The Crooked Wanderer

Sanctuary

Purgatory

Aces High

Run To The Hills (live)

Running Free (live)

Stranger In A Strange Land (you are here)

Virus

Rainmaker

Remembering Headbanger’s Ball

On April 19, 2023April 18, 2023 By bigbadburchIn Memories7 Comments

I’m going with the anniversary theme again today, and this one wasn’t something I was originally planning on but it fell in my lap so I decided to run with it. On April 18, 1987, MTV aired the first episode of Headbanger’s Ball. The first episode featured guest hosts Lemmy Kilminster and Phil “Philthy Animal” Taylor of Motörhead. This was the start of an institution that ran for 8 years on Saturday nights on MTV.

While MTV had previously flirted with an all-metal show called Heavy Metal Mania, hosted by Dee Snider, Headbanger’s Ball would become the true home of metal through the late ’80’s and early ’90’s. It was blocks of all metal music videos, with interviews, live footage and occasional off-the-wall content sprinkled in.

Guests hosts filled the first handful of episodes, then MTV VJ’s began hosting the gig. Kevin Seal was an early host, then Adam Curry ran the show for a few years. In the ’80’s, MTV kept the programming mostly true to the music of the time – hair metal. There were heavier bands played at times though, and Headbanger’s Ball was the only time on MTV to see thrash, power metal and other forms not related to the hair bands.

For me personally I saw occasional episodes of the Curry-hosted shows, but it would be into 1990 when I became an every-week watcher of the Ball. By this point Riki Rachtman was the host and the show transitioned away from hair metal and into the more aggressive strains of the genre. The studio got a set designed by Rob Zombie at one point, the hours were expanded and Headbanger’s Ball was one of the most-watched programs on MTV.

The early ’90’s period of the Ball saw a slew of bands get airtime – thrash mainstays like Slayer and Megadeth, legends like Ozzy, and a lot of new blood from a lot of metal avenues came up on the show. The new grunge acts got some Ball time, like Alice In Chains and Soundgarden. Rap metal like Biohazard was around before nu-metal was a thing. The “alt-metal” scene was very well represented on the Ball, with acts like Danzig and Type O Negative getting frequent appearances. And extreme metal also got in the act a bit, with Cannibal Corpse and Morbid Angel getting some airtime.

I don’t remember exactly when it was, I’ll peg it sometime in 1994, the writing kind of started to appear on the wall for the Ball. The show would lose an hour of true programming and that got swapped with something called The Countdown to the Ball. The countdown played ten videos that were popular elsewhere on MTV, stuff like Pearl jam and whatnot.

The end of the main era of Headbanger’s Ball came at the turn of the year in 1995. In typical corporate TV fashion, no announcement or farewell episode was given. Rachtman and the staff were simply called and told not to come back to work after filming what wound up being the final episode. MTV ran a show called Superock in the old Ball timeslot awhile later, before airing re-runs of The Real World 24/7 and giving up on music videos altogether.

I was one of many pretty upset with the sudden demise of the show. It was a fantastic place to learn about new bands and upcoming releases. Remember, this was just before the Internet became a household thing – this kind of information was not at everyone’s fingertips or instantly accessible. It was a few years before the Internet became a reliable source of news and commerce. Seriously, you should have seen some of the websites up in 1995 – it was unreal.

So Headbanger’s Ball went away. Metal went into a fairly dark place in the late 1990’s, but then came roaring back in the early 2000’s. And with it, MTV saw fit to bring back the Ball. It showed up on MTV2, again with guest hosts in the beginning but with a long run from Hatebreed’s Jamey Jasta at the helm. The show has gone through various cancellations and renewals over the years both on MTV and online, so its status today is murky at best.

For me and many other young metalheads that watched over the 8 years that Headbanger’s Ball ran, it was Saturday night church of the metal variety. We got to see some videos that we knew would be played during the time, and we got to see a lot of stuff we never would have otherwise. This wasn’t MTV, it was a small subset of MTV that happened to catch on with a large fanbase and last even through music’s most seismic shift in 1991.

We also got to see a lot of stuff we wouldn’t have otherwise in the pre-Internet era – we got a candid interview with Ozzy Osbourne after No More Tears released. We got Megadeth skydiving somewhere “in the vicinity” of Area 51. Alice In Chains went down a waterslide, Soundgarden went bowling, and a bunch of acts went across the Iron Curtain to play the Moscow Peace Festival, with MTV and Headbanger’s Ball right there on the action. Even in more simple TV studio interviews, we got candid talk from bands all over the metal spectrum.

