Month: September 2023

A Real Live One – The Iron Maiden Live Album Series

On By bigbadburchIn Iron Maiden Live Album Series18 Comments

I’m now on to the first of three 1990’s live Maiden releases. Maiden England will be covered later on as I’m recognizing the 2013 release, this is purely for simplicity’s sake.

A Real Live One was released on March 22, 1993. The cover art, again done by Derek Riggs, features Eddie playing with some power lines. Eddie can do this because he doesn’t have the mortality thing to worry about. It’s a pretty cool piece of art and one of the final pieces Riggs would do for the band.

This a collection of songs taken from various stops on a 1992 European tour in late August and early September. Out of the 11 tracks 9 are from different venues, with a stop in Helsinki, Finland having 3 tracks on offer.

This release is a bit different in a few ways. It was the first of two companion live albums – this one features only songs from Somewhere In Time through Fear Of The Dark, at the time the band’s most recent album. The companion album A Real Dead One would feature tracks from albums before and is obviously the focus of next week’s post. I personally have no problem with the approach, Maiden had 9 studio albums out by this point so doing this split era kind of thing is no skin off my back.

One other curiosity about these – getting them isn’t the easiest thing in the world. CD copies aren’t bad, and the odd cassette from the original release can still be tracked down. Vinyl, though is another story. This was only released on vinyl in some territories originally and has not been reissued to date. This one is fairly expensive to get, it’d probably set someone back $200, though some deals can be had if a buyer wants to risk shipping from countries with noted unreliable mail service. The release next week is another story in terms of price.

These two initially separate albums were combined in 1998 for reissue purposes, this is the CD I have in my collection. This was widely available in 1998 but is actually kind of scarce now, this 2 CD set is more expensive than just obtaining the separate original CDs. I am very much hoping that camp Maiden will see fit to put out a vinyl reissue of both these albums, I’m honestly uninterested in paying the high prices for scarce ’90’s vinyl.

That about covers the background info, I’ll post the tracklist then get into the gritty details of this release.

Be Quick Or Be Dead

From Here To Eternity

Can I Play With Madness

Wasting Love

Tailgunner

The Evil That Men Do

Afraid To Shoot Strangers

Bring Your Daughter … To The Slaughter

Heaven Can Wait

The Clairvoyant

Fear Of The Dark

First up, the song selection. Everything is from the four most recent albums. At the time that’s not a bad play, their only UK number 1 song is on here as is a wealth of stuff from their 1990’s output. Seventh Son Of A Seventh Son is also well-represented with 3 selections, while Somewhere In Time suffers with the lone cut Heaven Can Wait. But that was a function of most Iron Maiden tours before 2023, that stuff just wasn’t played much so there aren’t any other performances to put on a live album.

In retrospect the 1990’s are considered Maiden’s weakest period, but I won’t use that as a metric for judging the song picks here. That wasn’t really a consideration in 1992 when this tour happened and the songs were picked. I don’t fault doing a ’90’s era live album and I don’t mind the songs picked here. If anything, it’s kind of cool to have a few tracks from No Prayer For The Dying on here. While I’m not over the moon for that album I still don’t really mind it and honestly I don’t think they’ve played a single thing from that record since these early ’90’s tours. And the 5 cuts from Fear Of The Dark are stronger songs from that record, thankfully they didn’t air out any of the crap they also put on that album.

Now it’s on to the quality of the album itself. To be honest and blunt, this album sounds like shit. It is not a quality recording. It is very muddy and not clear at all. This isn’t universally true, some songs do sound a bit better than others, I think it was a reason they reached for more material from the Helsinki show. And a few songs work fairly well even in pretty bad sound quality – I thought From Here To Eternity was pretty enjoyable even in the muck, while Be Quick Or Be Dead seemed to really suffer for the recording quality.

There is a lot of talk from this era about the band themselves being down, there was stuff slung around about Bruce mailing it in and stuff like that. I don’t necessarily hear anything like that, nor would I blame new guitarist Janick Gers for a slip in quality. I think this album’s fatal flaw is the recording quality, the performances themselves honestly come off fine and the crowd sounds like they’re into it all. These might be more basic outings than the more epic feel Maiden had live in the ’80’s but the albums they did around this time were stripped down and basic anyway, so it’s not a surprise that such things would come through live performances to.

It’s hard to pinpoint one real highlight here. I do think that the stuff from Fear Of The Dark comes off a bit better than the other songs, but that’s more a vibe check than anything. And the low points aren’t songs in and of themselves, it’s more that the recording is a bucket of ass and some of these songs get lost in a buzz that shouldn’t be there.

Truth be told this album shouldn’t have been released. Quality control really wasn’t there. It’s nice to have as a document of an unheralded era, but as we’ll see in two weeks, we already have that in better sounding form. For me A Real Live One should be on the scrap heap. We’ll see next week if its companion album fared any better.

The Iron Maiden Live Album Series

Live After Death

A Real Live One (you are here)

A Real Dead One

Live At Donington

Rock In Rio

BBC Archives

Beast Over Hammersmith

Death On The Road

Flight 666

En Vivo!

