IRON MAIDEN (UK) - Ed Hunter (2 CD, EMI, 1999)

RATING: 6/10

Ok, let's keep it simple on this one. Under usual circumstances, there would be close to zero reason to review "Ed Hunter" around here - it's mostly a video game, you see, and this sort of multimedia is of little interest for the purposes of this blog. Oh yeah, there's an accompanying 2-CD set as a soundtrack for the game, but there's very little in the way of new and/or unusual material on it, so it would hardly be a collectable for anyone but the most passionate fans of Iron Maiden. But timing is everything, you know, and the period when "Ed Hunter" hit the shops coincided with one of the most significant changes in line-up ever witnessed by metal, no less: out was Blaze Bayley (a man that, despite his genuine dedication and commendable character, never managed to be the singer the Beast really needed) and back in were not only Bruce Dickinson, but guitarist Adrian Smith as well - the outfit still keeping the services of Janick Gers in order to become a six-piece, three-guitar assault. To be frank, this seems an obvious solution now, over 25 years since it was first figured out, but it wasn't a safe bet back in early 1999: as it transpires, the name of Doogie White (who had already done well in a few auditions with the band a few years previously) was even considered for a short while, before Steve Harris asked Rod Smallwood (who still had a hand on Bruce Dickinson's solo career back then) whether or not Bruce would be willing to be back into the fore. 

It was little more than a passing idea at first, but it started to gain momentum when, after a conversation between Smallwood and Dickinson, the singer made clear that he would be willing to discuss the possibility. Let's face it: no matter how good his solo career was doing at the time (and "The Chemical Wedding" is a hell of a frickin' great record, your know), good old air raid siren Bruce would hardly ever get the crowds he once had alongside Maiden, and the chance to have a second bite at the cherry was surely one not to be turned down. After getting Harris and Dickinson in the same room, things pretty much fell into place, including the potentially difficult issue of bringing Adrian Smith back into the picture as well: the vocalist made clear it was a mandatory condition in order for him to sign the dotted line, but Steve Harris also felt it would be nice to have three guitarists, and Adrian himself admited he wouldn't feel comfortable if his return to the band meant that Janick Gers had to go. All things considered, turning into a six-piece was not only the right thing to do, but also a mostly natural move given the circumstances, while also creating an immediate feeling of excitement and renewal around the band. 

"Ed Hunter" was already comissioned by this juncture, having very little (if any) weight in the whole reunion thing, but the fact that it was hitting the shops offered Iron Maiden the perfect opportunity to spread the word around with a celebratory tour. It was very fortunate, and the jaunts to promote it were all a resounding success, but that doesn't mean one should see "Ed Hunter" as a more important release than it actually is. The tracklist was put together via a poll on the band's website, which is a charming move, but there's nothing nowhere near a surprise in the running order, and the only minor highlight here is a semi-new version of "Wrathchild", where the original 1981 recording is remixed with Bruce Dickinson singing instead of Paul Di'Anno. He does a good job out of it, that's for sure, but a classic is always a classic, and I can hardly imagine anyone playing this compilation on a weekly basis just because he likes Dickinson's version so much better, if you know what I mean. I personally never bothered about the game, and I never played it, so I have no idea of how good or bad it is (though some friend who are way more into the gaming world than I used to say it was a bit of a corker, so there you have it) - but, when it comes to music, we all have the original albums anyway, this package therefore being of interest only for those who really can't live without having every single item ever released by the band they love (nothing wrong about that, of course). If you don't fit the description, rest assured there's far more better purchases you can do with your hard earned cash.

Whatever turns the story took afterwards, fact is that any major changes need some transitional period to fully come to fruition, and the whole "Ed Hunter" thing, though mostly irrelevant in terms of music (the fact that there's zero prospect of any reissues in the foreseeable future is quite a giveaway on that matter), sure served an important purpose when it comes to make the Iron Maiden reunion into a tangible reality. By the time these honourable and talented gentlemen decided to put their minds into writing new music, everybody already knew that the three guitarists could work quite well together, and the collective feeling around the upcoming record was of genuine anticipation, with very little doubt that they could do things right and get their career back on track for good. After years of turmoil, the dreary '90s were fizzling out in a way more hopeful mood, and soon a new era of world domination would begin for the lads.

CD 1

01. Iron Maiden ("Live After Death" live vrs)
02. The Trooper
03. The Number of the Beast
04. Wrathchild
05. Futureal
06. Fear of the Dark
07. Be Quick or Be Dead
08. 2 Minutes to Midnight
09. Man on the Edge
10. Aces High
11. The Evil that Men Do
12. Wasted Years
13. Powerslave
14. Hallowed Be Thy Name
15. Wrathchild (1999 vrs)

CD 2

01. Run to the Hills
02. The Clansman
03. Phantom of the Opera
04. Killers
05. Stranger in a Strange Land
06. Tailgunner

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!

On a Wing and a Prayer (Compilation, UK, Teesbeat, 1985)

RATING - 7/10

This particular compilation isn't exactly a huge mystery among NWOBHM collectors, though it's still a nice find if you ever locate a copy for a reasonable price. The Teesbeat label was active for the best part of a decade at least, with a studio facility under the same name in Stockton-on-Trees and always showing a laudable disposition to help new bands from the North East of England to reach the vinyl stage - it was, for instance, where Black Rose released their first 7'' single way back in 1982. It seems they released a grand total of three LP compilation during the label's lifespan, this 1985's "On a Wing and a Prayer" being the second (the other two, 1984's "The New Bowery" and 1986's "Rumour Sets the Woods Alight", are hopefully appearing around here sooner rather than later), and it's nice to find out that Teesbeat always allowed the bands they picked to lay down at least two songs for their releases, which not only render the records more cohesive but also gives the hopefuls in question a more generous space to show whatever talent they had. Not that much going on when it comes to genuinely heavy music (and only one act that can be securely labeled as NWOBHM), but still a pretty interesting compilation if we're to be honest, and more than worthy of a proper review around here.

