METALLICA

RIDE THE LIGHTNING

Nothing summons memories of fall 1984 more quickly for me than this album. Having a morning cig with this blasting through the halls of my high school seems a lifetime away, though. I had bought the cassette while on a trip with my parents to settle the estate of a family member. Kitchener, Ontario seemed to have the right population of metal-heads, so there was no problem locating a record store that stocked the precious item. The place smelled like leather and hash oil. Found Anvil's first release that day, too.

I digress.

This is a response to a long overdue request by a great friend and fellow practitioner of acoustic metal and aggressive folk.

Topping themselves with an incredible second disc was a coup for Metallica, who were gaining a large, appreciative fan base without the assistance of gratuitous airplay on radio or MTV. Monstrous as a live act, they breathed new life into the genre of speed metal. Overnight, many bands stopped in their tracks to listen in awe, then quickly revise their whole approach to the form. This revolution was still an underground party at the time, yet to be fully understood by those who were enthralled by the mindless confections that clogged co-axial cables leading to most every TV in the eighties.

James Hetfield just wasn't much of a dancer.

If you liked your "heavy" performed at the speed of light, then there was no better opener than "Fight Fire With Fire". I remember trying to count it off while marveling at the intensity of Lars Ulrich's playing. For this alone, he deserves that gold plated shark tank bar set up next to his pool. The guitar tones achieved by Hammet and Hetfield were purely violent.

Cliff Burton demonstrated that it wasn't necessary to merely hold down the bottom end. The memorable opening bass figure that explodes into the heavy, Jaws-like "For Whom the Bell Tolls" is a masterstroke. Along with "Creeping Death", this remains an all time, personal favorite out of everything they thrashed.



In their youth, "we're gonna slow things down a little now" meant "Fade to Black" which starts out like a song that your parents might approve of, gets slightly darker and ends with a riff that's more evil than a bus load of school kids careening off of a cliff. Razor sharp triplets break off into a harmonized finale, complete with shredding into the fade. The thrash equivalent of "Stairway to Heaven"? I think so.



Unlike some of their contemporaries, they managed to write epic, multi part themes that were focused enough to keep you interested. Hetfield's singing had a definite bite, though he never dropped melody in favor of the "Cookie Monster" vocal style. This would ultimately widen their fan base, drawing in serious musos with the casual listeners. Twin leads, tightrope act rhythm section, and killer tunes all performed with precision. It just didn't get any better than this.

Ending with a killer instrumental ("The Call of Ktulu"), their masterpiece goes out in style with not one minute of filler to be found. Taking chances at every turn, Ride the Lightning is the work of four musicians who are beyond inspired, redesigning the blueprint laid down by their predecessors. Subsequent output would not come up to the standards set here (Master of Puppets comes closest). Cliff Burton's death left a huge void as well. By the mid nineties, they would be reduced to near parody, creatively, though they still remained a force on stage.

HUMBLE PIE

Fresh from his divorce from Small Faces in late 1968, Steve Marriot joined forces with Peter Frampton, Greg Ridley and Jerry Shirley. Humble Pie in this incarnation was an incredible live act. Here are two sides of the group, with the second clip featuring a dynamite Yardbirds cover. Marriot was the epitome of brilliance in just about every department. Frampton's style provided an ideal balance.

Words really aren't necessary from this point on.

ELTON JOHN

MADMAN ACROSS THE WATER

Already established as an incredibly productive and talented song writers, the John (music)/Taupin (lyrics) collaboration crafted a fairly downbeat, introspective fourth record. Three of these selections would go on to receive gratuitous airplay over time, though none were hits upon release. No matter, this is an exceptional album that had a minor-key feel which would not be duplicated in subsequent projects.

Before larger than life stage costumes and wretched excess propelled Elton John into mass consciousness as a huge star, there was a non-descript working musician who gave voice to quietly beautiful material. Much of what comprises this set falls into that category. "Tiny Dancer" opens strong, creating subtle tension by extending the verse in a manner that builds expectation in the listener's brain, only to dash it by not jumping to the chorus in a traditional manner. More effective still is the way the pace slows, just a touch, before breaking out of the straightjacket with the falsetto driven hook. Memorably rendered here in 1971.