For the 2000’s MTV2 revival, I’ll say this – the show did a lot to put metal back into the consciousness, and also brought a lot of the 2000’s era extreme metal into a new light. The show would be hosted for awhile by Hatebreed’s Jamey Jasta, still today an advocate for heavy music far and wide.

But nothing for me will replace the original. It was Saturday nights, skipping over the run of Saturday Night Live and choosing instead to wreck my neck for a few hours with first Adam Curry, then mainly Riki Rachtman and the truly heavy tones that came from his tenure on the gig. Riki today is doing spoken word tours across the country recounting any number of experiences, including Headbanger’s Ball, and I hope to catch one someday.

It was Saturday nights from 11 to 1, for me in the Central time zone. Then for awhile 10 to 1, then 11 to 2, then one day it all went away without so much as a thanks. But the work done by Riki and the Headbanger’s Ball staff, the fans of metal worldwide, and most importantly the bands themselves, lives on all these years later. Headbanger’s Ball was how we found this stuff and was our church, and is very responsible for a way of life that continues 28 years after the show originally went off the air. It’s one memory of sitting in front of the TV that I’ll truly never forget.

This is an apparently unofficial compilation of a bunch of HB highlights over the years. Worth checking out if the video stays up.

Iron Maiden (Album of the Week)

On April 17, 2023April 16, 2023 By bigbadburchIn Album of the Week10 Comments

As of last Friday, April 14, Iron Maiden’s debut album is 43 years old. Seems like as good of time as any to explore it here.

Iron Maiden – self-titled

Released April 14, 1980 via EMI

My Favorite Tracks – Iron Maiden, Transylvania, Phantom Of The Opera

Iron Maiden had spent five years playing in pubs and shifting line-ups in advance of their full-length debut, but the actual recording process for the record took all of 13 days. The band had mis-fired on two attempts to record the month prior and went through two producers before settling on Wil Malone. This would not be a fruitful partnership as Steve Harris recalls that the band did most of the actual production.

The recording line-up would be bassist and band founder Steve Harris, Dave Murray and Dennis Stratton on guitar, Paul Di’Anno at vocals and Clive Burr on drums. By album four, only Harris and Murray would remain of this line-up.

The cover art depicts the band’s legendary mascot Eddie. This was not Eddie’s cover debut as a shadowy form of him appeared on the Running Free single and the Japanese single release featured Eddie in full form, but this album still serves as the popular introduction. Derek Riggs was the artist behind Eddie’s appearances through Iron Maiden’s first decade of operation.

The album would release with 8 tracks, but I will be covering the US version which also offered the song Sanctuary. This was added to subsequent re-issues later on, though the current day pressings seem to omit it.

Prowler

The opener slams in with great guitar work between the Murray-Stratton duo and the signature rumble of Steve Harris’ bass. Di’Anno sings a desperate tale of a depraved man out to stalk and flash women.

I am warmed to the album’s production after decades of hearing it, but I will admit that Prowler is one song that maybe could have used a bit more work in the mixing stage. Still a very nice track but I can hear where it could be cleaned up a touch.

Remember Tomorrow

A remarkable song that starts out slow and contemplative but later launches into a Maiden guitar fireworks show fast break, showing that the band would forego typical pop-based song structure in their expressions. The song’s title was a phrase Di’Anno’s grandfather used frequently.

Running Free

This was the band’s debut single and still lives today as an iconic track. It is a simple banger that would get an extended live cut with a call and response passage added. The song is about the simple pleasures of being a wild and crazy youth and was based in part on Di’Anno’s young lifestyle.

For more on the single of this song, visit my recap of it as part of my Iron Maiden singles series.

Phantom Of The Opera

We move now to an extended cut and one with shifts and movement as Maiden take on the famous novel which has been adapted musically far and wide. The groundwork for the Iron Maiden sound to come can be found here, with a focus on epic storytelling. Phantom remained a staple of the live set long after Paul Di’Anno’s exit from the band and the song is hailed as one of the best from the early era.

Transylvania

Up next is the band’s first instrumental. The song was originally intended to have lyrics but after hearing the instrument cuts they decided to keep it as is. This is a fantastic song that plays out just fine without words and I’d say ranks at the top of the band’s handful of instrumental tracks. Transylvania would see a fair bit of stage time in the band’s early years and then again in 1993.