It seems that the LP came out with different inserts, depending on what bands were trying to sell it - an interesting move indeed, as it allowed the groups in question to use it more effectively as a promotional item. Some surviving copies have two, or even three sheets with information about the bands; with that said, it's unfortunate that I'm working with a copy that has no insert at all, as I would be really glad to offer some significant info about Trixter, the only bona fide NWOBHM outfit here featured. Still, let's try to put together the pieces of what little we know about them, always hoping to add new information when it surfaces. The group seems to have been short lived, but fact is that many important local scenesters seem to have had some level of involvement with the combo, most of all guitarist Miles Lofthouse, who also made the rounds with Millenium (as well as their brief re-christening as Tyrone-Power) and thrashers Major Threat. Though the origins of this particular family tree lie in a early 80s combo named Avarice, where Lofthouse first joined forces with Nigel Crooks (I was told once he was a drummer, but I can be wrong, so let me know if you happen to know better), it seems that Trixter was an offshoot from a post-Avarice project, whose name is not yet known and that seemingly recorded a demo or two before adopting the new Trixter guise. Guitarist Jeff Leighton probably took part on the recordings for "On a Wing and a Prayer" as well, and I believe the bass lines were played by Kiko Rivers, who would later record with the most recent incarnations of Black Rose. Have no idea on who was the singer though (maybe it was Nigel Crooks after all, and the band had another drummer, who knows?).

As for the pair of Trixter's originals here featured, "Burn So Bright" starts missing a drum beat, no less, which is quite uncomfortable first time around, But don't give up on them just yet, as this is a pretty interesting (though definitely quirky) heavy number with nice guitar arrangements and a lot of different (and creative) parts for its relatively short running time. The basslines give something of a new wave vibe to the whole thing though, and it takes more than a single listen to really get into what they're trying to reach here. In the end, this may not be the most accomplished of songs, but it's still engaging and enjoyable, and bonus points to the lads for trying to think outside the box and find their own, distinctive sound. "Fraulien", on the other hand, was obviously mispelled on the album cover (I'm not a scholar in German, you know, but I guess they meant to say "fraulein", you know), but does no wrong when the needle hit the grooves: it's a hard-hitting, catchy, full-blown heavy metal tune, and the most interesting track for metalheads when it comes to "On a Wing and a Prayer", hands down. Nothing too complicated going on (though the lead guitarist does a pretty good job with his virtuoso melodies during the instrumental section), but everything works quite well and hints of a band that could have really made it further in the business if given some encouragement and/or financial backing. Well done, lads. 

From the other five bands included, I'd say that Secret Garden's "Tsantsa" is the next best thing as far as us heavy metal enthusiasts are concerned: quite an energetic power pop tune indeed, with some psych rock intonations in places, most of all in the tension-building "shaking your head" chorus. There's also a very interesting solo section towards the end, with some near-metallic melodies that truly deserve a mention. Not NWOBHM by any stretch, but quite a nice song nonetheless, though it ends rather abruptly and leaves the impression that they could have had kept their good thing going a little longer. The other contribution from them, "Summer of Hate", is a mid-tempo number where the new wave influences are far more prominent, though it's still a power pop number for the most part. Not as good as the previous number, unfortunately, and you'll most likely forget it as soon as it's over, as there's nothing too out of the ordinary going on. I also enjoyed True North's "The Wintergarden" - despite a bombastic, deceptive intro, we're into indie rock / post punk territory here, with undeniable similarities to early The Cure and another pretty charming guitar solo halfway through. A good opening number for the LP, which is the exact opposite situation with their "Photographs of Jane", an indie rock ballad carried along by acoustic guitars and loud (though mostly not too intrusive) basslines. It's not a bad composition, but it sound a bit like a three-minute intro rather than a proper song, as you can't help expecting it to explode into a full-band arrangement and it just never happens. The compilers should have allowed the LP to close with "Fraulien" and insert this tune somewhere else in the running order, as it's hardly an exhilarating (or particularly impressive) way to finish proceedings, but there you have it.

Also of some interest for those who enjoy heavy music is The Outfit's "Hazy Down", an acoustic ballad with a contemplative (and somewhat grandiose, almost epic) vibe. It's mostly a voice-and-guitar kind of tune, with the full band appearances basically serving the purpose of enhancing the tension and/or emotion in particular parts. The result is somewhat intriguing, let's put it that way, and it could even pass as a semi-metal ballad under different circumstances, so give it a careful listen and perhaps you might enjoy it. "Listen" is pretty much the same formula, though it's a more typical new wave tune with prominent (sometimes nearly intrusive) keyboards, the semi-acoustic vibes being restricted to the chorus this time around. It lacks energy for the most part, and the doo-doo-doop-pah-pah-pah vocal arrangents halfway through are very annoying I'm afraid, so there's very little for us metal collectors to enjoy here, though it's by no means a disgraceful track at all.

