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CD SPINS by Staff IRON MAIDENDance
Of Death (CD) Dance
of Death (DVD) (Sanctuary/Columbia)
“Respect”
was the first word -- or first emotion -- that came to mind after I was
recently treated to an advance listen to the brand new Iron Maiden
studio album, Dance of Death, in its entirety (prior to its imminent September
8 release date). Of course, there’s only so much you can absorb
after one listening to any album, and that is especially true with one
as lush, layered, and sophisticated in its production as the Kevin
Shirley-produced DOD,
but, nevertheless, “let me count the ways” that respect is the
operative noun here: 1)
This is the (lucky) 13th studio album released by the unsinkable
“British Heavy Metal” masters in their 25-plus year career, It
demonstrates they have not let up in pleasing themselves first with
their art, rather than the powers that be (you know, the “men in ties
with dollar sign eyes” ).
2)
DOD finds them still progressing and yet simultaneously retaining
the essence of the trademark fury and force of the unique Maiden sound.
Guitarist Janick Gers may have put it best when he recently noted in the
band’s self-made bios of each other on the www.ironmaiden.com website,
that Steve Harris and Nicko McBrain actually are “the pulse of Iron
Maiden, the body of the band. You copy it at your peril, because the
sound of Maiden is built around the way Steve plays bass and the only
band that it would work in is Maiden.”
3)
With the proficiency and advanced level of musicianship that you
might expect from a band that has relentlessly toured and recorded for
so many years, on DOD
Maiden continues to balance the two “sides” of its sound -- the
straight-ahead, peddle-to-the-metal barn-burners that were more the rule
than the exception on the first few albums, along with some of the epic,
almost transcendentally passionate numbers that have evolved as some of
the bands most aurally stunning tunes in recent years. (i.e. the title
track, “Dance of Death.”)
Maiden have never been willing to pay the
proverbial piper when it comes to playing the airplay/payola game
entrenched in mega-corporation run radio in America. Nevertheless,
over the years -- and
particularly on the last few albums -- the band has had many songs that
were at least as “radio-friendly” as bands like AC/DC, Metallica,
and other less evolved “Nu-Metal” acts that have long been played on
a regular basis. What’s wrong with this picture?
Is it that most of
lemming-like America never had the gumption to get past the band’s
initial strong and “scary” imagery (including the comic-book Eddie)
which was first imprinted way back during the double-edged sword Number of the Beast era?
Or is it that Iron
Maiden would never kiss the ass of the radio middlemen, who prostitutes
their power, influence, and schmoozing skills to get artists on the
playlists of most major radio stations these days?
Whatever the reason(s), sustained radio play in America is one of
the last golden rings that Iron Maiden have yet to achieve in their long
and illustrious career.
Interestingly, Maiden imagery has been popping up frequently in various mass-media, from movies, to commercials, to other artists’ videos, indicating a grudging respect and element of -- dare we say -- hipness surrounding the band that would “never surrender.” And now’s the time, too, for corporate-radio America to reward the band’s sustained integrity and talent. Certainly, Dance of Death would be a good place to start ... and none to soon!
As support for all the
statements/arguments above, I present their new DVD, Visions of the
Beast, a two-disk, eye-opening collection of 31 of the band’s
promotional videos, plus various entertaining “extras.”
For those that have
followed the band since their earliest forays on America beginning in
‘81, Disk One will overwhelm you with nostalgia. You see “the
lads” as you first remembered them, in all their youthful,
no-holds-barred enthusiasm on many of the classic tracks which once got
high rotation in the earliest days of MTV.
Their more recent work
is on Disk Two. If you are anything less than a die-hard Maiden
fan, most songs/videos on this second half will not be familiar, though
they are actually some of the band’s best.
High time for some back-pedaling, then.
Disk Two also has
great live versions of the classics -- “Hallowed
Be Thy Name” and “Fear of
the Dark” -- arguably the band’s best live song, ever.
Regardless of your age
or knowledge of Maiden, viewing this DVD will leave the viewer with a
greater respect for this band’s endurance, as well as a stunning
realization of just how unique their music really was and is – all the
while being a gargantuan influence on the evolution of the hard
rock/metal music scene we now know. – Shelly
Harris HONEY TONGUETake
Me Anywhere (Naga
Records) I’ve pined for years
for a band led by a woman, with literate lyrics, hard-charging punk
guitars, and riffs capable of bringing me back to the days of those
great Blondie or the Pretenders records a quarter century ago.
Well, Honey Tongue has
made it worth the wait.
Take Me Anywhere, produced by Brett Eliason (Neil
Young, Pearl Jam, Jewel), features a dozen hard-edged songs from Jen
Ayers on vocals, Graham McNeill on guitar, and the driving rhythm
section of Sam Larson on bass and Darnton Lewis behind the drums.
While Take
Me Anywhere has its share of full-tilt punk rockers, they are
just as competent when they slow down on the introspective ballads like “Runaway”
or the soulful “Like
Diamonds,” all wrapped up in Jen’s sultry vocals and Graham’s
soaring guitar.
