Who said it was a joke??? I'm sure Steve and Nicko would have gladly wielded the pitchfork at that particular time... That artwork is TERRIBLE... it looks like Derek Riggs did it in an afternoon... which he probably did. The artwork for A Real Dead One was much more like it, even if it makes no sense whatsoever to the title and clearly was meant for A Real Live One (probably before they decided to split it into two albums)... but was put back for the second release and Riggs quickly knocked off the mediocre actual Live One cover that was. Y'know, that's not a bad idea... not a bad idea at all!!! Riggs would have had to fill in more background detail though to really make it work... and as said previously, a nice callback to the original (?) cover of Maiden Japan. Raising Hell is Iron Maiden's very own Star Wars Holiday Special... 'nuff said... movin' on...
I have remastered it and I now enjoy it, it just needs a good remaster to bring the vocals up, i think the politics of the time prevented this from being better
I still have to add that while "Live At Donington" was great for me, Im kinda in hard place when talking about "A Real Live One" and "A Real Dead One". On the other hand, they are really good, but then again Im keeping and thinking of how much better it could have been. It could have been so much more. Just imagine, that full, majestic and pristine show from Helsinki and then it would have been carefully and properly mixed by Martin Birch. Plus few songs as bonuses from the last leg? I just wonder, will there ever be even a slight possibility of them releasing the show? 5 songs already out, why not the rest aswell? I've basically thought about this already when "Live One" and "Dead One" first were released. Here it is once again, the absolutely crown jewel version of the song, from Jäähalli (that's Icehall), Helsinki, Finland 27.8.1992: Iron Maiden Setlist at Jäähalli, Helsinki
i very much doubt we will see archive shows from this period when just about every other tour was better, and we already have 3 official releases, i certainly don't care for more
Thanks for reminding me here. Yep, just checked that part from my book and it gives little insight on the matter. I guess I have to read this book again soon as it’s been so long time, I read it when it was released.
The SW Holiday Special is awesomely horrible. I've actually sat through the thing 3 times! It's always fun showing it to a fellow Star Wars fan for the first time and seeing the expression on their face.
I'm just assuming that the whole Helsinki show is great since most of the released tracks are great (Daughter is kind of boring). Have you heard it all? I suppose I should probably seek it out.
Indeed, I think it has to be great. No, unfornately I haven’t heard it in full, not sure if there even exists full sounboard there among the traders. I will inform you via private-message if I ever happen to find it and if you find it, I would appreciate if you can share it for me.
I wish it was available in better quality, only watched some clips from youtube. Never seen it on tv over here or in full (maybe I will watch it someday), wasn’t it only broadcasted once in the US-networks and Lucas hopes it never existed? Cool to talk about Star Wars here aswell, since it was one of the best things in my childhood along with Maiden.
Ages back I downloaded an expanded Real Live / Live Dead & B-Sides compilation CD somebody did, with some Wembley 1990 soundboard tracks........ Flows much better than the official CDs. A Real Live Dead One 1990 / 1992 / 1993 Disc One 1. Be Quick or Be Dead Monsters Of Rock, Donington, 8-22-92 2. The Number Of The Beast Valby Halle, Copenhagen, 8-25-92 3. Wrathchild Ice Hall, Helsinki, 8-27-1992 4. Prowler Palaghiacco, Rome, 4-30-93 5. Transylvania 6. Remember Tomorrow 7. Where Eagles Dare Grugahalle, Essen, 4-17-93 8. From Here To Eternity Valbyhallen, Copenhagen, 8-25-92 9. Can I Play With Madness Brabanthallen, Den Bosch, 9-2-92 10. Wasting Love La Grande Halle de La Villette, Paris, 9-5-92 11. Tailgunner La Patinoire de Malley, Lausanne, 9-4-92 12. The Evil That Men Do Forest National, Brussels, 8-17-92 13. Wasted Years Stadthalle, Bremen, 4-16-93 14. Afraid To Shoot Strangers The Globe, Stockholm, 8-29-92 15. Fear Of The Dark 16. Bring Your Daughter To The Slaughter Ice Hall, Helsinki, 8-27-1992 Disc Two 1. Hooks In You Wembley Arena, London 12-17-90 2. The Clarivoyant 3. Heaven Can Wait Ice Hall, Helsinki, 8-27-92 4. Run To The Hills Vítkovice Sports Hall, Ostrava, 4-5-93 5. 2 Minutes To Midnight La Grande Halle de La Villette, Paris, 9-5-92 6. Iron Maiden Ice Hall, Helsinki, 8-27-92 7. Hallowed Be Thy Name The Olympic Arena, Moscow, 6-2-93 8. The Trooper Ice Hall, Helsinki, 8-27-92 9. Sanctuary 10. Running Free La Patinoire De Malley, Lausanne, 9-4-92 Wembley Arena London 17 December 1990 11. Tailgunner 12. Holy Smoke 13. The Assassin 14. No Prayer For The Dying 15. Public Enema Number One Philip
Even as a little kid watching it, it didn't make any sense and I was like what the hell is this all about?