The rest of the pack is of minimal (if any) interest for us metalheads, so let's be brief about them. Secret History offer us a Bossa-nova tinged, definitely pop-inclined new wave in both "Won't Let You" and "Peace of Mind" - the latter being quite an oddball actually, with the previous description augmented by some reggae/ska guitar arrangements overwhelmed under a heavy coating of keyboard/brass saccharine. That being said, I think "Won't Let You" is a decent song that mostly fulfill its promises, with a gifted female singer and very nice basslines throughout. As for The Restrictors, their "Peanuts" number is a rock/ska collision that strongly remind me of some similar attempts by The Clash, though with more busy vocal lines (and with a strong cockney accent going on) and instrumentation. The production values doesn't help, as it sounds like there's just too many people playing in the room - the kind of feeling you get when watching a rehearsal from a not very cohesive band, if you know what I mean. As for "Own Little World", it could have been a half-decent Oi! tune in a Cock Sparrer vein, if not for the strident (and very annoying) brass and mellotron arrangements all over the place. Punk/ska collectors may enjoy it, anyway.

Unfortunately, "On a Wing and a Prayer" turns out to be an apt album title, as none of these hopefuls ever managed to make it big. In fact, most musicians and bands involved simply vanished from the scene, with Trixter being one of the few instances where something can be said of their sophomore activities. It seems that the band didn't really last for long after their vinyl appearance, as Miles Lofthouse was recording a demo with Tyrone-Power even before the year was out, and both Nigel Crooks and Jeff Leighton were involved with an outfit named Bedlam later in the decade. Nigel would become a studio engineer and sound designer in later years, with a fair number of projects to his credit (he would produce a demo for Lofthouse's thrash project Major Threat, for instance) before his untimely passing in 2023 (RIP dude, and thanks for all the music). There are rumours of a third Trixter tune floating around, named "In the Heat of the Night", but it's actually the same "Burn So Bright" under a different name - a confusing development indeed, as it's how Nigel Crooks himself named the track on his Soundcloud account. Maybe it was originally called "In the Heat of the Night", and the "Burn So Bright" came as a last-minute decision from someone involved with the label? One can't be sure by now, but there are no other Trixter recordings floating around as far as I know, with this "On a Wing and a Prayer" being the only chance to listen to their considerable collective talents. Some may hesitate to buy a full LP by virtue of a band alone, but "On a Wing and a Prayer" won't cost you a lot more than you'd have to pay for an obscure 7'' single if it was the case, and most of the music is decent at least, so I would say you can do far worse than putting some hard earned cash on this one if you have the chance.

Extra thanks to Discogs for picture and label scans

Side A

01. TRUE NORTH - The Wintergarden
02. SECRET GARDEN - Tsantsa
03. SECRET HISTORY - Won't Let You
04. TRIXTER - Burn So Bright
05. THE OUTFIT - Listen
06. THE RESTRICTORS - Peanuts

Side B

07. THE OUTFIT - Hazy Down
08. THE RESTRICTORS - Own Little World
09. SECRET GARDEN - Summer of Hate
10. SECRET HISTORY - Peace of Mind
11. TRIXTER - Fraulien
12. TRUE NORTH - Photographs of Jane

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) - Virtual XI (CD, EMI, 1998)

RATING: 5/10

I don't think there ever was a more difficult period for heavy metal as a genre (at least when you look above the underground) than the second half of the 1990's. The silly argument about metal being a 'dead' form of music was pretty much everywhere, and the scene as a whole was struggling, with many bands simply being unable to record new albums or book enough shows for a tour. To make matters even worse, most of the behemoths of the metal universe were having quite a bad time, and therefore unable to guide their followers out of the storm. Metallica were trying to be something else with their "Load"/"Reload" experimentations; Pantera, who had taken the world by storm earlier on the decade, were now clearly falling apart; Judas Priest, now without Rob Halford, tried to set a trend (building a bridge from traditional metal to the whole nu metal thing on "Jugulator" and "Demolition") and, perhaps for the first time in their career, failed miserably. Thrash metal luminaries like Slayer were far from their prime, and as for Iron Maiden, well... Let's say that things weren't very dandy on their camp either. After being initially well received by the fans, new singer Blaze Bayley was now clearly struggling to fill Bruce Dickinson's shoes, and the general consensus of opinion (no doubt reinforced by some less-than-flattering live bootlegs floating around) was rapidly turning against him. Though musically a worthy release, 1995's "The X Factor" sold poorly, and the fact they were forced to book smaller venues (most of all in the USA) for the promotional tour to be completed was a clear warning of danger on the horizon. The "Best of the Beast" compilation package probably helped to stabilize their finances in the short term, but it was pretty obvious that Iron Maiden needed to reconnect with their now-dwindling fanbase in order to improve record and ticket sales and, you know, stay on the road as a viable enterprise. Being Iron Maiden is not exactly cheap, you know.

