson) 5:37
11. Iron Maiden (Harris) 5:24
12. Hallowed Be Thy Name (Harris) 7:51

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!