Strange World

Now it’s on to a song that’s aptly titled as this is very strange and a huge departure from what is recognized as the Iron Maiden sound. This is a trippy, atmospheric track that doesn’t feature the distinctive Maiden rumble at all. The song is maybe about vampires, or drugs or who knows what. It’s very odd and it’s jarring to hear when set against the rest of the album but it’s not bad in and of itself.

Sanctuary

The US bonus track slots here on original pressings of the album, note that re-issues can have it in different spots. This song about a killer on the run from the law would be a mainstay of early Maiden setlists. For more on this one, head to my rundown of the Sanctuary single.

Charlotte The Harlot

Here we have one of just a few songs written entirely by Dave Murray. This is celebrating a woman of the night and Murray has stated it’s based on a true story, though that story has never emerged. While the song itself is not the most celebrated track from this album, Charlotte would make three further appearances in Iron Maiden songs before her story was completed in 1992.

Iron Maiden

The album closes with an eponymous song, which is always a treat when a band does that on a self-titled album. And this one is truly a gem – there is no more signature Maiden sound than the guitars and bass on this song. Just as the chorus says, Iron Maiden’s gonna get you, and that they did with this track. This is the band’s most-played song live.

Iron Maiden marked the start of a heavy metal legacy. The album would hit number 4 on the UK charts and get platinum certifications in the UK and Canada. Critics took to Maiden right out of the gate, and the band found ready and willing audiences when they entered new countries to play there for the first time. The days of grinding in London pubs were over and the world was waiting. The New Wave of British Heavy Metal had been bubbling around England for years and Iron Maiden helped bring it into the light for the world to experience.

The raw production gave the album a “metal meets punk” feel, though band members insist they were not chasing punk as a sound. But the identity would follow Maiden through the Paul Di’Anno era and a subset of fans lament the turn toward something more akin to power metal that Maiden took when Bruce Dickinson stepped into the singer’s role. Those fans represent a minority of course, but they are out there.

For me I was a hair too young to catch this on release, I was not quite 3 years old when this album hit. It would be several years later when I got into Maiden and backtracked through the early stuff. This one was always a favorite of mine, I loved the raw energy yet still finding a lot of the band’s signature sound that was present on later albums.

This album was the start of something very special and a legacy that has now run close to half a century. All things must end, but they also must begin and Iron Maiden’s start was a great thing.

Running Free (live) – The Iron Maiden Singles Series

On April 13, 2023July 23, 2023 By bigbadburchIn Iron Maiden Singles Series31 Comments

And we’re in to the second of the singles from Live After Death, Iron Maiden’s first live album. This one offers the rare chance for brevity – the cover is a live shot as opposed to an Eddie illustration. The songs are mostly self-explanatory – the A-side is off of the full album and the B-sides are not. Mostly.

I have a 12-inch version of the single, which includes a second B-side. 7-inch records have just one, physics and all that. As usual, the video below has the A-side and the first B-side, this is because Maiden put the 7-inch versions of the singles up on their YouTube during a reissue series last decade.

Running Free

Up first is one of the iconic songs from the band’s debut. Here we get Bruce Dickinson handling the song’s vocals. Far from the first time he sang this tune, but the first time it was offered up on a live album.

Running Free was done in an extended jam format at the Long Beach Arena in 1985, where Bruce and the crowd do a great call and response part for a few minutes. It’s a very cool rendition that everyone should check out – on the full-length release of Live After Death, because this is a single and it’s an edited song with the crowd part chopped out.

I do get the reasoning – this was released as a single and they weren’t doing 8-minute long live jams on the radio in the ’80’s. BUT, it sucks not to have the full song on this 12-inch record. The brief version is fine to listen to but is obviously not the full experience.

A note on the B-sides before I get into them – while not available on Live After Death, there is a 1995 Iron Maiden reissue series from Castle Records with bonus discs that do have the B-sides with the album, though on a second CD. To my knowledge this is the only way to get these songs “packaged” with the live album in any official capacity. And the Castle Records discs aren’t the easiest things to come by these days so it’s not a huge deal anyway.

Sanctuary

Our first B-side is a track from the Long Beach shows. Sanctuary is from the first album, though only in certain countries and was its own single as well. It’s well done here with Bruce in full air raid siren mode and the band keeping pace with the rest of their set, a bit frantic and faster than the albums. That style fits this tune fine. I will admit I do prefer Paul Di’Anno’s vocals on this particular track, there’s something about his snarl that fits the song a bit more than Bruce’s operatic approach. This version is totally fine though, no complaints here.