Other cuts that
quickly grab attention are two that seem to bookend my musical tastes:
the pure punk of “Overrated,” a sub-3 minute assault (weren’t all the great
Clash cuts short ones?), or the slow love song “Bye
Love.”
It’s been a long
awhile since I’ve heard such an enjoyable and talented young band as
Honey Tongue. They are
touring, so if the chance arises, go see ‘em live. For tour updates
and info: www.honeytongue.com – Eric Steiner PACIFIER
Pacifier (Arista) Scott Stapp of Creed
may need to start worrying. It
looks there may be a revolution in the land of modern rock. Maybe.
Pacifier has just left the South Pacific and hit America with
something that can truly be called –rock.
On their first
American-released album Pacifier (formerly known as Shihad until 9/11),
show North America what rock is still all about.
With a slew of inspirations ranging from historical rock and punk
acts such as the Sex Pistols and AC/DC, to modern classic bands such as
Nirvana and Rage Against The Machine; Pacifier mingles into everyone’s
genre and stirs up dissent.
What is standard on
this album is the lyrics. Nothing particularly special, but it is enough
to make it into today’s “oh ever so clever” modern rock arena.
What is impressive is
Pacifier’s lead singer/guitarist Jon Toogood’s flexibility when it
comes to belting out an array of styles.
He’s full-fledged
punk on “My Mind’s Sedate,”
but tones it down to almost lavish tones on a track laced with subtle
strumming called, “Coming
Down.” Then Toogood turns around and exposes his South Pacific roots
by screeching out some of the best AC/DC-ish vocals heard since Bon
Scott’s death.
Although I am not a
huge fan of where “rock” is going right now, this by far a big step
in the right direction. An
uprising from down below. Suck
on that you Creed clones! – Nathan Bright
RANCID
Indestructible (Hellcat
Records) While airbrushed boy
bands like Good Charlotte) parade themselves on the MTV Video Music
Awards disgracing the name of punk, the real thing still lurks behind
the scenes. Artists have been predicting its return in response to
recent governmental abominations, but the truth is, it never went
anywhere; they just have more fuel for the fire.
NOFX emerged first
with the War on Errorism. Now
the punk legends Rancid return with Indestructible.
This album focuses
more on the simple lessons of life learned the hard way. “Red
Hot Moon” tells the tale of a rough city life and learning to live
with it. “Start
Now,” a motivational anthem, tells us to quit whining and deal
with it.
The album deviates
quite a bit from the anarchistic expressions of their previous CD, Life
Won’t Wait. It’s a little less Ska and a lot more skank. It’s the
album older fans have been waiting for...
“Memphis” is the only real Ska cut.
The rest is a well-orchestrated punk disc with a very hard edge. The
tireless lungs of Tim Armstrong dominate, while the back-up Lars
Fredrickson shakes it all up. And each pours every drop of their
life’s blood into their performances. Brett Reed never skips a beat on
the drums, and Matt Freeman’s bass is certain to put a stomp in your
foot.
Of course Rancid couldn’t make it
through a whole album without making some political argument.
That said... “Arrested
in Shanghai” addresses abuse of power and the need for free
speech. This is a worthy buy! Don’t worry about strengthening the
corporate power, because Indestructible
is on Rancid’s very own Hellcat Records. – Adam Madison QUESTION OF HONOUR
Bound (Strange Hues Productions)
I don’t know what it
is about certain Midwestern bands.
Or, at the very least, a tradition that has spanned the decades.
It’s gotta be a vocal thing, all harmonies and stuff, like back
in the day (for me, read: ‘70s) with Cheap Trick, REO Speedwagon, Off
Broadway, or the original Styx line up.
I’d add Question of Honour to that power pop list.
Well, I hope that you
get the idea that I really like Question of Honour’s latest CD, Bound,
because it continues a tradition of melodic pop music that just won’t
quit.
Ottawa, Illinois’
Question of Honour leads off this solid set with the very
memorable “Teacher Is.” This
cut sets the stage for 10 cuts of powerful rock follow it.
It seems the band have
their roots deep in Led Zeppelin and as I wrote in my review of their
earlier CD, Canopic Jars, into Guns N Roses.
Question of Honour are the brothers David
and Hugh Wygmans on drums, vocals, and guitar. Rounding out their sound
is Ken Pitchford on bass.
Together with some
guest musical backing in the vocal and keyboard departments, this
impressive Midwest musical trio have put out a recording rife with the
kind of melodic hooks that sunk into my head for days.
Two of the most
infectious of the bunch for me were – “You
Started It” and “Dreame.”
While Question Of Honour are adept at harder-edged rock, I’m
personally partial to these poppy vocal-driven cuts.
I heartily encourage
Midwest BEAT readers to open their ears to this delightful regional
band. Find ‘em online: www.strangehues.com
– Eric Steiner |
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