The way I see it, "Virtual XI" was an honest attempt to properly address all these issues into the shape of a typical, easily-recognizable Iron Maiden album. A common criticism towards it is to label it as a disjointed, half-baked Maiden record, that fails mostly because it didn't receive a serious, highly focused treatment like "The X Factor" before it - and, though I don't disagree entirely with such diagnosis, I personally don't think this is the whole truth either, as a more careful approach can easily read between the lines what the band (and their management) had in mind for this release. They wanted to keep some of the unique bleakness of "The X Factor" (as it obviously better fitted to Blaze's voice), but also channeling higher doses of their trademark upbeat, dynamic sound. They also wanted to keep touching more contemporary issues, such as the Malvinas War and the development of virtual reality, and would not give up on their newfound passion for longer, more intricate tracks - though also including a few more straightforward numbers to balance things up and keep all fans happy. Even the ill-advised idea to tie the album with the 1998's World Cup in France (that resulted in some cringeworthy photos and a pretty pointless retouching of the CD's cover art) makes a little more sense when viewed under this particular light. In a sense, I think they were trying to stay connected to the times they were living in, while also offering the metal community a 'normal' Maiden record everyone could relate to - something way more akin to what bands like Motörhead and Helloween (after some serious misfires) were doing at the time, rather than the previously mentioned luminaries that were trying to reinvent their own wheel. It's a pretty respectable approach if you ask me, and maybe "Virtual XI" could have been a way better album if some of the pressures upon it weren't present. The way things turn out to be, unfortunately, the record is quite a flop: in fact, it beats "No Prayer for the Dying" by a mile as the band's worst studio release up to that point, and I still think it's the nadir in the group's discography, making more recent minor disappointments like "The Final Frontier" sound like world-conquering monsters in comparison. Yeah, I'm sorry, but it's pretty bad.

What went wrong, you ask me? Well, I think that the biggest problem is that the songwriting simply wasn't there, you know. I wouldn't say the songs are interchangeable, but still they bear a feeling of self-repeating that is too strong to be ignored: the melodies are tired, the song structures are predictable, the hooks are virtually nonexistent. You can listen to the whole 58-minutes-plus experience without getting a single moment of genuine surprise - a situation that gets even worse with the unimaginative, bland production applied to the whole thing, making all instrumental performances sound kinda stolid and lacking in energy and drive. As for the vocals, you can clearly hear how Blaze is genuinely stretching his pipes and working his ass off in order to do the right thing; the record is full of problems for sure, but Mr. Bayley's general performance is surely not one of those. Still, he's singing largely uninteresting lines to some truly unmemorable songs, so you'd be hard-pressed to find any real highlights on his performance here. It's not really his fault, but the record as a whole simply don't work, and his commendable hard work is far from enough to really get the thing off the ground.

Of the eight tracks here featured, I'd only pick "Futureal" and "The Clansman" as high spots - the first being a blood-pumping, fast-moving heavy rocker that works quite well as an opening number, and the latter a convoluted, epic tale of resistance and freedom inspired by the Braveheart movie that is genuinely good and easily (easily!) the best song on the entire package. It's no surprise that it survived into the band's live repertoire well into the 2000's, being featured in setlists in as late as 2019: this is a song crafted for the arenas, with many moments of deep emotional connection and a lot of oh-oh-ohs for the crowd to sing along to. Truly outstanding. From the other songs, maybe "The Educated Fool" (a rumination on themes of inadequacy and personal confusion explored throughout "The X Factor") is slightly better than the rest, and final ballad "Como Estais Amigos" is also not that bad, though the production surely missed the point on this one, making a sulky, ugly sound of what should have been passionate and reconciling.

Maybe "The Angel and the Gambler" is the song that better exemplifies what is wrong with "Virtual XI". The lyrics about addiction and the chance of redemption are nice, and the tune as a whole sounds like a then-modernized version of Thin Lizzy, which is quite a good thing if you ask me - but what the bloody hell was going on in Steve Harris' mind to make such a drudgy, bloated 10-minute mess out of it? The chorus could have been passable if not repeated far beyond reasoning, every overusing of it compounding the song's misery to a point that you simply can't take anymore. Add some aimless, overly-long solos and an over-simplistic, annoying keyboard (played by Steve Harris, who seemingly didn't master but the bare bones of the instrument) floating over the instrumentation, and what could have been a pretty nice 5-minute track becomes an embarassing misfire, a track you're very likely to skip nearly every time you bother to put the record in your stereo. "Don't Look to the Eyes of a Stranger" is also a failure, with confuse instrumental sections and a chorus that never seems to really connect with the rest of the track, whereas "When Two Worlds Collide" and "Lightning Strikes Twice" are Maiden's most worn out clichés stitched together in the resemblance of proper songs, poorly executed tricks of magic that won't fool anyone but the least demanding fan. 

Still, "Virtual XI"'s final undoing is not on individual tracks, but on the impression they cause when presented as a unity: far from simply showing Iron Maiden having a bad day on the office, they picture a band that came to a dead end, struggling to remain relevant and without any proper clue on what to do next. What came next seemed to corroborate this eerie scenario, unfortunately: "Virtual XI" is still their lowest-charting studio record, and the tour to promote it was sometimes close to a nightmare, with cancelled dates in the USA and many complaints about the band's performances, most of all Blaze's singing - in at least two infamous situations (Santiago, Chile and Rio de Janeiro in Brazil) the shows were cut short after some hot-tempered reactions from the crowd. It was clear for everyone that things had to change, and Blaze Bayley would finally be shown the door in January 1999 - something unfortunate, that's for sure, but obviously necessary in order to get the band back on track. Credit where is due, the man never badmouthed his ex-bandmates, and always shown himself as honoured and blessed for having had the chance to be part of a metal giant like Iron Maiden. A class act, no doubt, and I really enjoy most of what he did on his post-Maiden career, so God bless him. Some inevitable changes were on the horizon, and the whole "Virtual XI" fiasco would soon be left behind by everyone involved, which is all perfectly understandable, I guess. You're well excused to sit this one out if you're not a particularly devoted Maiden fan, and most of us will buy a copy for completist purposes only, though it's a record that will hardly be revisited more than once in a blue moon.