Murders In The Rue Morgue

This is the “bonus” B-side for the 12-inch record and is a super cool treat as it’s my favorite track from the Killers album. As with the other songs, this one is cranked up a bit but it’s executed very well. Not a whole lot else to say other than I consider this a special treat and very worthy listening.

That’s all for this week. Next time we’re into the band’s synth era and we are just two weeks away from what’s considered the most interesting and lore-ridden B-side in Maiden history.

The Iron Maiden Singles Series

Sanctuary

Purgatory

Stranger In A Strange Land

Aces High

Run To The Hills (live)

Running Free (live) (you are here)

Virus

Rainmaker

Van Halen – For Unlawful Carnal Knowledge (Album of the Week)

On April 10, 2023April 9, 2023 By bigbadburchIn Album of the Week10 Comments

This week it’s time to head back to the fateful year of 1991, but in this case it’s to visit a band that was immune to the tectonic shift in rock that year. Van Halen were riding high heading into their third album with Sammy Hagar at the mic. While many dismissed Van Hagar as AOR rubbish that didn’t hold a candle to the beloved David Lee Roth era, VH were cranking out number one albums and hit singles as well as arenas full of eager fans.

Van Halen – For Unlawful Carnal Knowledge

Released June 17, 1991

My Favorite Tracks – The Dream Is Over, Poundcake, Judgment Day

Van Halen spent a year recording their first effort of the 1990’s. While Andy Johns was tabbed to produce, the band also brought in an old friend – Ted Templeman, who had famously guided the band’s early albums but had been absent through the Van Hagar era. The duel producers were a means to satisfy Sammy, who apparently didn’t enjoy working with Johns.

This album would see Van Halen forego the synth-based AOR rock of the late ’80’s and move to a heavier song structure based on guitar, and the occasional power tool. While I’m sure the band made the decision on their own terms, it did coincidentally fit with the times as the album’s release slotted in the summer that hair metal, AOR and other venerable forms of rock met their mainstream end.

The album cover is nice though also basic, but the real art lore was in the inner booklet pictures. In first pressings of the album, one photograph showed a blackboard with a bunch of phone numbers on it. Some of the phone numbers got massive amounts of calls, so the record label repressed the album with the phone numbers removed. Note that these CD and cassette versions are not hard to acquire, it was a mass produced item so the phone numbers version carries no premium. Vinyl copies of the album did not have the blackboard photo that I know of, but vinyl of this album is scarce and does command huge value.

And of course there’s the album title. If it isn’t obvious, it spells out FUCK. The phrase was NOT the origin of the actual word “fuck,” which is a thing that’s out there but isn’t true.

There are 11 songs running at near 52 minutes total, time to head on in.

Poundcake

We start off with Eddie using a drill to mess with his pickups and then we’re off to the races. This is a heavy, driving track that doesn’t go too fast but really slams its point home. And that also happens to be what the song is about – slamming the point home with a nice, lovely woman.

Judgment Day

This one retains the heaviness but gets a bit faster as Sammy extols the virtues of kicking back in life and staying out of the ambitious rat race. This song was a big hit with my teenage self, perhaps informing me a bit more than it should. But hey, it’s all good.

Spanked

This one is pure sleaze and grime. This is some monster heaviness from Eddie and the band, it goes a degree further with it than Van Halen ever really went before. This one also has a good helping of the backing vocals that Van Halen were famous for but were not emphasized a lot on this album.

The song is about the old 1-900 numbers, which were a pre-Internet outlet for the sexually frustrated gentleman. They were total rip-offs as magazines were far cheaper, but I guess nothing beats that “personal” interaction. The song today would be about OnlyFans.

Runaround

One of the album’s featured singles, this track is a bit of a faster-paced and a less R-rated version of a sex song. It could be considered basic but it’s a pleasant song and I don’t find anything wrong with it. The video makes use of the rotating stage Van Halen were into using in their live shows, a pretty obvious fit given the song title.

Pleasure Dome

This one is a bit of an oddball. It’s still fittingly heavy for the record but is also a bit out in left field, at least in vibe it’s reminiscent of the prior album OU812. It seems like someone is caught in an artificial utopia of some sort but is aware and wants out, some kind of virtual reality or simulation kind of thing maybe. There is some seriously crazy riffing from Eddie on here, it hangs back a bit in the song but its truly something to behold.

In ‘N’ Out

A bit more of an “open” rocker here, it’s a song about how money makes the world go around and most people are basically screwed no matter what they do. The song’s loose rock vibe is a bit in contrast with the grave subject matter but it’s a sign that Van Halen were willing to explore more serious lyrical fare, something that comes up again on this album.

