Iron Maiden "Live After Death" 1985*****

Iron Maiden's first concert in Greece was at AEK stadium in 1988. I remember not having money to attend and being "a little" jealous hearing my classmates' hyperbolic praise of the event. Maiden subsequently visited my (then) hometown quite a few times, and for one reason or another I always missed them: I was on holiday, or had no money, or chose to go see a different concert -after all festival season is always too busy. Also, by the 90's and 00's my musical tastes had veered away from metal towards more "mature" music styles. The closest I got to see them live was buying a ticket for their 2000 appearance at Antonis Tritsis Park, only for the band to cancel the gig because one (out of three!) guitarists had an arm injury. So that remained a box to tick - or an itch to scratch, choose your metaphor! I finally got to do it last Monday at Gelredome stadium in Arnhem, their only stop in the Netherlands after 4 years of absence. I'm sharing some of my photos from the event here:

As the tour name Legacy Of The Beast suggests, the band is trying to honor its legacy by presenting a selection of their best songs. They opened with three tracks from their latest album Senjutsu (2021's album of the year, according to Classic Rock Magazine), but after that it was a torrent of heavy metal classics: 9 songs from their 80's heyday, 3 from the 90's (including 2 originally sung by Dickinson's temporary substitute Blaze Bailey), and one from their 2000 reunion album Brave New World, ignoring the rest of the 21st Century. Visually they presented a grand spectacle with impressive stage sets that changed according to the song themes and, of course, featured group mascot Eddie who appeared as a samurai warrior at the start, a 19th century trooper at the same-named song, and as a giant horned monster later. Singer Bruce Dickinson was also amazing, putting on an energetic and theatrical performance, running up and down the stage in various guises: as priest, grenadier, victorian doctor, pilot etc. He handled the mike, the sword, the flame thrower, and a giant cross like a champ. As for his singing form, it's still good, even if his vocal range isn't as impressive as it used to be. The rest of the band, led by bassist and principal songwriter Steve Harris, were also in great form, clearly relishing the chance to be on stage after 3 years of forced absence due to the pandemic. Iron Maiden are clearly not a studio band, they are above all enthusiastic performers who live for the concert stage. Which explains the constant demand by fans for live albums, of which they have so far released about a dozen.