The X Factor The X Factor is the tenth studio album by English heavy metal band Iron Maiden, released on 2 October 1995 through EMI.[2] It is the first of two albums by the band to include Blaze Bayley, formerly of Wolfsbane, as vocalist, replacing Bruce Dickinson who left the band following their previous tour to pursue a solo career. The album takes a darker tone than the band's first nine releases, due to the lyrics being based on personal issues surrounding Steve Harris at the time, who was in the midst of a divorce.[3] This is reflected in the cover artwork, which graphically depicts the band's mascot, Eddie, being vivisected by machine.[4] BackgroundEdit This was the band's first album with vocalist Blaze Bayley. The release's title came about at the start of the album's recording. According to producer Nigel Green: "We all felt that the way things were progressing – the songs, Blaze's new involvement, the sound, the commitment – the new album really would have that extra quality, that bit of magic, that 'X Factor'. This became the working title for the album and we liked it, so we kept it. It is also very apt as this is our tenth studio album and "X" can bring up many images."[5] The X Factor's cover art depicts Eddie undergoing another lobotomy and was created by Hugh Syme.[6] Due to the cover's "lifelike" style,[4] the band were forced to release the album in a reversible sleeve,[7] including a less graphic alternative, showing Eddie from a distance.[8] The album was also the last one until The Book of Souls in 2015 to use the classic variant of the band's logo, as every single studio release from Virtual XI to The Final Frontier used an alternate variant that removed the extended ends of the "R", "M", and both "N's". This album is also unusual for the band in that it produced several band compositions that did not make it onto the album, with Steve Harris commenting, "We actually ended up doing 14 songs and we used eleven, which is very unusual for us."[3] All three songs, "I Live My Way", "Justice of The Peace" and "Judgement Day," were released as B-sides, the last two of which would also be featured on the Best of the 'B' Sides collection. Supporting the album was the X Factour tour. Much like the tour for their following album, Virtual XI, several dates in the United States were cancelled as Bayley suffered from occasional vocal issues from the band's heavy concert schedule.[9][10] Critical Reception The X Factor was met with lukewarm responses from critics. AllMusic rated the album two stars out of five, stating that "suffering from a lack of powerful riffs and tightly written songs, The X Factor is a lackluster latter-day album from Iron Maiden. Although the band doesn't sound particularly bad on the record, they don't sound inspired and there's a noticeable lack of energy to the performances which makes the lack of imagination all the more apparent."[13] Sputnikmusic were somewhat more positive about the release, deeming the album "a change for Iron Maiden, and a very important one at that" as it "paved the way for future albums of similar length".[15] They also praised the "often criticized" Blaze Bayley, whose voice they claimed "was perfect for the new release."[15] Track listingEdit No. Title Writer(s) Length 1. "Sign of the Cross" Steve Harris 11:18 2. "Lord of the Flies" Harris, Janick Gers 5:04 3. "Man on the Edge" Blaze Bayley, Gers 4:13 4. "Fortunes of War" Harris 7:24 5. "Look for the Truth" Bayley, Gers, Harris 5:10 6. "The Aftermath" Harris, Bayley, Gers 6:21 7. "Judgement of Heaven" Harris 5:12 8. "Blood on the World's Hands" Harris 5:58 9. "The Edge of Darkness" Harris, Bayley, Gers 6:39 10. "2 A.M." Bayley, Gers, Harris 5:38 11. "The Unbeliever" Harris, Gers 8:10 Japanese bonus disc No. Title Writer(s) Length 1. "Justice of the Peace" Harris, Dave Murray 3:33 2. "I Live My Way" Harris, Bayley, Gers 3:48 3. "Judgement Day" Bayley, Gers 4:04 Personnel Production and performance credits are adapted from the album liner notes.