In a powerful bit of sequencing, "Levon" appears as the next track. Blessed with another ear catching tune, the lyrics are somewhat unfathomable, though they don't detract from the strength of the composition. The one-two punch of these songs is driven home by the emotive vocal performances, tasteful playing and clean production, courtesy of the late, great Gus Dudgeon.



Everything you'll encounter here is engaging, though a slight sadness permeates the material. Dramatic string arrangements shade the title track, which opens with the sharp, stop-start figure on acoustic guitar, punctuated by harmonics, which is then doubled on piano. Can't heap enough praise on an idea that almost fades out mid-song, only to come roaring back with a riff that manages to remain quite hypnotic (as opposed to boring). My vote for the best of the pack, which is saying something considering the high quality maintained throughout.



Interesting musical interludes abound, with a smattering of proggy synth dropped into "Rotten Peaches" , the predominant mandolin touches of the road weary "Holiday Inn" and the gospel flavored backing vocals that take "All the Nasties" to an epic end. "Goodbye" closes the set with an aural question mark. Achingly brief, inscrutable and decorated with strings, Elton delivers a typically passionate vocal.

Madman Across the Water, though uniformly excellent, is not distinguished by flashy, hard rocking fare. The mood is much more in step with the softer tones of the singer-songwriter movement that was quickly gaining a foothold in the marketplace of the early seventies. Despite this, there is still a sense that the artist is treading experimental ground in places. Highly enjoyable on every level, it is fairly underrated when compared with what would soon follow.

MICHAEL JACKSON

Caught the bad news on the wire. Already, the same phony pack of vultures that picked him apart in life are preparing tributes. Worse still, tasteless individuals have posted jokes in response to the announcement.

Just to dispense with hypocrisy, I was not a huge fan, though I was well aware of his talent. My son, on the other hand, loves all of the songs on "Thriller", which he would request immediately whenever we took him to visit with my sister. Here he is, grooving to MJ about a year ago.



I also had a flashback to the excitement of that same sister dancing around the living room and screaming when she won tickets through a radio contest to see the Jackson's "Victory Tour" in Toronto, way back in the fall of 1984.

His passing will doubtlessly trigger waves of shock, renewed interest in his music and the dreaded, endless symposiums on his personal life from all areas of the media. I'll just keep in mind that he was a man with a family, who will miss him terribly. I hope that the public will display a modicum of respect and allow those close to him the privacy to grieve his loss.

HAPPY FATHER'S DAY

My son came up to me this morning, patted my arm and said, "Good little Daddy." For a two year old, he is fairly wise.

The roles we play in each others lives will shift as he finds his independence. I hope that he always manages to find time for the "old man".

CROSBY STILLS AND NASH

CSN DEMOS

First off, I would like to extend my thanks to Barbara (aka Layla) at http://laylasclassicrock.blogspot.com/ for her thoughtfulness in forwarding this CD along to me. Her blog has an incredible following as she is very passionate about her subject matter, always informative and extremely generous in her support of fellow bloggers and music lovers. Very kind gesture and much appreciated.

The familiar voices of Crosby and Nash were the ones that I first heard in the late 70's via my dad's "Crosby/Nash Live" album. Still have it, 30 + years later , worn and bearing the scars of repeated needle applications. At that time, my favorite tunes were "Immigration Man" and "Deja Vu", which led me to discover the missing member of the "law firm", Stephen Stills. When a neighbor taped "4 Way Street" for me, I was hooked.

"Demos" at first glance presents songs that, for the most part, even the casual fan would know well.

Surprise.