Blaze Bayley (V), Dave Murray (G), Janick Gers (G), Steve Harris (B/K), Nicko McBrain (D).

01. Futureal (Harris/Bayley) 3:00
02. The Angel and the Gambler (Harris) 9:51
03. Lightning Strikes Twice (Murray/Harris) 4:49
04. The Clansman (Harris) 9:06
05. When Two Worlds Collide (Murray/Bayley/Harris) 6:13
06. The Educated Fool (Harris) 6:46
07. Don't Look to the Eyes of a Stranger (Harris) 8:11
08. Como Estais Amigos (Gers/Bayley) 5:26

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) - Best of the Beast (4-LP, EMI, 1996)

RATING: 6/10

OK, let's make this one as short and sweet as possible, so we can swiftly move to more interesting (or at least more relevant) Iron Maiden releases. Usually, I'm not really into reviewing best-of compilations, save from situations where there's a fair percentage of unreleased or otherwise rare material - and "Best of the Beast", apart from its historical significance as the first legitimate compilation released by the group, does indeed have a few brand-new recordings to talk about, which just about justifies a review around here. In fact, the timing of the release does say something about the tricky situation Maiden was trying to navigate through: it didn't celebrate any anniversary, there was no label change going on (and therefore no need to fulfill contract obligations with such a release), it was simply a case of, hmmm, putting some Maiden classic songs together in a package people would be willing to buy. To make money, if you want to put it bluntly. Now, I don't think there's anything wrong about using your own legacy as a cash cow on occasion (most of all when it is of such an immensely high standard), but the simple fact that Maiden needed to do it was clear indication that their new incarnation (with Blaze Bayley assuming vocal duties) wasn't exactly a resounding sucess in terms of shifted copies and ticket sales.

Accordingly, it was released on many different formats (so collectors would be tempted to buy multiple versions, of course), the most interesting by far being the 4-LP package: I don't have it anymore, but it's quite a thing of beauty, believe me -  and vinyl releases weren't that common an occurence back in 1996 as they are nowadays, so it's a good one to add to your collection if you can't live without it, though you better prepare to spend some stupid money on it. That's the tracklist I'll include on this post, as it has the most songs included - and there's also a minor diamond hidden among the nuggets, this being a live version of "Revelations" recorded live in Westfalenhallen, Germany during the tour to promote "Piece of Mind". It's unique to the 4-LP version, and it was never re-released anywhere, which immediately turns the package into a must-have for the most obsessive Maiden completists. For the rest of us, well, it's a pretty nice recording of an undisputed Maiden classic, so it's definitely a pleasant listen, but there's nothing too extraordinary on it to justify any sleepless nights if you don't have a copy. And oh yeah, there's also the demo recording of "Strange World" from 1978, that was previously unreleased up to that point - but it did appear on so many bootlegs through the years that you can hardly list it as a surprise, though it was obviously nice to be able to have an officially-sanctioned version of it at last.

Apart from that, the main focus of interest would obviously be the two new recordings with Blaze Bayley, a live rendition of "Afraid to Shoot Strangers" and a brand-new composition named "Virus". This particular tune would also be released as a single (in no less than three different versions, as the band really wanted the collectors to reach into their pockets, you know), but never appeared on any full-length album, being something of an oddity on Maiden's repertoire. It's not a bad song, mind you, but nothing too memorable either, a bitter tirade on sensationalistic media and the music press in general that switches from somber leanings to more lively tempos without a proper hook to put it all together. The lyricism is grumpy, the songwriting is kinda lacking, and the song as a whole don't show Iron Maiden in a particularly shiny light, I'm afraid. Not a song you will be willing to revisit on a weekly basis, and also something of a bad omen of things to come, though we're nowhere near the cringe-worthy territory of some tunes that would come next (more about that on the next review, I guess). That being said, I really like the live take to "Afraid to Shoot Strangers" (recorded in Gothenburg, Sweden in 1995): it was notoriously one of the few songs from Maiden's back catalogue that Blaze mastered right from the start, and he sings it so well that some can even try to make a case it's better than Dickinson himself, though I personally wouldn't quite go that far. Anyway, it's a good rendition for the song, and considering that Maiden will probably never release a full live package from the Blaze era (and, let's face it, understandably so), this recording (along with "The Aftermath", "Blood on the Worlds Hands", "The Evil that Men Do" and "Man on the Edge", all released as B-sides) will be your best chance to hear, in officially-released material, how he sounded upon a stage.

The remaining cuts are a mostly adequate selection of Maiden highlights from throughout their career thus far, with mostly obvious choices and very little in the way of surprises. The selected tracks run in a chronological order, the most recent cuts being followed by older classics straight into "The Soundhouse Tapes". It's a fine way to spend a few hours with Eddie and the boys if you don't feel like preparing a playlist yourself, and I guess it served its original purpose to keep Iron Maiden's name alive while they tried to figure out what to do next. But even the Iron Maiden camp don't seem to regard "Best of the Beast" as a particularly representative compilation, as it's been long out of print (unlike most recent best-of releases like "Edward the Great" and "From Fear to Eternity") and there seems to be precisely zero prospect for a reissue anytime in the future. 