If there's a consensus among Iron Maiden fans about their live albums, is that they all contain fantastic performances and that Live After Death remains the paradigm against which all others will be judged - and inevitably found slightly lacking. Recorded when the band only had 5 albums behind its back (3 of them with Dickinson as their singer), it nevertheless still forms the basis of their live shows: most of what we heard last Monday in Arnhem is also present here. The album, and their concerts at that time, opened with a W.W.II speech by Winston Churchill ("We shall go on to the end...we shall fight with growing confidence and growing strength in the air...we shall never surrender") introducing their Air Force anthem "Aces High". Incidentally, this is how they started the 2nd part of the show in Arnhem, with a life-size Spitfire hanging over them. Great energy and fantastic guitar solos set the pace for the whole album. "2 Minutes to Midnight", another fast rocker from Powerslave (1984), is next, followed by a trio of songs from Piece Of Mind (1983): propelled by Steve Harris' lightning-fast basswork, "The Trooper" remains in my all-time Iron Maiden Top-3. "Revelations" and "Flight of Icarus" display the band's gothic and epic sides, respectively. Speaking of epic, here's the "Rime of the Ancient Mariner": a 13-minute progfest based on a 18th century poem, arguably Maiden's most mature composition at the time. This is followed by the title song of their then-latest opus, Powerslave. The slightly oriental melody at times reminds me of Rainbow's "Gates Of Babylon" - surely a coincidence. Now the band goes back in time just a little, to play songs from The Number of the Beast (1982) ("The Number of the Beast", "Hallowed Be Thy Name", "Run to the Hills"), and their debut Iron Maiden (1980) (the title track and "Running Free"). All impeccably played with lots of gusto, and in a slightly faster tempo than their studio counterparts. In my version, which is the original 1985 CD, "Running Free" is edited, from 8 minutes down to 3,5. Future reissues include all of it, with Dickinson talking to the audience and leading them into a sing-along.  Here this part is left out, and as consequence it sounds more like the studio version - albeit with Dickinson singing instead of initial vocalist Paul Di Anno. The sound quality is amazing, a testament to the skill of producer Martin Birch (another live triumph, after Deep Purple's Made In Japan) and the capabilities of the Rolling Stone Mobile Studio. Lastly, the booklet includes another classic cover by illustrator Derek Riggs featuring (who else?) Eddie rising from the grave - as well as photos, lyrics, and an onslaught of facts and numbers concerning the gigantic World Slavery Tour during which this album was recorded in Long Beach California on March 1985. Now, if you own another version of this album, you may notice that some songs are missing. This is because initial CD versions, such as this, only contained sides A,B & C of the double LP in order to make it fit into a single disc. For the same reason, they also sacrificed some of the between-song banter and audience participation bit at the end. New reissues from '98 onwards "fixed" that by adding a second disc containing side D of the original vinyl. Titles include "Wrathchild", "22 Acacia Avenue", "Children Of The Damned", "Die With Your Boots On", and "Phantom Of The Opera". Most people will tell you that that is the way to go, instead of the original "truncated" version. I, however, beg to disagree. Disc One perfectly replicates their typical setlist of the time, only omitting set closer "Sanctuary". It seems to me that the band compiled and sequenced their live setlist and CD for maximum effect, but realizing that the vinyl release had space for more music, they added a few tracks as an afterthought. These were recorded the previous year (1984), and at a different venue, which further marks them as an addendum rather than an integral part of the album. Sure, the songs and performances are good, but inessential. Want further proof? 27 years later, half of their set in Arnhem (8 songs) consisted of songs present here, while a 9th title ("2 Minutes To Midnight") is also still part of their current live set, even though they didn't play it last Monday. How many songs from Disc Two are still in the band's setlist? None. Now, if you have a vinyl fixation, you'll probably go for the double LP version. Having to change sides every 20 minutes ruins the illusion of "being there" at the concert, but I can totally get it. But, unless you subscribe to the "more is more" attitude (which is also understandable), you don't really need the bonus disc. The single CD version stands as the perfect document of prime-era Iron Maiden, and as a serious contender for the title of Best Live Metal Album. Ever.

***** for Aces High, The Trooper, The Number of the Beast, Hallowed Be Thy Name

**** for 2 Minutes to Midnight, Flight of Icarus, Rime of the Ancient Mariner, Powerslave, Run to the Hills

*** for  Revelations, Iron Maiden, Running Free (edited version)

Eric Clapton "Just One Night" 1980****

A few days ago, I had the chance to see Clapton live at Amsterdam's Ziggo Dome. The whole concert is up on youtube, you can check it out here. It was a great night, but it almost didn't happen: I bought the tickets three years ago. Originally, the concert was to take place in June 2020. Then the pandemic hit, so the show was postponed for June 2021. But that year the pandemic was still in full swing so the concert was postponed for yet another year. In the meanwhile, Eric had a severe reaction to the anti-COVID vaccine, which made him panic about permanently losing motor function of his hands and being unable to play guitar. And then, only a few months after the lockdown was lifted and he was able to play in front of an audience again, he contracted COVID - less than 3 weeks before the Amsterdam show. Understandably, I was a bit apprehensive as to whether his famous guitar mastery would still be intact, or impacted by his age (77 as of now), sickness, or 2-year-long absence from live concerts. It turns out that his ability has been only slightly diminished by time: after a perfunctory start, things warmed up with a great solo during "I Shot The Sheriff". Then it was time for the acoustic segment, which I enjoyed more than I anticipated: I'm not a big fan of his Unplugged CD, but he gave a very warm and skillful performance for a session including traditional blues as well as his own "Layla" and "Tears in Heaven". The second electric set found Clapton in even better mood. The audience was happiest to hear his classics ("Badge", "Wonderful Tonight", "Cocaine") but his guitar playing was best during the two blues covers. The encore consisted of one song, "High Time We Went". The whole band sounded elevated on it, but none more than pianist Chris Stainton who initially wrote this song with Joe Cocker, 50 years ago! Another veteran in the band that left very good impressions was Paul Carrack on organ and occasional vocals. 2nd Guitarist Doyle Bramhall II was a great supporting player who also took the spotlight on many occasions, while the band also included bassist Nathan East, drummer Sonny Emory, and backup singers Sharon White and Katie Kissoon.