With three exceptions, each selection is presented solely by it's writer. Arrangements are loose, with Crosby turning in very rich, soulful performances of "Almost Cut My Hair" and "Deja Vu", his 12 string filling the empty spaces perfectly. I would nominate the former tune as the stand out track, besting the official version by a mile. Less really can be more. "Long Time Gone" is radically different in feel and tempo, bearing only slight resemblance to how it appeared on the first CSN record.

Crosby's contributions were always the least conventional, bringing a more adventurous approach to the table. Despite the personal battles he would later wage, his intelligence and talent have always earned the respect of his peers. Just ask Graham Nash.

David Crosby - Guinevere


Nash offers his own brand of melodic pop. "Be Yourself" and "Chicago" are definite highlights. The trio combine their voices once here to lift his "Marakesh Express", which leads off this collection and holds up as a dynamite, catchy tune. Even without harmonic assistance, his work catches your ear instantly. I have always counted those distinctive high harmonies as his secret weapon, though he was fairly decent writer and multi-instrumentalist. Nash seems to be the one who was most grounded during the tumultuous periods that the group has endured over the years, including times of estrangement from Stephen Stills.



Dubbed early on as "Captain Manyhands", Stills was a virtual one man band on the initial CSN recordings. Possessing amazing dexterity on guitar, bass, keys and just about anything with strings, he tops his creations with dynamic, bluesy vocals. "Love the One You're With" provided him with a massive solo hit and is included here with an abbreviated "You Don't Have to Cry". "My Love is a Gentle Thing" is the least known gem and really should have been worked on a bit more (by the group) as the melody is uniformly excellent. Sitting in the director's chair has always worked well for Stills as he has been the driving force behind some of CSN's finest moments.

Check out his work with Manassas. Phenomenal stylistic range and work that puts him on a level of excellence. One of my favorite musicians.



"CSN Demos" is worthwhile for delivering absolutely different renderings of classics, mixed with a few that you may not have heard before. You will gain a new appreciation for the fully realized talents of each member.

Their 40th anniversary tour is currently taking them across the US and Europe. Currently, an album of covers is under construction, with Rick Rubin in the producer's chair.

JIM CROCE

About a week ago, I was playing guitar at a party and a small circle formed with people calling out for certain songs. I was floored when Jim Croce's name came up, as the majority of people in the group were fairly young. Later on, we collectively tried to name as many of his songs as we could remember.

There were quite a few...

Croce had recorded two discs in the sixties, though neither were successful. This set would be his first to see wider distribution on a larger label (ABC) with considerably more time and money going into production. The results were impressive.

My vinyl copy of You Don't Mess Around With Jim (the album) is always welcome on the turntable. Storytelling was a big part of Jim's brilliance as a writer, with the title track being one of his most memorable. Focusing on "Big Jim", a pool hustler whose intimidating size ensured that he could carry on with his games unchallenged, the clever turnaround comes when he is thrashed by an opponent ("Slim") who takes exception to being conned. The hook is irresistible.

Teaming with Maury Muehleisen, he had found an incredibly talented musician to provide delicate acoustic lead work and effective harmonies to enhance his music. Together they would weave brilliant lines, lifted by Croce's soulful and easy vocal mannerisms.



One thing that distinguished the Croce/Muehleisen sound was their ability to put across the material without recourse to electronic effects or studio manipulation. If the power went out, they could pull off their entire set without a hitch. Augmentation was present on the recorded versions, though they generally offered stripped down renditions of the songs in a live setting.

Sure hits ("You Don't Mess Around With Jim", "Operator" and "Time in a Bottle") have become radio staples in the intervening years, though it's the lesser known titles ("Photographs and Memories", "Box # 10", "New York's Not My Home") that demonstrate his gifts for consistency and sure melodic touch. His voice has a certain familiarity, almost as if an old friend is bringing a collection of poignant and funny stories to life. Armed with wit and an acoustic guitar, Croce built a huge following in a very short time in the wake of this release. It was no overnight success, as he had been toiling in obscurity for years prior to finding an audience.

In September of 1973, just as his popularity was reaching greater heights, both he and Muehleisen perished in an air crash. All of those classic songs, over three albums, had been produced in just two short years.