The tracklist that follows refers to the 4-LP package. Tracks marked with a * were also included on the 2-CD version. Tracks marked with a ** appeared on the 2-CD and single CD/MD versions. All tracks taken from the standard album releases where they originally appeared, unless otherwise noted

Side A

01. Virus (previously unreleased studio track) ** / 02. Sign of the Cross * / 03. Afraid to Shoot Strangers (live 1995, previously unreleased) *

Side B

01. Man on the Edge ** / 02. Be Quick or Be Dead ** / 03. Fear of the Dark (live, 'A Real Live One' vrs) ** / 04. Holy Smoke * / 05. Bring Your Daughter... To the Slaughter **

Side C

01. Seventh Son of a Seventh Son / 02. Can I Play with Madness ** / 03. The Evil that Men Do ** / 04. The Clairvoyant **

Side D

01. Heaven Can Wait * / 02. Wasted Years ** / 03. 2 Minutes to Midnight ** / 04. Running Free (live, 'Live After Death' vrs) **

Side E

01. Rime of the Ancient Mariner (live, 'Live After Death' vrs) * / 02. Aces High ** / 03. Where Eagles Dare * / 04. The Trooper **

Side F

01. The Number of the Beast ** / 02. Revelations (live 1983, previously unreleased) / 03. The Prisoner / 04. Run to the Hills ** / 05. Hallowed Be Thy Name **

Side G

01. Wrathchild * / 02. Killers / 03. Remember Tomorrow / 04. Phantom of the Opera * / 05. Sanctuary *

Side H

01. Prowler (The Soundhouse Tapes vrs) / 02. Invasion (The Soundhouse Tapes vrs) / 03. Strange World (The Soundhouse Tapes vrs, previously unreleased) * / 04. Iron Maiden (The Soundhouse Tapes vrs) *

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 X Factor (CD, EMI, 1995)

RATING: 8/10

Ok, we have all heard the stories. Thousands of tapes from aspiring vocalists, hailing from nearly every corner of the Earth, all painstakingly heard, ranked and evaluated - some names annotated on a spreadsheet, most simply catalogued and shelved for the time being. Some candidates were stronger than others, of course. Michael Kiske. Steve Grimmett. Glynn Morgan. André Matos. James LaBrie. Who would be chosen to fill the vacant slot left by the mighty Bruce Dickinson and become the new singer for Iron Maiden? Now, I don't want to pretend I'm a scholar on Maiden's convoluted history (you can go straight to Stjepan Juras' books, for instance, if you want to learn the band's history in minute detail), but it still amazes me just how much fan-fiction and legend were added to this particular topic. Contrary to what many Maiden forum users may argue, André Matos (RIP) did not get an audition with Maiden (Rod Smallwood, in particular, loved his voice, but the singer himself admited to have called the process quits before the final stages), Michael Kiske was never even considered, and fanciful options such as Joey Belladonna, Tony Martin, Joe Lynn Turner and Tobias Sammet (a mere 16-year-old at the time, for God's sake) were never on the cards, not for a single moment. In fact, the strongest candidates (and who actually got as far as sharing a studio with Maiden) were way less bombastic - and, to be fair, far more credible: Damian Wilson, Doogie White, Russ North (now that would have kicked ass) and of course, eventual winner Blaze Bayley. It seems that good old Steve Harris had Blaze as his heart choice from the very beginning, but the whole process went along nonetheless, and Doogie White (then a relative unknown, not long before him joining Ritchie Blackmore's Rainbow) seems to have been a strong second place - but, as we all know, it was Bayley who got the gig, a choice that started a difficult, sometimes quite tense and confusing, but still very important and interesting period in Maiden's career.

Now, there's one thing that Blaze Bayley would hint in later interviews that I really think should be highlighted. As for his understanding, the fact that he turned out to be chosen should be attributed, most of all, to the creative connection between him and the other guys, most of all Steve Harris. They sure ran through a lot of Maiden classics during the auditions (and I would definitely want to hear the tapes, if they do exist), but they also experimented with a few ideas here and there (most of all, a particular leftover from the Fear of the Dark sessions that would eventually become "Judgement Day"), and it seems that Blaze came with the most interesting input, clearly pointing to a different direction from what Iron Maiden was doing in the early '90s. And, though Steve Harris seems to have been somewhat biased towards Blaze from an early stage (to the point that he may have gravely overlooked the singer's inability to emulate Dickinson in some decisive moments from their repertoire), he deserves credit for having a strong (and, IMHO, quite commendable) vision about what Iron Maiden should do next. He didn't wanted a Dickinson clone, and he didn't wanted to churn out the old regular Maiden fare: he wanted something different, capable of giving the band something of a rehaul in terms of singing, attitude and songwriting. And they sure went somewhere else on "The X Factor", whether you're enamoured with it or not.

Oh well, let me make this clear: no, I don't simply think that "The X Factor" is a good album. In fact, I actually think it kicks serious ass. It's one of my favorite metal albums from the 1990s, and seriously one of the very best things Iron Maiden ever did IMO. But perhaps the most significant thing to say is that it is an important record, an effort that damn sure made a difference in the band's fortunes from that point onwards. When it comes to Iron Maiden, it's easily one of the most significant turning points in their career (perhaps second only to "The Number of the Beast"), and it went a long way into redefining the band's outlook and sound. After "The X Factor" was out, things would never be the same for the Beast, for good or bad - and, in a sense, we're still listening to the version of the band that came out of this particular period of soul-searching and creativity, nearly 30 years later.