Just One Night was the album I chose to play in the car on the way to the concert and back. It wasn't recorded in one night, as the title would suggest - rather, the performances were culled from a two-night residency in Tokyo's Budokan Theatre. Some of Clapton's biggest solo hits up to that point are here: his most popular ballad "Wonderful Tonight", J.J. Cale covers "Cocaine" and "After Midnight", as well as his own (successful) attempt at writing a J.J. Cale-like country blues "Lay Down Sally". "Cocaine" is notable for a long solo that completely distinguishes it from the studio version, as well as the enthusiastic audience participation. "After Midnight" for its tempo, which is much faster than the original. Other covers by contemporary artists include Bob Dylan's "If I Don't Be There by Morning" (never recorded by the writer himself), and "Setting Me Up" from Dire Straits' then-recent debut. Both relatively unknown songs, but with a laid-back Southern rock vibe that suited Clapton's style well. Other country-tinged songs include the Rick Danko co-write "Our Past Times" and upbeat Danny Flowers cover "Tulsa Time". There are a number of slow blues ("Early in the Morning", "Worried Life Blues", the "Rambling On My Mind"/"Have You Ever Loved A Woman" medley, Otis Rush's "Double Trouble") that showcase Clapton's emotive guitar playing. It was, after all, his uncanny ability to play the blues that gave Clapton the nickname "God" when he was only 20, and that is the kind of material he really excels in. Funnily enough, his own composition "Blues Power" isn't really blues, but a bouncy rock'n'roll number with lots of boogie-woogie piano by the very same Chris Stainton whom we enjoyed earlier this week in Amsterdam. Albert Lee perfectly compliments Clapton on guitar, and sings lead on "Setting Me Up". It's nice to see how Clapton enjoys playing together with other guitar virtuosos rather than antagonize them: his bands have on occasion included Duane Allman and Mark Knopfler, and of course he curates the Crossroads Guitar Festival which gives him the chance to play with the best. Dave Markee (bass) and Henry Spinetti (drums) complete this tight ensemble. The album closes with a spirited  performance of "Further On Up the Road", a Bobby Bland R&B number that Clapton has appropriated and recorded numerous times. Just One Night is considered to be among the best of many Clapton live albums, and I wouldn't disagree: I'd be hard pressed to find a better showcase for his guitar playing, which at the time was at its apex. Singing was never his strong suit, but it's also on the money here. The live sound is phenomenal for its time. I guess kudos should go to the Japanese sound engineers - it's no coincidence that so many live albums have been recorded in that same venue. If I have to find a flaw, it'd be the absence of Cream, Blind Faith, or Derek And The Dominos material. No "Sunshine Of Your Love" or "Layla", no hard rock, folk, or psychedelia. We only get electric blues and country, with a side dish of pop in "Wonderful Tonight". Also, compared to other E.C. live albums, the band is rather basic: no horns or strings, no backing vocalists or fancy guests. All those can be found elsewhere (24 Nights comes to mind). But maybe it's this sparse setup that allows for Clapton to shine ever more brightly. If you like the electric guitar, you're bound to love this album! 