Maiden England ’88

The Book Of Souls – Live Chapter

Nights Of The Dead – Legacy Of The Beast Live In Mexico City

The Iron Maiden Live Album Ranking

The Maiden Live Album “Wishlist”

Fight – Little Crazy (Song of the Week)

On By bigbadburchIn Song Of The Week6 Comments

Our song this week comes from Fight, the early 1990’s project of the metal god himself, Rob Halford. Rob had left Judas Priest in 1992 in order to “spread his wings” and do some solo stuff. The story is that Rob had only wanted to do a side project and the rest of Priest was cool with it, but someone in band or label management screwed it all up and Halford’s letter of intent to do another band turned into him resigning. Judas Priest has some messed up management gaffes but that’s all for another time.

Halford’s first post-priest project would be Fight, a band a little more “with the times.” This band was heavy with a groove edge. It was reminiscent of Pantera, who were quickly becoming heavy metal’s most talked about band around this time.

Halford didn’t come from Priest alone – along for the ride was drummer Scott Travis, who did double duty in Priest and Fight, though Priest was not doing much at the time. Rounding out the band were bassist Jay Jay and guitarists Brian Tilse and Russ Parrish, the latter who you might know today as Satchel from Steel Panther.

Little Crazy was the second of three singles from the band’s debut album War Of Words. The album sold rather softly but did generate good critical and fan buzz. Halford’s gamble on updating for the times did pay off, at least in reputation. The videos from this album got pretty good airplay on MTV and there still was a good noise around the group, even if true commercial success was elusive.

This song isn’t a ballad by any means but it’s a slower tune, a bit “in the pocket” for a metal band. It does kick hard though, there’s no doubting its ferocity even in its middle pace. The riff here is totally southern deep fried, like this song came straight off the bayou. Everything here is played fantastically and the recording was fantastic.

Rob Halford keeps it subdued here, at least in terms of his general wail. Of all the renowned heavy metal singers, Halford is the one that can really take his voice to some different places. Here he keeps things on the level but it fits the song perfectly.

The song’s theme is exactly that of the title – it’s all about going crazy, or in fact being crazy. It isn’t the kind of hyped up, hey I’m batshit and going a million miles an hour kind of crazy often portrayed in old entertainment and especially metal songs. This is the creepy, crawly kind of crazy that is more like what going crazy is truly like (so I’ve read).

The music video fits the song very well and is also a product of its time. It features mostly shots of Halford writhing around as if he is slipping into the abyss, and some brief clips of the band playing. It’s all cut apart and pieced together with multiple angles in one frame, it’s very ’90’s and the sort of thing young, dumb meatheads like me ate up on MTV at the time.

Little Crazy wasn’t a hit in the commercial sense of the word. It did place at number 21 on the Mainstream Rock Chart, which is a bit of a feat for a debuting band, even one with a legendary singer in front of it. But this song was a hit with us at the time, the end of Generation X growing up on the alt-metal videos sprouting up around then. Fight would do one more album before folding, but their brief time around produced some pretty cools songs, and Little Crazy might be the biggest gem in the bag.

Bruce Dickinson announces new solo album The Mandrake Project

On By bigbadburchIn Upcoming Music6 Comments

Last Thursday, September 21 finally saw a long-awaited reveal, as Iron Maiden directly released information about Bruce Dickinson’s seventh solo album. It is titled The Mandrake Project and is slated for an “early 2024” release. More specific information will be forthcoming, of course.

In addition to the album, Bruce has also announced a small run of solo shows in Mexico and Brazil in late April and early May of next year, giving us a guess that the album will release sometime before that small tour.

This is Bruce’s first solo record in a long time – have to go back to 2005’s Tyranny Of Souls for the last one. It’s also only his second one since returning to Iron Maiden in 1999, clearly his main gig and host of other jobs like flying, beer selling and sword fighting keeps him busy.

Not much music has been made available yet, there is a small snippet of instruments in a video on Iron Maiden’s social media pages but that’s all for now. I’d expect a full song to be previewed soon, maybe when the release date is revealed.

There also isn’t a whole lot to say about the upcoming album yet, other than Bruce is again working with his longtime collaborator Roy Z. That’s good news to anyone attuned to Bruce’s solo outings, as Roy Z helped craft some amazing albums with Bruce.

We can also speculate that one song we already know will appear on the album. Bruce has been working on a concept album for years, dating back to when Iron Maiden recorded The Book Of Souls album that released in 2015. That opening track, If Eternity Should Fail, was originally written by Bruce and intended for this new solo record when Steve Harris heard it and asked for it to be on the Maiden record instead. In fact, the somewhat incoherent babbling about “Necropolis” and all that at the end of the song is a tie-in to the story for this Bruce solo album. While nothing official has been said yet, I’d place bets that If Eternity Should Fail winds up on here too, though I’m sure it would be a redone version of it.

There’s not much else to do right now but sit and wait, this will be a highly anticipated release for me. Well, I guess there is one more thing we can do and that’s gawk at that somewhat awkward promo photo, with Bruce totally photoshopped over a mystical alien door of some kind. I’m assuming and hoping that’s just a promo photo and not the true album cover, a bit of chatter in spots on social media seem to support that theory. People have had a field day with this shot, some even remarking that it’s as bad as the infamous cover to Dance Of Death. I think this is a goofy photo but it’s not anywhere near the level of bad that Dance Of Death has for a cover.

Now with that out of the way, I truly can sit and wait for more news and some previews of this new Bruce album. It’s been a long time and I’m looking forward to another entry in his outstanding solo catalog.

Metallica (Album of the Week)

On By bigbadburchIn Album of the Week10 Comments

It’s time for one of the biggest albums in music history. This record literally conquered the world and made its makers one of the biggest acts in music history, a status they have not relinquished 32 years after the album’s release.

