
Today it’s time to move into the singles from Iron Maiden’s first official live album, the heralded Live After Death. This live set is a massively celebrated treasure of the catalog and there were two singles offered up.
Live After Death has a bit of a confusing make-up – most of the songs were recorded over four nights in Long Beach, California in March of 1985. A handful of others were recorded in October 1984 in London. It’s these London shows that provide the B-sides for the single and the only relevant part for the singles series – actually tracking how Live After Death has been released in its many versions is a pain in the ass to be reserved for another time.
The cover art is another Derek Riggs piece, though this one is a bit confusing. Eddie is playing a huge synthesizer/organ on top of some mountains. It doesn’t make sense to the uninformed eye. Riggs was given instructions to combine Run To The Hills and Phantom Of The Opera in his artwork so this cover was the result and makes a great deal more sense with that context behind it. It actually is a pretty interesting piece of the Eddie art lore, even for its initial WTF aura. Still odd, but understandable given the artistic direction.
The single was released in 12-inch and 7-inch vinyl versions as well as cassette. I have and will be discussing the 12-inch record. The following YouTube clip has the first two songs of the single.
Run To The Hills
This cut is directly from Live After Death and is on all versions. It was from the Long Beach concerts, though discerning which specific concert is a research and argument-filled road I’m not going to go down.
The live cuts from these shows see Maiden playing at a high intensity and picking up the pace on pretty well all of the songs. This does make a very stark contrast to some songs, especially Hallowed Be Thy Name. On Run To The Hills there is a noticeable uptick in pace but the song functions very similar to its familiar studio version. It is one of Maiden’s most-known songs and it works very well in the live setting. There isn’t anything terribly different or interesting lore-wise to recount about the song here so let’s move on to the B-sides.
Phantom Of The Opera
The first B-side is one of the London performances and this one is on several versions of the full album. I’m not going to track the specific ones because it’s a lot of if’s, and’s or but’s and it would take up too much space. The relevant part is that this is the B-side on all of the singles.
What we have here is a cut from the debut album, done in the faster-paced live setting of the period and with the huge difference of having Bruce Dickinson on vocals as opposed to Paul Di’Anno. While there was nothing wrong with the original cut at all, there is something special here with Bruce tearing into this one. The song gets a pretty different feel with the faster pace and bits that are done different than the original. And Bruce showcases his range pretty well here, hanging out in the lower end for a lot of the song but truly making his mark on the track. This one is quite a treat.
Losfer Words (Big ‘Orra)
Our 12-inch “bonus” B-side is an instrumental track from the Powerslave album. This performance is also from one of the London shows and is not available on most versions of Live After Death, only on a 2-disc 1995 CD reissue series.
Despite being instrumental, Bruce gets in a few words before the band starts, basically lamenting his lack of presence on the song. Then the band launches in to the tune. It is performed faithfully to the original version though still a touch faster than. There is not a whole lot to say about an instrumental tune but this one is certainly worth checking out, it is a pretty nice jam.
That’s all for today’s single. Next week it’s on to the other one from Live After Death.

The Iron Maiden Singles Series
Run To The Hills (live) (you are here)
Bring Your Daughter … To The Slaughter
Be Quick Or Be Dead
From Here To Eternity
Virus
Out Of The Silent Planet
Rainmaker
Different World
The Reincarnation Of Benjamin Breeg
Empire Of The Clouds
I always thought the cover was strange, but now I get it.
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It is really weird.
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Wicked and with a live version of Losfer Words. Great title and great post today!
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Exactly why “Live After Death” is my favourite Iron Maiden album.
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“Live After Death” was my first Maiden experience and the tempo they played the songs is how I know them.
So I heard Bruce first before I heard DiAnno. And Hallowed live is way better than the studio cut.
So cool to get Losfer Words as a b side.
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It does feel like the studio version of Hallowed is held back compared to the live versions.
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