BACK FROM FANTASY ISLAND

My better half, our little guy and I just returned from a trip to Cape Breton Island. Long drive, though it was worth every minute. Very relaxing oasis in the midst of a somewhat stressful time. Such is life.

This visit provided a proverbial open door to balance out the ones that have slammed shut recently, which is a plus.

Never a dull moment.

SQUEEZE

ARGYBARGY

Squeeze formed in the early seventies and had hit their stride when they grouped to record their third album. "Argybargy" is brimming with smart, tightly arranged pop/rock. Chris Difford and Glenn Tilbrook emerged as UK heavyweight song writing champions, on par with Lennon/McCartney in the melody department (which is two aisles down from housewares and ladies apparel). The strength of the band hinged on Difford's effortless vocals which were expertly supported by Tilbrook's lower harmonies. Jools Holland's inventive work on keys provides the extra spark that lifts the material even higher. Just check out his spot on solo in "Pulling Mussels (From the Shell).



Absolutely brilliant, though this track is surrounded by strong offerings ("Another Nail For My Heart", "If I Didn't Love You") that really make it tough to play favorites. Musicianship is first rate with chord sequences often going to unexpected places, though the hooks are never ditched in favor of experimental meandering. Story telling fare like "Vicky Verky" pulls you in with exceptional, descriptive lyrics that suggest a short TV drama. Much thought went into keeping an energetic pace with uptempo, riff driven selections ("Misadventure", "Farfisa Beat") sequenced seamlessly with more subdued themes.



Powers of continuous creativity were quite high at this point, with Squeeze leading the charge of innovative, late 70s British groups that spurred a second "golden period", emphasizing song craft and substance. Never really catching fire in the US, barring a couple of successful singles, rotating lineup changes and periods of hiatus have not helped their cause. Criminally underrated, they have produced several stellar, full length discs. "Argybargy" is an excellent way to introduce yourself to Squeeze and if you're not a fan, you will be after a few spins.

QUEEN

A NIGHT AT THE OPERA

Quite a bit of time and money went into the fourth Queen album, all of it well spent. There is much to be commended from a production standpoint as the group members utilized every inch of track space imaginatively, guided by co-conspirator Roy Thomas Baker. Walls of vocal harmonies, stacked guitar parts and innovative structures grace this collection of diverse, ambitious compositions.

Taking up where "Sheer Heart Attack" left off, this is where the Queen legend really begins.

"Death on Two Legs" provides the opening dynamite with a short, classically tinged keyboard flourish that dissolves into a tape collage of miscellaneous effects that all come to a screeching halt on a lone, insistent piano chord. The band kicks into a lyrically scarifying rock tune, apparently directed by Mercury at a former manager. Devastating intro.



Just as the layered voices hit the last "I feel goooooooood", a jaunty melody right out of British music hall breaks the tension and the lads take a huge cue from Ray Davies' vaudevillian leanings with "Lazing on a Sunday Afternoon". It is an over the top exercise in campy fun with May adding those trademark harmonized leads. "Seaside Rendezvous" is also very much in this vein. The sheer whack of this disc is provided by matching the light and heavy sides of the group's personality with each theme blending seamlessly into the next. Big rock tracks ("I'm In Love with My Car") are followed by mid tempo, radio friendly ear candy ("You're My Best Friend"), written by Taylor and Deacon, respectively. Make no mistake that this was a four way street when it came down to writing, though Mercury and May have the majority of those credits here.



Prog in it's mildest form shows up in the multi-part "The Prophet's Song", which ranks high on the list of "songs that open side two with a bang". It plays its own role amongst a dazzling array of styles that keep you interested throughout. They didn't quite abandon heavier music completely on "A Night at the Opera", though it was slightly submerged in favor of the eclectic avenues that studio work allowed them to travel down. Live performances still showcased their harder edge.