Metallica – self-titled, aka “The Black Album”

Released August 12 1991 via Elektra Records

My Favorite Tracks – Wherever I May Roam, Sad But True, The Unforgiven

Over the course of their prior two albums, Metallica had been stretching their songwriting and making longer and longer efforts with progressive twists and turns and other assorted things. When it came time to do the follow-up to And Justice For All, the group wanted to ditch the longer and complicated concept and keep things simpler.

The band hooked up with producer Bob Rock, based on what they’d heard from Mötley Crüe’s excellently-produced 1989 album Dr. Feelgood. Rock has recalled through interviews and documentaries that the process was long and difficult, not helped by the fact that 3/4ths of Metallica were going through divorces at the time.

In the end, Metallica got their album recorded and history was on offer. This has 12 songs at 62 minutes so there’s a bit to go over, not to mention the insane amount of accolades this album has racked up.

Enter Sandman

The lead single and one of the most-played songs in history (no citation for that, but it has to be). It is in stark contrast to stuff from the prior two albums – this is a simple riff and the song is basic as can be. But it works very well, and that’s why legions of people tuned in to Metallica when this song first hit in the all-important summer of 1991. Even though this is overplayed to absolute death I honestly still don’t mind hearing it.

Sad But True

This is another single and one of the album’s heavier tunes. It’s about the seedier side of life and being pulled into it by grim influences, it was apparently based on some old Anthony Hopkins movie I’ve never seen or heard of. This song absolutely crushes and is the true nexus for the marriage between ’80’s Metallica and ’90’s Metallica.

Holier Than Thou

This one holds a pretty good pace as it deals with self-righteous people in a religious context. I like the lyrics quite a bit, the song itself is ok but not my favorite. It is really, really simple and sometimes that can be a detriment, but there’s still a listenable quality to it.

The Unforgiven

Metallica have done ballads before and would again. Here the band flipped the typical ballad formula – it was hard-hitting verses and a quieter, somber chorus. This one is all about the perpetual struggle against the forces of control in life, and in this case it’s a losing battle. The picture is painted vividly through the words and music, this is truly soul-crushing stuff. Kirk Hammett reports struggling a lot with this solo before finally getting it right based on feel more than notation, something that would transform his guitar playing moving forward.

Wherever I May Roam

This gem features a few exotic instruments but is still fairly standard metal stuff. The song is all about its title -truly being a free wanderer who is at home wherever he happens to be. Perhaps this song indirectly inspired all of the van life stuff going around, or perhaps that’s our shitty economy, I don’t know. Awesome song here, though.

Don’t Tread On Me

A bit of good old American exceptionalism here, as James Hetfield crafted a song that pulls concepts from the American Revolution and celebrates the “kick their asses” mentality of US diplomacy. While today the phrase “don’t tread on me” has negative political connotations, this song was from a time well before anything said was taken as an absolute political stance so I don’t see it as a big deal. I also don’t see the song itself as that big of a deal, it’s fine but it’s not much to write home about.

Through The Never

This one is pretty hard-hitting and has a bunch of philosophical stuff in it that’s honestly above my head and probably also below my knees. I think the song is fine but I’m fairly indifferent to this one too, don’t go out of my way to hear it.

Nothing Else Matters

This was the really big topic of discussion when the album came out, Metallica had done a full on ballad – not the heavy metal sort of ballad they’d put on offer before, but just a regular old ballad. While my fandom usually falls on the metal side of things, this is a pretty well done song. Sure it was different, but a good song is a good song.

Of Wolf And Man

A mid-paced stomper about turning into a werewolf. It’s ok but doesn’t do a lot for me.

The God That Failed

This is a very nice, slow and heavy song. It deals with the let down of a god not providing the healing asked for, something that affected James Hetfield in his childhood. His mother died of cancer after not seeking treatment due to her strange sect of Christianity. The topic is grim and the song is pretty great.

My Friend Of Misery

This song’s about one of those awful people who drag everyone around them down. I like the concept and lyrics a lot. The song is a bit plodding but still pretty decent.

The Struggle Within

The closer gets a bit thrashy in spots as the bands kicks it in high gear to the finish line. Not entirely sure what’s going on lyrically but it’s clear someone is screwed up in the head to some degree. Pretty nice song to end on, I do go back and forth on how I feel about it at times.

“The Black Album” was every bit the success anyone hoped it would be, and then some. It debuted at the top spot on the Billboard 200 and stayed there 4 weeks. It would remain on the Billboard 200 for a very long time, being the second-longest charting album in history, behind only Pink Floyd’s Dark Side Of The Moon.

In the US the album has been certified platinum 16 times and is likely up for 17 now. It is the best selling album of the Nielsen Soundscan era, outpacing ’90’s titans like Shania Twain and Alanis Morissette. Worldwide Metallica has sales over 30 million copies. It is truly one of popular music’s most accomplished records, and Metallica have been mainstay titans of music ever since.

Of course the debate over this album takes on another turn when it comes to the older part of Metallica’s catalog. A fair few of the band’s legions felt betrayed by the switch away from thrash and complex song arrangement. It’s no doubt that this album is a lot less, uh, noisy than the band’s first four. In fact a good portion of “first four fans” would pop up as Metallica grew in stature exponentially with the Black Album’s success. That argument still rages today, even though we’re now 30 years removed from the “big switch.”