**** for Tulsa Time, Early in the Morning, Lay Down Sally, Wonderful Tonight, Worried Life Blues, After Midnight, Double Trouble, Blues Power, Rambling On My Mind/Have You Ever Loved A Woman, Cocaine, Further on Up the Road

*** for If I Don't Be There by Morning, All Our Past Times, Setting Me Up

Σπυριδούλα "14 Μεγάλα Τραγούδια" / Spyridoula "14 Great Songs" rec: 1982 and 1994, this comp: 2007****

This compilation is part of a budget series ("14 Great Songs") re-packaging EMI's Greek catalogue on CD. It contains the greatest part (70% to be precise) of 2 Spyridoula LP's, Νάυλον Ντέφια Και Ψόφια Κέφια (Nylon Tambourines and Fake Fun) (1982) and Ταξίδι Στο Κέντρο Της Πόλης (Journey To The Center of The City) (1994). I will say it up front: the concept, the artwork, the exclusion of some tracks even though both albums could fit in one CD - this is less than ideal. I used to own both albums on vinyl, but they fell victims to the great vinyl purge: Being pressured by the lack of space, and probably heeding the advice of a malevolent inner demon, I sold off most of my vinyl collection almost two decades ago. I kept a lot of American imports, but sold most of the records by local (Greek) bands, thinking they were less valuable. Big mistake! Now that I'm into vinyl again, and have the necessary living space, classic Greek rock LP's cost a fortune, so I have to make do with CD reissues such as this. Not that there's anything wrong with the quality of the music here. Re-listening to it all confirmed my suspicion that I had initially underestimated this band, probably because of the comparison to their historic debut with Pavlos Sidiropoulos. But I'm getting ahead of myself. Let's start at the beginning: Spyridoula were formed in '77 by the brothers Nikos and Vasilis Spyropoulos. I know that year is synonymous of punk for many, but Greece was different: all rock was still an underground phenomenon, exiled from radio (still a monopoly of the State at that point) and carrying negative connotations for the general public. The name Spyridoula was by itself provocative: it is a feminization of the brothers' surname as well as as allusion to a story that had shocked the Greek public some years before: Spyridoula was a 12-year-old village girl who was bound to a wealthy city couple as an indentured servant. When they suspected her of stealing, they tortured her by burning her face and body with a hot iron, a crime that shocked the public opinion and exposed the existence of slavery behind the civilized façade of "modern" bourgeois Athens. The band's musical influences included (by their own admission) West Coast rock, Lou Reed, and The Rolling Stones. I would add Rory Gallagher because I hear echoes of his guitar style in their early records. Some time in late '78 - early '79 they hooked up with legendary rocker Pavlos Sidiropoulos to create the ultimate Greek rock LP Φλου (Flou=Blur). There had been (just a few) Greek rock LP's before, but they were mostly prog-pop with hippy-dippy lyrics. Flou had songs about desperation, heartbreak, drug addiction, and rebellion. Sidiropoulos was the quintessential tortured artist, writing poignant poetry while wallowing in excesses and battling his addiction with heroin. A true original, not unlike his great-grandfather Zorbas who became the subject of a Kazantzakis novel, and of a movie you may have heard of: Oscar-winner Zorba The Greek. Spyridoula, however, were not interested in being a mere backing band for Sidiropoulos. They had a different approach to life, and songs of their own to play.