Let's listen to "Sign of the Cross", for instance. Easily the most daring and unexpected opening number Iron Maiden ever employed on an album, it's also one of the very best: it takes its time to create a remarkably somber atmosphere, then launches into a rollercoaster ride of changing tempos and guitar patterns, without ever losing its sense of storytelling or its grip on the listener's attention. It's over 11 minutes long, and it works like a beast, every second of it. And when you are as big as Iron Maiden, and you open your first record with a new singer with such a convoluted, uncompromising track, you're also making a statement of sorts, you know. We mean business, they're saying, and we don't feel like churning out straight-to-the-point, 4-minute-long, easy-to-understand verse-chorus tunes anymore. No, we're going to tell you some stories from now on, and we're gonna take our time doing that. 

I mean, of course they would write plenty of short-and-sweet hard-hitters in the years to come - even "The X Factor" has at least one, the intense and engaging "Man on the Edge". But the band's records would no longer be centered around its shorter cuts: quite the opposite, actually, as the group's creative ambitions (and the listener's expectations, and their heated discussions as well) would consistently shift towards the longer, often very cinematic tunes that graced every Maiden album from then on. In "The X Factor" (which, clocking in at around 70 minutes, is quite a long record), no less than three songs move beyond the 7-minute mark, and "The Edge of Darkness" gets pretty close as well - something rivaled only by "Somewhere in Time" previously, a record widely regarded as the more progressive-inclined done by the group until then. After the two final albums with Dickinson (both filled with tracks that mostly kept far away from the 5-minute mark), it was quite a change, and a road the band would never move away from on later releases - in fact, they would only venture deeper and deeper into that territory, as subsequent reviews will surely demonstrate.

"The X Factor" is a dark album. It sure reflects Harris' state of mind, having to deal with a divorce while handling the difficult task to find a new singer for his platinum-selling band - but it also hints to something else, something that seems to work in an intelectual level, so to speak. I mean, just give a close listen to his basslines: apart from a few songs like "Blood On the World's Hands" and "The Unbeliever", gone are the flamboyant, fast and technically challenging parts, substituted by a markedly more simple, let's-work-for-the-music approach. It's almost as the musician gives way to the songwriter, if you know what I mean: rather than being one of the most influential bass players to ever grace a stage, regardless of genres, Steve Harris seems to decide he wants to be acknowledged as a guy who can write great songs, and all his focus and vision will be devoted to such a cause from now on. 

In "The X Factor", this stance take shape as a handful of really thoughtful, quite somber tunes, showing a new-found interest for atmosphere (the intro to "Fortunes of War" and some main sections of "Sign of the Cross" being good examples) as well as a penchant for serious, world-conscious lyrics. Even when good old Steve allows himself to write some more fantasy-driven verses (like in "The Unbeliever" and, in a sense, "Judgement of Heaven") he's more inquisitive than ever before, basically questioning the deep meaning of everything around him. I always enjoyed his lyricism, and it got more and more interesting to me as time went on - culminating in deep pieces of honestly moving poetry like "Hell on Earth" and "Lost in a Lost World", to mention his most recent input (all right, more on that later, I'll try to control myself from now on). And then the presence of someone like Blaze Bayley really starts to click: his deep register works truly well throughout the record, and his songwriting input is way more down-to-earth than Dickinson ever was up to this point - or can you imagine Iron Maiden writing a song like "2 A.M." in the '80s? Me neither. You have every right to dislike the results, but you can't deny that Blaze brings something new to Maiden's picture - something that was undeniably in tune with the creative avenues Steve Harris wanted to explore.

Some (well, many actually) complaint about the record's production - even myself, for a while, felt it was below par for Maiden standard. But my opinion has changed a lot through the years: today, I really like the dry sound of the drums and the thinly distorted guitars, as they help to paint a cold, eerie sonic picture that suits perfectly well with the album's contents. "The X Factor" is like staring to the dark corners of Iron Maiden's castle, an unique experience that is quite rewarding if you allow it to take its time. My personal favorites here would be the aforementioned "Sign of the Cross", "Lord of the Flies" (some very nice riffing and a powerful vocal performance from Blaze), "The Aftermath", "Judgement of Heaven" and "The Unbeliever" - a song that is often overlooked, but that I consider to be the first of many worthy collaborations between Harris and Janick Gers through the years. Maybe "Look for the Truth" is a bit too simplistic for its own good, and "2 A.M." (perhaps for appearing quite late in the running order) sound a bit tired and redundant when compared to the strongest cuts here featured; apart from that, though, "The X Factor" is quite a cohesive, coherent record, devoted to its vision and that never slides away from its path. I really like it, you know, and I suggest you to give it a careful listen next time around, as there's definitely a lot of interesting stuff going on within its grooves.

Unfortunately, the record didn't exactly signaled a period of newfound success and recognition for the group. The world tour supporting it ("The X Factour", how clever of them) was something of a difficult affair, with canceled dates and many gigs (most of all in the USA) rescheduled to smaller venues, as they simply couldn't sell as much tickets as before. Besides, it didn't take long (the very first bootlegs from the tour, that is) for people to realise that Blaze, while doing a mostly good job with his own songs, simply couldn't do justice to many Maiden classics, as his range and register had very little to do with Bruce Dickinson's trademark high belting. Album sales were the lowest since "Killers", and you didn't needed to be a genius to understand that Iron Maiden were facing the risk of a serious decline in popularity. Some may argue that the right option was to double the bet and move the band more radically towards Blaze Bayley's characteristics - that is to say, drop some classics from the setlist and further invest in Maiden's darker tone in a new album. Iron Maiden decided to do a bit of the opposite, trying to recapture some of their usual magic while not completely turning their backs to the new features Bayley had to offer. It could have worked, but it turned out to be something of a disaster, a cautionary tale on how you simply can't please all the people all of the time. A subject to be further discussed in the next instalments of the series, that's for sure.