For me personally I have no big beef against this album. This came out a week before I turned 14 and just before I started my freshman year of high school, so it was perfectly positioned to be a game-changing album for me. My friends and I played this over and over again, though I did wear out on it long before they did. While many others were still playing this multiple times daily in 1993, I was off chasing down heavier stuff like death metal. I do much prefer Metallica’s first four, as my ranking from awhile back clearly illustrates. But there’s enough good stuff here to appreciate this album too. I have literally heard this album to death and honestly I’ve only played it a handful of times in the 2000’s, but there is no arguing the mark this record made.

Live After Death – The Iron Maiden Live Album Series

On By bigbadburchIn Iron Maiden Live Album Series21 Comments

The Iron Maiden live album series kicks off with the first official full-length live release and it is a doozy. Live After Death was recorded during the band’s World Slavery tour in 1984 and 1985 and has gone on to be a hallmark of Maiden’s catalog as well as live albums in general.

The band line-up was the classic Iron Maiden configuration – Bruce Dickinson at vocals, Dave Murray and Adrian Smith on guitars, Steve Harris on bass and Nicko McBrain behind the drums. The band plowed through 187 concerts in 331 days, a total marathon that would later lead to exhaustion and tensions, with a break that would inform the band’s following “synth” phase. The stage set and production were replete with Powerslave-themed pieces and of course the band’s revered mascot Eddie.

The bulk of the album comes from four performances at the Long Beach Arena in California from March 13th through the 17th. The final five tracks are from earlier shows at the Hammersmith Odeon in London, England from October 8th through the 12th.

Figuring out what song came from what show is an arduous task. It’s back to the primary source for Iron Maiden information – the tome Run To The Hills – The Authorized Biography by Mick Wall. In order to tell this story quickly, Steve Harris states that audio was recorded on two nights and video was also recorded on two nights, but apparently not the same two nights. Bruce references Sunday and the fourth performance during Running Free, the only clue present on the album. Video cues offer different suggestions but again, video was reportedly done on other nights so it isn’t a good source to identify the audio. It’s a little bit of a mystery with some other sources indicating that more than one night’s worth of audio is on the Long Beach portion of the album, but it’s too much detective work for me.

Also from Mick Wall’s biography, Steve Harris emphatically states that the band did not make any corrections or overdubs on the live recordings. Producer Martin Birch mixed the album while Maiden were still on tour and the band would get a few tracks at a time to approve. While overdubs are a very common part of live albums, things had been taken a bit far at times. Judas Priest’s Unleashed In The East found Rob Halford re-doing all of his vocals in studio due to source tape issues, and there was a fair bit of buzz about that and other live albums that weren’t quite “live.” Maiden were bold in their stance that this be a truly live album – produced for the best possible content, certainly, but not corrected after the fact.

Before getting into the album itself, it’s mandatory to discuss the cover art, done as usual by Derek Riggs. This is a classic piece of Iron Maiden art, with Eddie bursting out of his own grave, and even getting the full name “Edward T. Head.” There is plenty more to check out on the back, as the piece wraps around with plenty of tombstones inscribed with various easter egg phrases. It is yet another iconic entry into the Eddie art gallery and one of the more popular Maiden posters around.

Live After Death was officially released on October 14, 1985. While most versions include all 18 tracks, it is worth noting that some older CD editions cut off the London portion of the set to save space. Most any modern-era CD reissue presents the concert in full. To my knowledge, any official vinyl and cassette releases present all tracks in full. The track list is as follows –

Churchill’s Speech (intro)

Aces High

2 Minutes To Midnight

The Trooper

Revelations

Flight Of Icarus

Rime Of The Ancient Mariner

Powerslave

The Number Of The Beast

Hallowed Be Thy Name

Iron Maiden

Run To The Hills

Running Free

Wrathchild

22 Acacia Avenue

Children Of The Damned

Die With Your Boots On

Phantom Of The Opera

After all the build up and speculation about exactly what performances these songs came from, let’s actually get into the songs. The song selection is absolutely stellar here. Maiden had the advantage of being only five albums into their career at this point so it was far easier to present a “please everyone” setlist than it is now with them being seventeen albums deep. All of the essential cuts are here from this point in the band’s history, and there some excellent secondary songs presented as well. Stuff like Die With Your Boots On and Children Of The Damned are real treats, as they only get aired out sporadically.

The performances on this album are fantastic, the band is playing with great energy. In what has become Maiden tradition, the songs are amped up a bit and they go by at a faster pace than their studio versions. Take the band’s epic Rime Of The Ancient Mariner – on Powerslave it is a 13:45 track, while here it clocks in at 13:03. The band are truly plowing through the songs here, which has been a criticism for some fans but a selling point for others.

It is in this frantic pace that the band’s magnum opus truly shines – Hallowed Be Thy Name is a spectacular cut from this live album and it has a whole new energy not present on the original studio version. It stands to reason that what is widely considered Maiden’s best song would shine here, but it truly opens up and becomes an even greater entity on this record.

There are some unique moments to be found beyond the songs themselves. Opening the set is the famous speech Winston Churchill gave to English Parliament in 1940 as World War II was in full swing. This has become “married” essentially to Aces High, itself about the Battle of Britain. And for stage banter, look no further than Running Free. Instead of getting the song overwith in a few minutes as it typically runs, there are about five extra minutes added on. This is a long section where Bruce plays with the audience to see who can scream the loudest and he has quite a bit of fun with it. At the end of other songs Bruce famously implores the crowd to “Scream for me, Long Beach!” This is now a common part of Iron Maiden and Bruce Dickinson lore.