Man On A Mission

Another bit of a loose and upbeat song, this is Sammy motivating himself to go out and get his girl. Parts of the song are a bit self-help in nature and then other parts are total sleaze, it all works pretty well overall.

The Dream Is Over

A total vibe shift here from going out and getting some to a stark condemnation of the system and its leverage against the average citizen. This one really came from out of nowhere and delivered a powerful statement about the workings of society. Eddie and Sammy had discussed turning an eye toward more serious lyrical fare and they hit on it big time here. The song feels like nothing less than a death certificate for the American Dream and feels just as relevant today as it was 32 years ago.

Right Now

The album’s huge hit and a song that caused a lot discussion back on release. This was another of the songs with a more serious look at things and is the song Sammy Hagar has declared his proudest lyrical moment from his Van Halen days.

Right Now is about embracing change and reaching for it in the moment, even in the face of great adversity. The music video featured a bunch of random footage with text of things that were going on “right now,” some funny but many serious. The video was a smash hit and is likely the band’s biggest of their career.

Right Now was also used by Pepsi in a huge advertising campaign for Crystal Pepsi. The story of that soda is an odd one all its own, but for Van Halen it caused a fair bit of anger for the band “selling out” to corporate interest. Eddie justified the licensing, saying that the ad agency would have simply hired some jingle writers to do a basic cover of the song anyway, and he was correct in that assessment.

316

This instrumental track was originally written during the 5150 era but was brought back out by Eddie when his son Wolfgang Van Halen was born. Wolfgang’s birthdate was 3-16-1991, thus giving a title to the piece. This one is a quiet and reflective piece that sequences very well after the thematically heavy nature of Right Now.

Top Of The World

The album ends with a more “standard” Van Halen track that connects more to the prior Van Hagar releases. It’s a pretty simple and uplifting song that pretty well says what the title communicates. It’s a pretty nice way to close a record that was filthy in parts and serious in others.

For Unlawful Carnal Knowledge was another smash hit for the Van Hagar camp. It spent 3 weeks at the top of the Billboard 200 chart and would come out with 3 US platinum certifications. Singles from the album were all over radio and MTV, and the band’s tour for this cycle was one of their longest. While success can be defined by many different metrics, this period was easily one of the band’s most successful. Music critics were not very into this album, but the record won the popularity contest.

For me personally this was a pretty watershed moment in my music history. The summer of ’91 was when I really took off as far as getting into music goes, and I went to get this one on the day it was released. Along with it I also bought an album that had just come out a week prior, that being Skid Row’s second album Slave To The Grind. I went back and forth between both albums constantly and both tapes got wore out pretty quickly.

The “Van Hagar” era gets a fair bit of flack from Van Halen fans, with many people living and dying on the classic catalog built in the band’s first frame with David Lee Roth. I would never in a million years argue against that period of the band. But to discount Sammy’s tenure is short-sighted and for me, this album is the high point of that time.

The Black Crowes – She Talks To Angels

On April 7, 2023March 15, 2024 By bigbadburchIn S-Tier Songs6 Comments

This post was part of a series that I called S-Tier Songs. I later decided to abandon the series in favor of a simpler Song of the Week format. I am keeping these posts as I wrote them but removing the old page that linked to the list of S-Tier Songs, so that is why these posts might look a bit odd. Enjoy.

The Black Crowes – She Talks To Angels

Today’s subject was the fourth single from the 1990 multi-platinum smash Shake Your Money Maker. The song got to number 30 on the Billboard Hot 100, but caught the number 1 spot on both the Mainstream rock chart and the Radio And Records AOR Tracks chart. If you haven’t heard of that last chart, you are in good company because I haven’t either, but a number 1 is a number 1.

For the Black Crowes, this kept the train rolling. They were literally living up to the name of their album – the money maker was in full swing. This southern band bucked all trends and were a hot commodity all through the turmoil of 1991, essentially immune to the seismic shifts in rock trends that happened during the fateful summer.

She Talks To Angels is a fairly simple acoustic tune. After a bit the drums and an organ join in but the song is basically the background music and the singing. Simple is often best for songs, especially those intended for mainstream appeal, and everyone hit the nail on the head here. While the Black Crowes were certainly capable of more than a catchy tune, that would be an exploration for their future albums. Here on the debut things are kept trim and effective.