Inside the gatefold sleeve, which I was glancing at while listening, is a proud declaration of "No Synthesizers!" at the bottom of the liner credits. In all of the years that I have had this album, that particular bit never really caught my attention. Looking at it now is just a reminder of how much effort they put into producing sounds from scratch, without recourse to the button pushing that is so commonplace in the digital age. Kind of funny, as well, when you look at how their output in the 80s was plastered with synths.

Closing with what would become the cornerstone of this set, "Bohemian Rhapsody" is a brilliant suite that incorporated 180 overdubs, 70 hours to nail the vocals and first rate performances from all involved. Roger Taylor recalls Freddie Mercury playing "Bohemian Rhapsody" to the band at the piano. "And here, darlings, is where the opera section starts," he would say. "Freddie had the bare bones, even the composite harmonies, written on scraps of paper," said Taylor, "So it was quite hard to keep track of what was going on."

This ingenious creation is a testament to the rare talent that Mercury possessed and a crowning achievement in a career that featured so many highlights.

HAPPY BIRTHDAY JOE?

Since most of Joe Cocker's hits have been interpretations of other people songs, here's an interpretation of the man himself. Get ready to fill your Depends from laughing, as John Belushi does his thing.

John Belushi

SCORPIONS

LOVEDRIVE

First dates can certainly be nerve wracking for a guy. You want to make a decent first impression, dress well and find a cool place to go that you'll both enjoy. Keeping your hands free of sticky, bubblegum-like goo is also advisable, just in case.

Everyone's favorite German rockers were in a period of transition before the recording of "Lovedrive". Guitarist Uli Jon Roth had left the band. Mattias Jabs was in, Michael Schenker rejoined and for this album, the Scorpions briefly had a three guitar team. The result was their most solid set of songs to date. "Loving You Sunday Morning" kicks things off with a fairly straightforward riff that goes to more interesting places on the bridge and a killer chorus featuring really airy harmonies.



Overall, the guitar work is exceptional, with their signature sound really falling into place here. Anthemic rock ballads ("Always Somewhere", "Holiday") are sprinkled in with heavier material like "Another Piece of Meat" and the excellent title track.



Never forgetting melody, there are some fine hooks that jump out and grab your ear. It isn't a huge time investment either, clocking in at just over half an hour. Useless trivia time! A few years back I went to see Uli Jon Roth play in a bar in Cleveland. After the show he was out mingling with the crowd and my buddies and I chatted with him for a bit. He told us that the band members picked the name "Scorpions" because it is recognizable in just about every language. Marketing 101.

Worth owning for the cover alone.

BUDDY RICH

Many fine players have taken their place behind the kit over the years but when it comes right down to it, Buddy Rich was in a class of his own. Fastest hands to ever grasp sticks, by far. One of my most prized possessions is a recording that he did with Art Tatum and Lionel Hampton in the mid 50s. He primarily plays with brushes throughout and it's still one of the most remarkable performances of restraint and taste that I have ever heard.

Carrying the torch for big band jazz, he regularly promoted young musicians to sit on the bandstand with him. The group he assembled in 1978 (Killer Force) was one of his finest and I have watched the performance at the Hague from that period far too many times to even count. Brilliant.



Noted for his incredible technique as well as being outspoken, I think that the harder edge of his personality may have resulted in a less than fair shake when it comes his ranking amongst jazz musicians in the 20th century. Just listen to one of those infamous tapes of Rich cursing out his band members following a less than stellar set. Despite this, his obvious genius has transcended any criticism of his mercurial temperament. One of the great disappointments that I have suffered was having tickets to one of his upcoming shows in 1987 and learning of his sudden passing. I would have loved to have seen him in person.

Sage advice.



Shit!

Buddy's take on "Uncle Albert, Admiral Halsey". This arrangement is fantastic.



A "Non-Animal" drum battle with Ed Shaughnessy.



Amazingly, his skills never eroded with time and only became sharper. Right up to his death, this legendary player burned with the intensity of a man half his age.