Live After Death did very well on release. It charted at number 2 in the UK, number 19 in the US and appeared on charts in 11 other countries. It has been certified platinum in the US and double platinum in Canada, as well as gold in the UK and in 4 other countries.

And beyond the welcome sales numbers, Live After Death is a true hallmark in both Iron Maiden’s lexicon and in live music in general. This was praised by critics and is hailed by fans as one of the band’s best works. A few other live records coming up also vie for the title of “Best Iron Maiden live album,” but the general consensus holds this one up as the winner.

That just about does it for the first entry in the live album series. A few more months of sorting through Maiden’s quite extensive live catalog lay ahead, then at the end we’ll all see if I think this one is the best or if I have a rogue pick. Until then, scream for me, Internet!

The Iron Maiden Live Album Series

Live After Death (you are here)

A Real Live One

A Real Dead One

Live At Donington

Rock In Rio

BBC Archives

Beast Over Hammersmith

Death On The Road

Flight 666

En Vivo!

Maiden England ’88

The Book Of Souls – Live Chapter

Nights Of The Dead – Legacy Of The Beast Live In Mexico City

The Iron Maiden Live Album Ranking

The Maiden Live Album “Wishlist”

Cannibal Corpse – Hammer Smashed Face (Song of the Week)

On By bigbadburchIn Song Of The Week4 Comments

Before I get into it, yes, you very likely have heard this song before, even if death metal never touches your ears. I’ll get there in a bit.

Today’s song is from Cannibal Corpse, who stand today as titans of the death metal scene. In fact they will release their 16th album, Chaos Horrific, in a few days on this coming Friday. But today’s song is not about that, as only two current members of the band were present back in 1992.

Hammer Smashed Face hails from the band’s third album Tomb Of The Mutilated. The album is noteworthy for the cover alone, it was one of the sickest things ever to sit on a record store shelf. It is present in the thumbnail to the video in all its gore and depravity right below.

This was the opening track to the album and was also the first time CC released a song as a single. The single release included two cover songs, one from death metal inventors Possessed and another from Black Sabbath in the Ian Gillian period. It was again released later as an EP with a few older Corpse tracks thrown on as well.

This song is totally brutal death metal, there’s no doubt about it. This is not the kind of stuff most people want to listen to. Even among people who do like heavy metal, this is another degree past tolerance. It is fast, bludgeoning and rough. Nothing beyond a few guitar notes get above the low end of the spectrum and even when they do, it is dissonant and discomforting.

But, it’s also kinda catchy. That intro riff and drum sequence stands out right away and it makes its way back into the song several times. It definitely grabs the ear. And, if people are like me and enjoy the sinister sounds of death metal, those dissonant guitars and slamming drums are a welcome presence.

I don’t suppose there’s much need for lyrical analysis. This song is literally about beating someone’s head off with a hammer. There isn’t much else to go over – all Cannibal Corpse songs are like miniature horror movies.

This song and third album would mark the end of work for the band’s original line-up – Chris Barnes on vocals, Bob Rusay and Jack Owen on guitar, Alex Webster on bass and Paul Mazurkiewicz on drums. Rusay would leave the band and the death metal scene altogether after this album. Barnes would be around for one more seminal album before a divorce that shook the death metal world and redefined Cannibal Corpse for the years to come. Jack Owen was in the group quite awhile longer, eventually departing in 2004. Alex and Paul remain as active and founding members.

So, let’s get to where you have probably heard this song before. Remember the Jim Carrey blockbuster Ace Ventura – Pet Detective?

If so, then you likely recall the scene where Jim as Ace walks into a club for a metal show. Ace is looking for someone named Greg to help him track down the whereabouts of the Miami Dolphins’ mascot, a live dolphin named Snowflake. Ace asks a headbanger if Greg is in, and takes the headbanging as a positive response. The band in the scene is Cannibal Corpse and the song they’re playing on stage is Hammer Smashed Face. I’ll post the clip below but I won’t place bets on it remaining up given YouTube’s AI-driven copyright hunt.

This movie placement was a bit of a coup for Cannibal Corpse, as Ace Ventura did big business and Jim Carrey became a huge star out of it. And while I can’t track specific sources to express the degree to which this happened, but Carrey either already was or did become a fan of Cannibal Corpse and death metal in general. It is something he has discussed in his numerous late night talk show apperances over the years but it’s not like I can remember which ones.

Hammer Smashed Face became a signature tune for Cannibal Corpse, helped along by unexpected movie success but also propelled by the band’s growing propensity to write songs with catchy hooks. Corpse would take this to the next level on their following album The Bleeding, crafting music and vocals that human ears could understand and accessing new scores of fans. Even through major line-up changes, Cannibal Corpse have continued to climb ranks and have reigned for awhile now as the top act in death metal. It is a legacy forged in brutal riffs and gory lyrics, and that legacy continues on this coming Friday.

Iron Maiden – Somewhere In Time (Album of the Week)

On By bigbadburchIn Album of the Week10 Comments

Iron Maiden gets to bookend the week this go around. On Friday the live album series launches. For today it’s the studio album they released after their first live record and the band’s two-album dive into the world of synth.

Iron Maiden – Somewhere In Time

Released September 29, 1986 via EMI Records

My Favorite Tracks – Stranger In A Strange Land, Wasted Years, Alexander The Great

Maiden had just wrapped up the Powerslave tour cycle and were absolutely wiped out, so they took a break while Steve Harris tinkered with new equipment, including guitar synthesizers. These synths would be present on all but one song for this next record.