Where the song really connects with people is in its theme, and it’s a very sad one of a young woman caught in the grip of addiction. This isn’t a story-song so much as a peek into the life of someone gripped in the pains of drug addiction. This song paints a picture and leaves it for inspection, there is no beginning and end here.

It is a fairly universal theme, one that a fair number of people have some experience with. Many have either been the girl in the song or know the girl in the song. Well, that applied to a lot of people, but not so much the song’s creator Chris Robinson, who just kind of knew the girl who inspired the song.

Chris tells the story in the 2010 YouTube piece embedded below – the song is about a goth girl he knew growing up that was addicted to heroin. Everything else about the song came from Chris’ imagination, as at the time he had no experience with the issues he was writing about. He did know the girl and was friendly with her but did not relay any of her personal story through the song.

This song has lived on through classic rock radio and is also a streaming champion with over 100 million Spotify plays. It would make any list of essential Black Crowes tunes, even after the band spent a career carving their own path out since the debut. It’s also a song that has been covered endlessly by artists from all genres of music.

Why is this an S-Tier song?

She Talks To Angels is a sweet yet sad acoustic ballad outlining the trials of a young person caught in addiction. The theme caught on with a wide audience and the song itself was one of several hits from a mega debut album. Over 30 years later the song remains a staple of rock formats and a favorite of many far and wide.

Run To The Hills (live) – The Iron Maiden Singles Series

On April 6, 2023July 23, 2023 By bigbadburchIn Iron Maiden Singles Series34 Comments

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

Sanctuary

Purgatory

Stranger In A Strange Land

Aces High

Run To The Hills (live) (you are here)

Running Free (live)

Virus

Rainmaker

Black Sabbath – Dehumanizer

On April 3, 2023April 2, 2023 By bigbadburchIn Album of the Week2 Comments

This week it’s a visit back to 1992 and how a handful of line-up changes, some planned and one not, spawned a reunion. And then winds of another reunion would quash this reunion. The Black Sabbath soap opera rolls on.

Black Sabbath – Dehumanizer

Released June 1992 via IRS and Reprise Records

My Favorite Tracks – I, TV Crimes, Letters From Earth

Black Sabbath had been on a wild run of line-ups and albums through the 1980’s. While Tony Iommi had found stability at vocals with Tony Martin for a three album run, the other players in the band came and went like one of those temp hiring services.

Eventually a line-up was nailed down – Iommi, the returning Geezer Butler on bass, and Cozy Powell to drum. Powell was soon out though with a hip injury and was replaced with Vinny Appice, who was previously Sabbath drummer during Ronnie James Dio’s first Sabbath stint.

And Dio himself was brought in to make a full reunion of the Mob Rules line-up. Except that Tony Martin briefly came into the studio to try out the songs but didn’t stay due to solo commitments. I don’t know why this was a thing but it was and it was probably a sign of things to come. But at least for this album, Dio was back in Black Sabbath.

The album was recorded in an odd and expensive manner, going back and forth between England and the US. It turned out to be a pretty expensive logistical mistake but it worked out well creatively, as the band honed down a basic and heavy sound. While the 1980’s music scene turned its back on Black Sabbath, the band were in a position to capitalize on the 1990’s music scene turning its back on the ’80’s.

Today there are 10 tracks in 52 minutes to go through. There are several different bonus versions around as well as a bootleg that offers a bunch of bonus stuff, including a few tracks with Powell drumming.

Computer God

The album kicks off in heavier than hell fashion, right out of the gate with monster Iommi riffs and the familiar tone of Dio leading the proceedings. This song gets into the idea of computers becoming sentient and taking over the world, something Dio called science fiction in 1992 but we are so gloriously close to 31 years later. There’s also a wild solo from Iommi here.

After All (The Dead)

A slower and haunting track that truly brings out Sabbath’s doom leanings. The song gets into the issue of wondering what the afterlife is like and if the dead can talk, and reaching the conclusion that there’s only one way to find out.

TV Crimes

A massive rocking song here that dials it up to 11 and takes aim at the scourge of televangelism that plagued American society around this time. The TV preachers were known for their sermons with their hands out for follower donations, while taking the cash to spend on hookers and drugs, as well as other extravagant purchases. Many of the same preachers were ones to call out the “evil” of heavy metal music, so it was a field day for metal bands to return the favor and call out the hypocrisy of the preachers. This has been a fan favorite from the Dio and Sabbath collaborations.