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

01. Sign of the Cross (Harris) 11:16
02. Lord of the Flies (Harris/Gers) 5:02
03. Man on the Edge (Bayley/Gers) 4:03
04. Fortunes of War (Harris) 7:25
05. Look for the Truth (Bayley/Gers/Harris) 5:10
06. The Aftermath (Harris/Bayley/Gers) 6:20
07. Judgement of Heaven (Harris) 5:10
08. Blood on the Worlds Hands (Harris) 6:00
09. The Edge of Darkness (Harris/Bayley/Gers) 6:39
10. 2 A.M. (Bayley/Gers/Harris) 5:37
11. The Unbeliever (Harris/Gers) 8:05

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! 

GEMAGE (UK) - The Story So Far (7'', self-released, 1980)

RATING: 7/10

Once upon a time, there was a British rock group named Gemage that released a sole 7'' single in 1980, and no one seemed to know a damn thing about them. In fact, though not the most typical NWOBHM-sounding band you'll ever hear in your life (more on that later), there was (and still is) a lot of people willing to spend money on their reasonably scarse "The Story So Far" B/W "Bring Me Death" vinyl release, and the paucity of info regarding the band created a certain aura of mystery around them - as well as opening way for a few long-standing misconceptions regarding the outfit's biography. Not that Gemage's history is now known in minute detail, but it's fair to say that now we do actually know a thing or two about this combo, though there are still a lot of blanks to be filled on this particular profile (can you fill 'em? Get in touch!).

Hailing from Blackburn, Lancashire UK, this particular 5-piece seems to have existed for less than two years in total, probably forming sometime in 1979 and disbanding in the latter half of 1980, or early 1981 at the very latest. The two tracks released in the single are their only studio recordings, and were laid down to tape in around Christmas 1979 at Rochdale's Cargo Studio, being independently pressed and released in the early months of 1980. Contrary to widespread belief, Gemage doesn't refer to any member's real surname: the 'B. Gemage' credited as songwriter is none other than vocalist Billy Sumner, that seems to have chosen to adopt this rather bizarre stage name for no fathomable reason. Alongside him were guitarists Pete Frayne and Paul Lowery, bassist Steve Horsefield and drummer Jimmy Byrne - a certain Gas Sumner (Billy's brother, I'd wager) seems to have laid down backing vocals to the recordings, but judging for his very minor contribution to the songs (and though the concept of dedicated backing singers in rock bands isn't exactly unheard of), I'm pretty sure it was more of a casual appearance during a visit to the studio rather than any long-term commitment to Gemage's cause. Incidentally, I was once told that all band members used the same Gemage surname when playing live, in a typical Ramones-family scenario - but I never found any tangible evidence (or an eyewitness account) to support this, so I'll keep that possibility in the 'urban legend' file until further notice. Anyway, the 7'' was seemingly meant to be sold at gigs, but I reckon they never made more than a handful of shows around their geographical area after all, and therefore not many items ever made into circulation at the time, which would help explain its reasonable scarcity.

"The Story So Far" is the main focus of interest by far, being a reasonably forceful track that truly passes out as a legitimate attempt to play metal until the chorus, when a change in tone brings a more snotty, noisy, definitively punk feel to the proceedings. The main riff (a twin-guitar lead, in fact) sticks to your head at first listen, and Mr. Gemage's voice, though far from being your typical dose of metal (sound more like a new wave singer, in fact) works remarkably well in this songs' particular setup. Job well done, lads, and I would definitely buy this 7'' in virtue of this track alone (if I had the money, that is). Things get a bit weird on the flipside though, with "Bring Me Death" being way more inclined toward groups like Love, Procol Harum and The Byrds rather than anything more metallic - or contemporary, for that matter. It's a half-acoustic, psychedelic-tinged semi-ballad which is nice enough if you're in the right frame of mind, but I suspect it was something of an oddity in the band's repertoire, and can't help but think that picking a more orthodox rocker to complete their innaugural 7'' would have been a more representative choice, showing their collective powers in a more effective light.

I don't think Gemage lasted for too long after their sole single started doing the rounds, and it's reasonable to assume they had bitten the dust in a matter of months, quickly realising their considerable talents and youthful enthusiasm alone wouldn't take them to the next step - or maybe they just decided to do something else with their lives, which is fair enough. Accordingly, I suppose most of the lads just retreated to their day jobs thereafter - the only exception being bass player Steve Horsefield, who have been playing with local heroes The Itch for quite a while now, and is also known to have been a member of the Cottontown Sound Corporation, that released an independent CD in 2014. Not much else to report I'm afraid, at least for now - let's see if some enterprising individual (or some of the band members themselves) can help us to paint a clearer picture of Gemage in the not-too-distant future.

Billy 'Gemage' Sumner (V), Peter Frayne (G), Paul Lowery (G), Steve Horsefield (B), Jimmy Byrne (D). Also performed: Gas Sumner (backing vocals). All songs by B.Gemage.

01. The Story So Far
02. Bring Me Death

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! 

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!