Songwriting came down to Harris and Adrian Smith, with only Dave Murray getting an additional credit. Bruce Dickinson was especially absent for writing purposes – he was said to have been the most burned out of all band members after the mammoth tour. Bruce showed up with a handful of acoustic tracks, which the rest of the band were not at all into. It would all work out as Bruce would really get in on the action the next go round.

Any discussion of Somewhere In Time has to involve the striking cover art. A cyberpunk Eddie graces the front and the background was absolutely loaded with references to everything from the band’s own Charlotte The Harlot to Doctor Who, Blade Runner and many other things. Derek Riggs spent 3 months doing the cover and found the process exhausting, though the result was worth it. Also of note – this was my top cover back when I ranked all of the Maiden album covers. And the album itself came in at number 3 in my Maiden album rankings.

This one is pretty simple to get into – 8 songs that run 51:18. Nothing to worry about in terms of alternate versions here, there is only one reissue series with bonus tracks and those aren’t easy to come by, so 99% of the time people will run into the exact same album.

Caught Somewhere In Time

It becomes clear very early on into this album that the addition of synth was not going to be a massive shift in Iron Maiden’s musical presentation. This song sounds like a Maiden song – galloping bass, guitars going all over the place, Bruce singing out of his mind and body and Nicko McBrain holding a clinic on the drums.

This one is about time travel of some sort, and apparently time travel involves a lot of guitars because Adrian Smith and Dave Murray shred out on an extended solo section. The duo’s work had always been rock solid to this point, but it is taken up another notch here. Spellbinding stuff.

Wasted Years

One of the album’s singles and the only song not to use synth. Wasted Years offers a pretty simple message of living for the moment and not getting caught up in wasting time worrying about what’s already come and gone. The intro riff here is pretty signature stuff, as is the iconic chorus. This would become another of Maiden’s most recognizable songs and is a frequent guest on setlists.

Sea Of Madness

This one slams in pretty hard, though still has the bright and melodic touch that the band would employ throughout this album. It’s a nice contrast of almost thrash-like guitar and drum work against the soaring chorus Bruce provides. This song could literally be about madness or possibly “sea of madness” as a metaphor for civilization, no real telling.

Heaven Can Wait

More fast-paced frenzy here as Bruce fires off verse lyrics in a machine-gun fashion. The plot of the song is about someone who has died but winds up back in mortality after not getting access to any sort of afterlife. This is one of a few songs Maiden have played live a fair bit in the years since this album’s release.

The Loneliness Of The Long Distance Runner

This one features a bit of sad and sweet guitar work, which compliments the subject matter well. The song is directly based off a 1960’s story of the same name, about a British kid caught in a life of poverty who starts running as a way to escape his crappy life. The song doesn’t touch on a lot of the background in the story and instead focuses more on the running itself. The galloping rhythm does lay a nice soundtrack for the act of long distance running, not that I personally know what the hell that is.

Stranger In A Strange Land

The album’s second single appears with a more mid-paced approach. This song is not about the book it shares a name with – rather it is about being an Arctic explorer and the obvious trials of that occupation, including finding a frozen corpse. This was based on a real story relayed to Adrian Smith from an actual Arctic explorer.

This song works very well with its twist of pace and the synth sitting in the background through the chorus. I know I’ve mentioned it before and likely will again, this is my second favorite song Maiden have done. Excellent stuff.

Deja Vu

This has a beautiful and mournful intro before jumping into the typical Maiden gallop. This was the one song written by Dave Murray, with additional help provided by Steve Harris. This song slices through the idea of deja vu, it’s pretty self-explanatory lyrics-wise. This is a nice one to bob along to, or headbang to, or whatever.

Alexander The Great

The final song is a Maiden epic again culling from history, this time the unbelievable conquests of Alexander The Great. The Cliffnotes version is that Alex took over a great deal of the known world at the time, then he died one day. The song’s lyrics truly are a pocket guide to Alexander’s life, as the verses do simply recount his life and deeds.

This was another triumphant Maiden epic and one that occupied an odd spot for a long time – the band found the song too challenging to play live, so they never did. That finally ended this year as Maiden has played this as part of their Future Past tour.

Somewhere In Time was a success for Iron Maiden. The album charted at number 12 in the US, 3 in the UK and had good spots in many other countries, including a number 1 spot in Finland. The album has been certified platinum in the US and Canada, and gold in 4 other nations.

Maiden would tour the album on the “Somewhere On Tour” trek, playing 151 shows in roughly 8 months’ time through 1986 and ’87. This is where the story of Somewhere In Time gets a bit cloudy and lost, as the band quicly re-entered the studio to do the next album. Songs from this record were not played live much at all beyond the tour, with only Wasted Years and Heaven Can Wait getting extensive time after ’87. The album would get a new focus in 2023, as songs from here were paired with stuff from Senjustsu to form the Future Past tour. It was nice that Maiden finally shined a new light on this album live after all these years.

In the end, Somewhere In Time was a success both commercially and critically for Iron Maiden. There were no issues with synth being around, it wasn’t like Maiden went A Flock Of Seagulls with everything. It was just a tool that the band used to great effect. And the whole album is a great collection of songs – bright and melodic, yet still anchored with the things that make Iron Maiden stand out from the metal crowd. It was my first Maiden album and it’s no wonder they went on to become my favorite band.