Letters From Earth

A slower-paced affair with riffs aplenty that sees Dio writing letters to God from Earth about how everything is screwed. The song is pretty similar to a collection of essays from Mark Twain of the same title. The Twain essays were not published until many decades after his death as his surviving daughter was concerned about Twain’s very scathing tone towards religion in the essays. I don’t know if there is a connection between the Twain writings and this song, I had thought I’d seen Dio reference Twain in a past interview but I have no luck on finding that.

Master Of Insanity

A song brought to the band from Geezer Butler and his prior solo project. It’s a smashing hard tune about going mad and the capacity of anyone to find the worst version of themselves. Geezer brings in a few crazy bass lines for this one and the song moves around in different arrangements a bit.

Time Machine

Another slamming song and one of heavy metal’s great motivating tracks. The time machine is a figurative device here, the song suggests that we have control over our own destinies and can “use the time machine” to chart the course of our lives. There was an alternate version of the song recorded for the soundtrack to the Wayne’s World movie.

Sins Of The Father

A bit slower but still hard as hell here. The polar opposite of the last song, this one gets into a person suffering for the ill actions of someone else. It is wrapped in the religious symbolism around sin and all that sort of suffering for what happened before. Though the song does still offer the chance of breaking free of the vicious cycle.

Too Late

This one starts off in ballad territory before ramping up the heavy a bit later into the song. It’s a nice contrast between quiet and loud in parts. The moral of this story is not to sell your soul to the Devil because, well, you sold your soul to the Devil and that turns out to be a bad thing. So don’t do that.

The hardest song to search for on Google in history storms in with a massive riff that marches through the balance of the track. Dio is lit up on this one, the concept behind it is how he uses criticism of his music as fuel to create rather than being dragged down by it. He becomes an all-conquering monster here and the song is pretty emblematic of his career. This is easily my favorite off this album one of my top Dio Sabbath tracks overall.

Buried Alive

The album wraps up with a song that goes even harder and heavier. It’s a track about being “buried alive” by the constraints of a religion that offers no truth but a lot of dogma. When a person spends their time worried about the weight of their sins they don’t truly live a life and they wind up buried in the guilt and trappings. A quite elaborate philosophical statement to close the record.

Dehumanizer brought Black Sabbath back to a semblance of success. The album charted at number 28 in the UK and 44 in the US, as well as scoring good positions on the charts of many other countries. The stage would seem to be set for a great tour cycle behind this effort, but it was not to be.

The band would tour for a few months but then trouble struck when Sabbath was invited to open what were to be Ozzy Osbourne’s final concerts in November. Dio was not into the idea and he promptly left the group, taking Vinny Appice with him. Black Sabbath would play the shows with Rob Halford famously providing the vocals, and the original incarnation of Sabbath did a few songs during Ozzy’s set.

Dio was back into his solo career, with a few albums that bear some influence sound-wise from Dehumanizer. Black Sabbath would regroup with Tony Martin and release a few ill-received albums before finally biting the bullet and pulling off the reunion with a suddenly unretired Ozzy in the later ’90’s. This series of events would put Black Sabbath’s rights and management in the purview of Sharon Osbourne, and the campaign to have Ozzy-era Sabbath recognized as the “only one” was now underway. This did not stop the Dehumanizer line-up from reconvening one more time under the Heaven and Hell name for several tours and one more album in the late 2000’s.

For all the ups and downs of Black Sabbath, Dehumanizer came as an unexpected and well-received work at a time when the band had not been firing on all cylinders. The prior albums with Tony Martin were of quality but did not break the market in any meaningful way, and Martin’s second stint after was not well-received. It could be said that Dehumanizer is Sabbath’s last great album, depending on personal feelings over the final salvo 13. This one’s only real competition might come from the Heaven and Hell record, though it’s fair to say this one wins that battle.

While the band didn’t fully capitalize on the record, Dehumanizer was a fantastic album that brought a new sense of respectability back to Black Sabbath, if only for a moment. In hindsight it’s one of the band’s better albums overall and it stands head and shoulders above Sabbath’s other work of the time period. While it’s a shame the group couldn’t hold together in the mire that is the Sabbath soap opera, just the existence of this album is enough to hang one’s hat on.

Metallica – 72 Seasons single

On March 31, 2023March 30, 2023 By bigbadburchIn Upcoming Music4 Comments

A super quick post today, just gonna cover the new song Metallica posted yesterday. It is the title track from their upcoming album 72 Seasons, which is about to hit its due date of April 14^th. This the the fourth song they’ve posted from the album, at least I think.