GEORGE BENSON

BAD BENSON

Can you recall the last time that you took your brain out to dinner and treated it right? Exposing it to this album will more than make up for all of those boring nights at home.

Far from being bad, this is six string righteousness beyond all of your wildest expectations.

Jazzers hate it.

His interpretation of Paul Desmond' s "Take Five" is one of the reasons for their indisposition. Don't pay attention to them, as this is a really funky cover with brilliant, smooth solo passages.



Steve Gadd and Ron Carter anchor a dream rhythm section, while Phil Upchurch handles second guitar. Kenny Barron rounds out this stellar crew on piano. These guys never leave the pocket and cook up some extremely enjoyable high wire playing, especially on the 13 minute plus "Serbian Blue". Benson's lines are clean and sharp throughout and the grooves are guaranteed to snap your neck.

You'll die happy.

THE RACONTEURS

CONSOLERS OF THE LONELY

In the current phony, auto-tuned sea of garbage that some refer to as popular music, listeners looking for a good rock record almost need to retain the services of private investigators to aid them in their search. I was considering putting these guys on the case.



If you're concerned about this sorry state of affairs, look no further than "Consolers of the Lonely". Last year's follow up to "Broken Boy Soldiers" saw The Raconteurs turning the brilliant trick of topping that album.

Brendan Benson and Jack White pool their talents in what sounds like an extremely democratic songwriting collective. Reaffirming the power of a good band working toward putting only their best efforts into the finished product, this is nothing short of superb.

Flying the flag for the glory days when bands still made excellent full length discs, the musicians do anything but phone it in. Real electricity flows freely through every track and the two lead voices provide variety in each selection. I realize that the music business is not going to retreat from aggressive marketing, but in this instance the group neatly sidestepped hype and won the prize in the "surprise release" sweepstakes.



Super solid live, great in the studio.



Breathing new life into epic narrative pieces , "Carolina Drama" is a the perfect example of a band living up to its name.



One of the finest releases of 2008. Proof positive that the rock revolution will not be silenced by corporate bullshit and elevator music for the lobotomized. Can't wait for the next one.

WILCO

SKY BLUE SKY

Have you noticed how dispensable most new music is? Not entirely memorable or really even worth more than one spin? Dreadful?

Take heart gentle reader, there are still writers and performers who manage to escape the bounds of mediocrity and produce work of lasting merit. One sparkling example is Jeff Tweedy and the ever changing group of musicians that comprise Wilco.

"Sky Blue Sky" is a subtle, extremely spotless sounding effort, released around this time in 2007. I bought it straight away, having followed the band since their second album. It took some time to digest, though it quickly went into a regular listening rotation. No wild shifts or overt experimentation involved, with understated music to match the lyrical subject matter. If you like layered guitar work, you're going to find it here. Tweedy pulls off one of the best compositions he's ever contributed with "Impossible Germany". Three different lead parts share space right through to the delicate ending. This clip has a bonus ending, featuring a quick explanation of what prompted the song's lyrics.



Nodding to back to the first album, the title track has an ersatz country feel, complete with heavy foot on the high hat pedal, eat shit bass, sighing background guitar figures and a lyric that suggests the author passed through a fairly dark period. What it all means is purely subjective. Tweedy's vocal has an element of what Neil Young left uncorrected in "Mellow My Mind" from Tonight's the Night. Only in places, though. It's a really effective way of conveying the emotional weight of the words.

There are a couple ofl Wilcoesque diversions into madness within songs ("Side With the Seeds", "Walken") and the playing is first rate throughout. Understated and quietly beautiful, songs like "Please Be Patient With Me" and "On and On and On", which closes the album, mine territory that is borderline confessional and poetic all at once. Nothing comes across as overly heavy. Guitars are up front (always a plus) and you can detect the Byrds of "The Notorious Byrd Brothers" period in the mix. I have been listening to this a lot lately, ramping up for their next release (Wilco -The Album), due out next month. Have a listen, it's streaming here http://wilcoworld.net/discs/thealbum/

Tweedy is an exceptional song writer and his vision has often morphed into assumption of full control. Sounds like he's allowed some space for collaboration on this record, at least from a musical standpoint. The results couldn't be better. If you want to listen to something that will stand up twenty years from now, this is it.