Don Henley – The Boys Of Summer (Song of the Week)

On By bigbadburchIn Song Of The Week14 Comments

Summer seems to be slipping away, both on the calendar and weather-wise, so it’s a good time to look back on the big Don Henley hit from 1984.

The Boys Of Summer is probably Henley’s most recognizable solo song, though not his biggest hit – that was Dirty Laundry. Today’s song was the lead single from Henley’s second solo album Building The Perfect Beast, which is a weird title since the album cover is just Don Henley. Not entirely sure what he’s getting at there but I was 7 at the time so it’s probably not for me to figure.

The song has quite a history involving a few music luminaries, the tale I’m telling today can be found in this 2022 article on loudersound.com.

This song was brought to Henley by Mike Campbell, known for his day job as the guitarist for Tom Petty and the Heartbreakers. Campbell had written up the music and offered the song to Tom. Petty turned it down because he didn’t feel it fit the mood of the album they were making, which was Southern Accents. That’s a fair assessment, though Petty would later regret not cutting the track after he heard Henley’s finished version.

Campbell was in luck though, as Southern Accents producer Jimmy Iovine knew Henley was recording a new record, so Iovine suggested Campbell pitch the song to Henley. Campbell and Henley hadn’t met before, but Henley was receptive to the track and cut it after writing lyrics and changing the song’s key. Fellow Heartbreakers Benmont Tench and Stan Lynch would contribute other songs to the Henley album as well.

The Boys Of Summer is a total ’80’s tune, far removed from the country-rock of Henley’s beloved Eagles. This song doesn’t even have real drums on it, Campbell programmed a machine to play those. There is guitar on this and also a generous helping of synthesizer. This is a nice, soft and atmospheric song that flows without issue and adds a moody air to the lyrical fare.

The theme of the song is very simple, it’s all about looking back at the past and longing for lost people and moments. The song and video make it all about a girl, and it’s often past lovers who bring out that longing the most. It’s fairly relatable stuff to anyone who’s at or around middle age, though the degree to which it’s relatable would vary from person to person. The third verse really brings the whole point home, it’s one that gets me nearly every time I hear the song even though I’ve heard it hundreds of times by now.

There’s also a bit to the title itself – the “boys of summer” was originally a phrase coined by Welsh poet Dylan Thomas. I have no clue what Thomas was on about in the poem and I don’t like poetry so I won’t dig for an answer. In 1972, author Roger Kahn used the phrase for the title of his book about the Brooklyn Dodgers, and since then “boys of summer” has usually been taken to mean a reference to baseball. It wasn’t the case for this song but the song and the sport have been intertwined at times.

The Boys Of Summer would go on to number 5 on the Billboard Hot 100 and chart significantly in many other countries. It is just off the number 3 high set by Henley with Dirty Laundry a few years prior. The video won huge accolades, taking home Video of the Year from the 1985 MTV VMA’s. As Henley quipped, he won the award for riding around in the back of a pickup.

The song would pop up again in conversation years later, as rock band The Ataris did a cover in 2003. This version was a hit, getting number 2 on the Billboard Modern Rock chart and 20 on the Hot 100. While it was a career moment for The Ataris, Henley was not really amused by their version, pretty much calling them out years later as a flash in the pan. Mike Campbell was far more complimentary of The Ataris and their cover effort.

Don Henley’s solo career would go on into the early 1990’s where he was derailed by lawsuits between he and his label Geffen Records. This would cause Henley to become very involved in issues concerning musicians and their rights, as well as an Eagles reunion. But he truly struck gold with this 1980’s hit, both in music and theme.

Death – Leprosy (Album of the Week)

On By bigbadburchIn Album of the Week10 Comments

The argument over who, where and when death metal started is one that has raged since its inception in the 1980’s. I won’t be arguing all of that today, rather I’ll be looking at the second album from one of death metal’s pioneers.

Death – Leprosy

Released November 16, 1988 via Combat Records

My Favorite Tracks – Leprosy, Pull The Plug, Left To Die

Death had a very curious and drawn-out early history, with founding member Chuck Schuldiner releasing a series of demos under different names and with various casts of band members. In 1987 Death released their debut album Scream Bloody Gore. A year later found Death with Schuldiner and a totally different line-up to record the next album. Rick Rozz, who had played on some early Death demos, was back in on guitar. Bill Andrews came in on the drums. Schuldiner handled bass on the album as well as his usual guitars and vocals, though Terry Butler was brought into Death to take over bass after recording. Butler is credited with being the bassist in the album’s liner notes, however.

The album was recorded at Morrisound Studios in Tampa, Florida. This would become the home of early death metal as the first concentrated scene was centered in Florida. Dan Johnson was the album’s producer and Scott Burns its engineer, Burns would go on to be involved in many early death metal classics.

This album comprises 8 songs at a 38:37 runtime. All songs are credited to Chuck Schuldiner and Rick Rozz jointly, except for Leprosy and Pull The Plug solely to Schuldiner, and Primitive Ways only to Rozz. All lyrics were provided by Schuldiner.

The album opens with the title track Leprosy. This one is a bit longer than anything else on the record and burns a fair bit slower than a typical thrash song, thrash being the direct progenitor of death metal. As with a lot of death metal, there is a “still fast even when slow” quality to it.