 

On Νάυλον Ντέφια Και Ψόφια Κέφια (Nylon Tambourines and Fake Fun) they teamed up with another singer, Pavlos Vakatatsis, who also wrote most of the lyrics. Musically, this album is very similar to Flou, another testament to Spyropoulos brothers' underrated input in the making of that album. New Pavlos is OK, but his singing lacks Sidiropoulos' immediacy and emotion. Strangely enough, he sounds more natural when singing in English (with other bands, he used to alternate between Athens and New York and made records at both places). 7 out of Nylon Tambourines...' 10 tracks are included here. The compilation opens with the eponymous song, a fast rocker mocking the contemporary rebetiko revivalists for being fakes. Vakatatsis' sneering vocals fit the song well, which is also true of the punkish "Χούλιγκανς/Hooligans". He doesn't cut it as well on "Μπαλάντα/Ballad", a blues/country tune that reminds me of The Stones' "Wild Horses". "Κίτρινο Φως/Yellow Light" is a mid-tempo piece with bluesy piano, "Όσο Κι Αν Θέλω/As Much As I Want" a rocker with new wave and country influences, and "Αύριο Κανείς Δεν Ξέρει/Tomorrow No-one Knows" an excellent instrumental. Leaving the best for last, breakup rocker "Ούτε Δυο Λέξεις/Not Even Two Words" sounds like a Flou outtake. The vocal delivery is less pompous and speaks from the heart, while the guitar solos are also top notch.

 

It took 12 years for Spyridoula to record a follow-up. Despite the fact that rock music had broken out of its ghetto in Greece, I believe that this was even less successful than their previous one. Ταξίδι Στο Κέντρο Της Πόλης (Journey To The Center of The City) is, sound-wise, the product of a different time: gone are the blues influences, replaced by a more intense, grungy sound similar to Trypes, Greece's most popular (post-punk) band of the 90's. Maybe Spyridoula were going for a harder, more urban, sound or maybe it was the influence of their new singer, Sotiris Theoharis - formerly of punk rockers Adieksodo. In my opinion, his lyrics and vocals are superior to those of the previous album while musically I slightly prefer Nylon... More or less it is a tie between the two. Again, 7 out of 10 songs are included in this compilation. "Μηχανές Του Rock 'N Roll/Rock'N'Roll Machines" is a heavy rocker with a riff that sounds vaguely familiar: Whitesnake, maybe? The vocal, nevertheless, is rawer and more aggressive. "Εποχές Στην Κόλαση/Seasons In Hell" and "Δύσκολες Μέρες/Difficult Days" are intense and angst-ridden but benefit from catchy choruses. "Η Λεωφόρος Της Χαμένης Ελπίδας/Highway Of Lost Hope" is somewhat murkier, while "Δις Εις Θάνατον/Double Death Sentence" is a throwback to their blues rock days, and "Σε Ζητώ/Searching For You" and "Πωλείται Συνείδηση/Conscience For Sale" are a couple of typical 90's guitar-driven alt-rockers. Spyridoula would make two more CD's for a small indie label (in '97, and again in '06). In 2020, Nikos Spyropoulos, aged 63, succumbed to cancer. He didn't leave a big discography behind, considering his 40+ year musical career, but his legacy is well served by the Flou LP and by the two albums anthologized here. Anyone interested in Greek rock would do well to get them. If, on the other hand, you don't speak Greek and aren't a fan of foreign-language rock music, you may not find them that special. Just listen to the youtube samples above and let me know what you think.

**** for Νάυλον Ντέφια Και Ψόφια Κέφια (Nylon Tambourines and Fake Fun), Αύριο Κανείς Δεν Ξέρει (Tomorrow No-one Knows), Εποχές Στην Κόλαση (Seasons In Hell), Σε Ζητώ (Searching For You), Δύσκολες Μέρες (Difficult Days), Ούτε Δυο Λέξεις (Not Even Two Words), Πωλείται Συνείδηση (Conscience For Sale)

*** for Δις Εις Θάνατον (Double Death Sentence), Μηχανές Του Rock 'N Roll (Rock'N'Roll Machines), Κίτρινο Φως (Yellow Light), Μπαλάντα (Ballad), Χούλιγκαν ς,(Hooligans) Η Λεωφόρος Της Χαμένης Ελπίδας (Highway Of Lost Hope), Όσο Κι Αν Θέλω (As Much As I Want)