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

RATING: *****

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

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

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

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

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

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

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

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

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

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

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

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

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

RATING: **

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

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

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

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

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

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

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

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

RATING: ***

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

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

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

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

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

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

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

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