Leprosy is a non-scholarly look at the affliction, with people cast out of their towns to literally rot away of the disease in exile. The song switches up tempo and inserts movements to keep things fresh, this is not simply a “thrash on steroids” offering. While it would be a few more albums before Schuldiner took Death in a truly progressive direction, early indications were already present on songs like this.

Up next is Born Dead. This one is a “thrash on steroids” track that shreds through a dystopian world where people are basically disease fodder and existence is about useless. Forgotten Past is next and is a straightforward chugger that sees someone use the occult to learn that they were a horrible person in a past life. After that is Left To Die, a song that exemplifies the sound of early death metal as it offers an account of what is likely a front line soldier whose life is forfeit.

Up next is one of Death’s standard-bearing songs with Pull The Plug. This is a perfect marriage of brutality and technical proficiency. As the shock value of early death metal wore off, the underlying technical aspects would become a main driver of interest in the music. Lyrically it is an awful tale of someone on life support who can hear people making the decision about what to do with him. The title offers up exactly what the subject wants to happen. Pull The Plug has been a crowd-pleaser with Death audiences since its release and it remained a staple through the span of Schuldiner’s career.

Another straightforward pounder comes next with Open Casket. The band shreds through another burner with a few tempo changes thrown in for variety as the lyrics explore the simple yet creepy concept of open casket funerals. The pounding continues on Primitive Ways, which is a look at the (generally wrong) idea that prehistoric people were bloodthirsty savages who lived in a kill or be killed environment. Not scientifically accurate stuff but suitably brutal for the proceedings at hand. The album closes with Choke On It, a song that offers the same brutal thrashing technical fare as the rest of the songs and explores the horrific concept of someone dying due to hyperventilation.

Leprosy marked a shift for Death from the absolute raw brutality of Scream Bloody Gore to a more refined thrash-centered sound that offered up a fair few technical leanings as well. The stylistic shift would become a hallmark of Death’s career – while the next album Spiritual Healing is similar in tone to Leprosy, subsequent albums would continue pushing the technical and prog envelope and leave the old school death metal sound behind just as quickly as Chuck Schuldiner and company had helped establish it.

As Death’s styles shifted, so did its band members. Schuldiner would be the sole constant member and bandleader. Terry Butler and Bill Andrews hung around for the next album, but each Death album after featured a revolving door of musicians, many of whom became revered figures for their Death output as well as other projects. Death would continue until 1998, when Schuldiner ended the band to pursue a different progressive metal style with Control Denied. Schuldiner was diagnosed with brain cancer and died in December of 2001.

In the decades since Schuldiner’s death, his band Death has taken on a god-like status in the ranks of death metal and beyond. Leprosy was a formative offering that helped define the new genre of death metal and get Death notice as a band to watch. Over 20 years after Schuldiner’s passing, Death is still at the forefront of the genre that Schuldiner spearheaded.

Pre-Game – The Iron Maiden Live Album Series

On By bigbadburchIn Iron Maiden Live Album Series4 Comments

It is getting on time to launch the Iron Maiden live album series. I will kick it off on September 21st, or maybe the 22nd, I haven’t quite decided yet. I’m putting it off just a hair so that it’ll wrap up right before the holiday season toward the end of the year.

This series will be rundowns of the 13 official live albums. I’ve already covered most of the live EP stuff in my singles series, and bootlegs will be a separate thing I do a ways down the road. I’m not going to discuss the video stuff that’s been released, those have other content with them and I’ll give them their own series someday. This will only cover the audio albums, some of which don’t have accompanying video releases.

I have decided to go in order of album release rather than the year of the tour. It’s far easier to keep track of that way, though it does present a few odd issues with the Maiden England album. I chose to stick with the list I have and slot that one in on its 2013 release date even though both the video and CD had far earlier releases. I’ll go over that more on the actual post.

I’ve had almost all of these in my collection for a while, I’m only missing one. But I also haven’t listened to many of them in a long time so it was fun to go back through these. While a few don’t have sterling reputations I honestly wasn’t put off by listening to any of these. Though the Maiden live album machine didn’t truly get going until the reunion era when we almost have one from each album, it is nice to go over the stuff from different points in the band’s career. It does almost exclusively feature Bruce Dickinson on vocals, there is one album that has a bit of Paul Di’Anno stuff but that’s it for the other singers. Blaze Bayley never got an official live album and I would suspect there probably won’t be one, though I’d personally like to have one.

Next week I’ll have another post about Maiden live albums, that one will be a “wish list” of gigs I’d like to see released as well as a discussion about the Maiden live album process, which does generally get in the way of having a lot more live material. Then after I wrap this series up I’ll do a ranking that should wrap up the year.

My plan after that is to do a song ranking. That’s going to be a pain and I haven’t really got much into it yet so I don’t know exactly when it will kick off but it should get going sometime in early 2024. Other Maiden series will follow that, there is more than enough to talk about with this band who is only outpaced in marketing by the almighty Kiss.

That’s about enough to set the table for this series. Next week is the wishlist, then the proper series kicks off a week later. Until then, and during then and after then, up the irons.

The Iron Maiden Live Album Series

Live After Death

A Real Live One

A Real Dead One

Live At Donnington

Rock In Rio

BBC Archives

Beast Over Hammersmith

Death On The Road

Flight 666

En Vivo!

Maiden England ’88

The Book Of Souls – Live Chapter

Nights Of The Dead – Legacy Of The Beast Live In Mexico City

The Iron Maiden Live Album Ranking

The Maiden Live Album “Wishlist”