HAWKWIND

SPACE RITUAL

Hawkwind's double live album is a bit cacophonous, with no shortage of futuristic noises to support tales of exploring the cold expanses of the universe. Slap on your glitter, ingest psychedelics and enjoy the light show.

Not on my list of all-time wonderfulness, though it is a killer excuse to put up this video of one of their better tunes, featuring an apple-cheeked Ian Kilmister on vocals. Seeing and hearing Lemmy actually singing here will be a revalation to those only familiar with the whiskey-voiced, growling style which defined his Motorhead recordings.

Strangely, "Silver Machine" is nowhere to be found on this record.


Hawkwind - Silver Machine - 1972 (TOTP) by newcanadian

WORLD PARTY

BANG!

One man band Karl Wallinger's World Party was part manifesto and pure, mid sixties influenced pop. "Bang!" is no exception. Nothing wrong with good melodies. This one got swept away in the grunge parade that was holding up musical traffic on just about every street in the early 90's.. Certainly not a complaint, though British invasion styled sounds were finding their way back into fashion, soon to be reanimated in the form of Britpop.

Wallinger went back to excellent stylistic sources in crafting his tunes, so you'll have fun picking out his favorite bands in the mix. The entire LP is pretty easy on the ear, as is most all of his work.

"Is It Like Today?" would be the best known selection from this disc and it's of the finest that he ever wrote.



"Kingdom Come" and "Sooner or Later" claim honorable mention.

Fans of The Who will either be annoyed or scream, "Shit! Did you hear that?!?" upon listening to "Sunshine".

An underlying ecological message dominates the lyrics, though I was too busy tossing empties off the balcony to notice when I first played this back in 1993. I soon learned to "go green" and bring the bottles back in exchange for cash.

(rest)

Seriously, this is a fine album from a very under-appreciated talent.

IRON MAIDEN

KILLERS

Second release from this powerhouse UK metal group and it is uniformly excellent. What would you expect to hear when gingerly applying the needle to a record by a band named for an 18th century torture device?

Songs about clouds, adopting puppies and love, of course.

Right.

Bassist Steve Harris single handedly takes care of the writing chores here, with all tunes but two dating from the first album. Despite the gothic horror image they projected, no effort is made to embrace themes of chopping up your relatives or selling your soul to the Evil One. The lyrics are fairly conventional and sit comfortably atop inventive structures with scorching twin guitar arrangements, courtesy of Dave Murray and Adrian Smith. Exceptional playing is the rule. Humble opinion time: Murray is in a class of his own and does not get nearly enough credit for his fretwork.

I burned through my cassette copy of this in high school, listening so frequently to what remains my favorite Maiden set to this day. Kicking off with rolling drums that lock into an insistent pattern, the short instrumental "The Ides of March" gives way to "Wrathchild" ,which is a definite highlight.



When you listen, there's a great live energy retained in these tracks. Production legend Martin Birch certainly captured the best performances and allows them to breathe without sanding off all of the natural dynamics.



Vocalist Paul Di' Anno brings an intense edge to the material, while remaining melodic. "Murders in the Rue Morgue" is a great example of this style, as he's not merely screaming every syllable. Some singers in this genre fall into that trap with mixed results. Di ' Anno would be bounced from the lineup before the next studio project, though.

Always the "thinking person's metal band", this music has not stale dated since it first appeared in early 1981. "Killers" sounds as if it could have been recorded last week. Crank it up!

How about that happy, un-dead chap dispatching his latest victim with a hatchet? That's "Eddie", the ingenious cartoon mascot who has graced every one of their LP covers. Not just a pretty face, his skeletal mug is the image most closely associated with Iron Maiden.

He's available to do children's parties, too.