[1] Iron Maiden Steve Harris – bass, producer, mixing Blaze Bayley – vocals Dave Murray – guitar Janick Gers – guitar Nicko McBrain – drums Additional musicians Michael Kenney – keyboards The Xpression Choir – Gregorian chants on "Sign of the Cross" Production Nigel Green – producer, engineer, mixing Ronal Whelan – mastering Mick McKenna – assistant engineer Les Lambert – assistant engineer Hugh Syme – digital illustration, sleeve design, art direction Ross Halfin – photography Simon Fowler – photography Tony Frederick – photography Rod Smallwood – management Merck Mercuriadis – management Andy Taylor – management Aky Najeeb – management Sign Of the Cross: We open the record with Sign Of the Cross, penned by Steve and inspired by The Name Of the Rose by Umberto Eco, which is about the medieval inquisition. The Sign Of the Cross is a gesture that Catholics make upon hearing something blasphemous or distressing. This is also one of three songs from this album that remained in the setlist after Blaze’s departure. The song begins with a Gregoria chant credited to the Xpression Choir, which sets a very dark, ominous mood and atmosphere for the track, and the synth creates a strong ambience that rings through the track. At 1:20, Steve and the guitarists play fairly softly and create a strong mood, with Blaze coming and going for a borderline bass, which just adds to the atmosphere, as does Nicko’s marching snares, just faint enough. The song switches at 2:46, the band galloping in classic Maiden style fashion, with Blaze belting the lyrics in a very Dickinson esque fashion, and though his wailing at the end of the chorus is not as strong as it could be, he mostly does a decent job, and Dave and Janick do some really nice leads, and Nicko drives the track very well. The track is very finely textured, and while not something one would expect from Iron Maiden, it still very much succeeds at what it aims for, and completely succeeds at creating an epic feel. Dave plays a really strong lead around the seven and a half minute mark, playing so smoothly before tearing it up at 8:16, and it is so exquisite, and then Janick responds by just going unhinged, and this round was definitely won by Dave. Overall, an awesome song and a strong way to open the album.
he sounds incredible here. intersting that he would choose a band with a smaller concert following and lower album sales numbers (Rainbow) is a bit surprising.
Rock in Rio with Bruce and Adrian: Bruce does a great job with it, and I’m especially suprised to hear him hit the low notes.
Sign of the Cross. Near perfect song - has moved into my top 20 all-time Maiden songs over the past year. Blaze stays well within his range, teasing us with some high pitched roars, but never stains once (vocal strain is a bit of a pet peeve of mine, which will be discussed in the A Matter of Life and Death recollections). The guitars are a bit more "subdued" (not sure if this is the right word) than on previous Maiden discs - but they sound INCREDIBLE when cranked up loud. There's definitely a bit more midrange here - I really like how Nigel Green (a man with a much better production ear than Keven "Caveman" Shirley) refuses to "scoop the mids". This bothered me at first (I loved 80's metal, even with some of its cliches that haven't aged so well over time), but I've grown to love the sound as its kind to my ears and invites me to turn it up as loud as possible. Solos are top notch, nearly a career best from Dave. Nicko's phrasing is incredible. I often wish Blaze would repeat (just one more time) the chorus part that he sings twice between 3-5 minute mark, but my mature listening ears/mind actually appreciate how this lack of repitition makes me wish to play the song over and over again (another note for post-reunion Maiden to consider) Sign of the Cross is brilliant - It really deserves to be in my top 10 Maiden songs of all time.
it did take me 5-7 listens to get beyond disliking this song - 12-15 listens to like it, and 20+ to love it. in short, I had to unlearn the Bruce sound, and listen to Blaze's vocals for what they are/were, without any preconceived notions. the key for enjoying his work with the band, simply put.