This is the album’s opening track and is also a bit of a longer one – the video here runs for 8:38 but the actual song lists for 7:39. It is a pretty good song, very firmly in the latter-day Metallica vibe. I wonder if it really justifies its length, though I’m not usually one to complain about long songs. Length isn’t new territory for Metallica at all, they’ve had plenty of longer cuts over the years.

The album is near and I’m pretty stoked for it. I’ve enjoyed what I’ve heard so far, a few songs do get me going a bit and the others don’t put me off or anything. I don’t know where this album will rate at the end of it all but there’s certainly something to look forward to here. I’m also guessing that there will be a video for every song like there was for the last album so there will be more entertainment to dig into.

That is about all for this one, happy weekend.

Aces High – The Iron Maiden Singles Series

On March 30, 2023July 23, 2023 By bigbadburchIn Iron Maiden Singles Series37 Comments

This week it’s another of Iron Maiden’s signature tunes. These are being rattled off one right after the other since, well, it’s when they released all of this stuff. We get two B-sides this time, a cover song and a live track.

As with all Maiden cover art of this era, the cover here is totally on point. It’s very simple – Eddie is a British pilot flying a Spitfire during the Battle of Britain in World War II. Pretty easy premise and wonderfully executed by Derek Riggs.

There are some version differences here, the obvious one being the extra B-side on the 12-inch record versus the 7-inch. As usual I have the 12-inch version, this one from the UK. There were some further differences among cassette singles across territories but those were B-sides available on singles I’ve recently covered so nothing huge to worry about there.

Aces High

The single kicks off with its feature and namesake track, a magnificent song that soars as high as its subject matter. The music is anchored by the twin guitar attack of Dave Murray and Adrian Smith, alongside the rumbling bassline of Steve Harris. Nicko McBrain bashes the skins accordingly, and Bruce Dickinson has another moment to live up to his nickname as the “Human Air Raid Siren,” this time more fitting than ever. The band fires on all cylinders here, but that guitar and bass combination really stands out here.

The song is about the Battle of Britain during World War II. It was when the Royal Air Force and all of the citizens of the UK banded together to fend off the onslaught of the Nazi Luftwaffe over the course of several months in 1940 and 1941. The British spirit held through the relentless campaign and Germany was unable to accomplish its objectives of destroying the RAF or breaking British morale through terror bombing, and the tide of the war would turn to the Allies’ favor. It is obviously a major point of pride in British history.

For Iron Maiden, Aces High is yet another signature track from their golden era. It would be paired with Winston Churchill’s famous speech to Parliament in 1940 both in the music video and in live presentations. The song would be an opener on several tours and is a well-regarded crowd favorite. It would peak at number 20 on the UK singles chart.

King Of Twilight

Here Maiden cover 1970’s German prog-rock act Nektar. This cover is actually a bit of a medley, combining King Of Twilight with Crying In The Dark, both Nektar tracks from 1972. It’s a pretty well-executed cover and toes the line pretty well between honoring the original and “Maidenizing” the songs as well.

I’ll also admit that I haven’t checked out Nektar at all before. There was no Internet access to just look bands up when these covers were around so the originals remained a mystery to me. From what I’m hearing it’s some pretty cool classic prog and I’ll have to check more of them out.

The Number Of The Beast

Our bonus B-side is a live performance from December of 1983 in Dortmund, Germany. There is also video of this clip, this same song was later shown in video form on the 12 Wasted Years video comp.

There is nothing that really “jumps out” about this performance, but it is competently executed and the crowd was really into it. The video does show Dave Murray riding atop Bruce’s shoulders in Ozzy and Randy Rhodes fashion, though of course that doesn’t translate to the audio-only single. It is a nice song to have in official form.

And yes, you’ll likely notice someone wrote their name on the back of the record jacket. This was fairly common practice way back when, to prevent theft. And this is not some random stranger who I never knew, either – Steve Childers was a musician from the area I live in who lived in both Missouri and Florida and played in number of death and black metal bands. Steve had moved back to this area in the mid 2010’s and I got to know him some in that time, he was a fantastic guy.

Sadly, Steve died in a car accident in early 2016. I bought this and some other records from his personal collection after his death to help raise funds for his final expenses and family. While it’d be far better to have Steve still around, it’s nice to have something from his old stash.

That’s all for this week’s single. Next week it’s into the band’s first official live album and the first of two singles from that.

The Iron Maiden Singles Series

Sanctuary

Purgatory

Run To The Hills (live)

Aces High (you are here)

Running Free (live)

Stranger In A Strange Land

Virus

Rainmaker