THE BIG FOUR DVD RELEASE

Universal Music is slated to release the Bulgaria Leg of ‘The Big Four’ Concert in DVD and Blu-Ray. The concert which was held on 22 June 2010 was telecast live in theatres. Highlights of the show include all the members of the Big Four of thrash metal – Metallica, Megadeth, Slayer and Anthrax- sharing the stage for the very first time and performing the classic Diamond Head song “Am I Evil?”.

The 2-disc DVD set hits the streets on October 15 in Northern Europe, October 18 in most of the rest of the world, October 19 in North America which contains the individual performance of all the four bands including behind-the-scene footage and interviews.

In addition to the two-DVD set and the corresponding Blu-ray, universal Music have also planned to release a limited-edition “super deluxe” box set including the DVD set, five CDs with ALL the music, a 24-page booklet, a poster, photos of each band, and a “Big Four” guitar pick.

The track listing is as follows :-

METALLICA track listing:

01. Creeping Death
02. For Whom The Bell Tolls
03. Fuel
04. Harvester Of Sorrow
05. Fade To Black
06. That Was Just Your Life
07. Cyanide
08. Sad But True
09. Welcome Home (Sanitarium)
10. All Nightmare Long
11. One
12. Master Of Puppets
13. Blackened
14. Nothing Else Matters
15. Enter Sandman

Encore:

16. Am I Evil? (with the Big Four)
17. Hit The Lights
18. Seek and Destroy

SLAYER track listing:

01. World Painted Blood
02. Jihad
03. War Ensemble
04. Hate Worldwide
05. Seasons In The Abyss
06. Angel of Death
07. Beauty Through Order
08. Disciple
09. Mandatory Suicide
10. Chemical Warfare
11. South of Heaven
12. Raining Blood

MEGADETH track listing:

01. Holy Wars… The Punishment Due
02. Hangar 18
03. Wake Up Dead
04. Head Crusher
05. In My Darkest Hour
06. Skin O’ My Teeth
07. A Tout Le Monde
08. Hook In Mouth
09. Trust
10. Sweating Bullets
11. Symphony Of Destruction
12. Peace Sells/Holy Wars Reprise

ANTHRAX track listing:

01. Caught In A Mosh
02. Got the Time
03. Madhouse
04. Be All, End All
05. Antisocial
06. Indians/Heaven And Hell
07. Medusa
08. Only
09. Metal Thrashing Mad
10. I Am The Law

Remembering Darrell

On this very day 44 years ago a legend was born who would go on to become one of the finest guitarists the world had ever seen. Darrell Lance Abbott (August 20, 1966 – December 8, 2004) better known as Dimebag Darrell would have been celebrating his birthday if not for the freak accident he encountered where he was shot on stage by a lunatic fan, the irony being he was performing "Breathing New Life" with his band Damage Plan.

Darrell who ruled every stage he stood on, sending fans into a frenzy to the monstrous music he churned out, sadly met misfortune upon the very stage he loved.

He will be remembered by fans and peers alike for eons to come.

R.I.P. Dimebag.

The Final Frontier (2010)

It's the 16th of August 2010, finally, and finally, the beast has fucking been unleashed. The perennially popular Iron Maiden after four very long years have released what easily is the most anticipated album of the year. Not many of their peers, or for that matter almost any other metal act can hope to create such an air of expectation when they release a new album. And indeed, what an album it is. Well, in a way, The Final Frontier is also Maiden raising a gigantic middle finger to all those who doubted the band's relevance in recent years and passed them off as a nostalgia act. Start to stop, it's fucking hypnotic.


      The album has a very different sound from anything that comes out Maiden's discography thus far. Hell, it's nothing like anything you've ever heard before on any metal album then again. This certainly is their most adventurous album to date. Maiden manage not only to reinvent their sound radically but end up producing something truly revolutionary, truly extraordinary. The Final Frontier takes all the old concepts and notions of what traditional heavy metal can be and turns it on itself, breaks all the accepted rules and abandons all the norms. Which thankfully lends a sense of unpredictability to the album. Even though this might give the impression that Maiden have forsaken their classic sound and feel, on closer inspection it is obvious that at the heart of it The Final Frontier has somehow managed to very deeply imprint that trademark sound all over the album, imbibing their spirit in every track. So what they've basically done is bravely taken the Iron Maiden of the eighties and marched it straight into completely uncharted territories rather boldly. I've said it before and I'll say it again - the  highly revered Iron Maiden have made a career of defying the norm and continue to do it to this day. 


         The only unfortunate thing about this album is either you'll absolutely love and relish it or for some reason it just won't strike that magical chord with you. And there isn't a middle path here. If you're looking for songs with simple, sing-along choruses and easy-listening riffs then this just isn't the album for you. It's also not one of those albums that take time to grow on you, au contraire, it takes time for the listener to really appreciate the magnitude of what the band have accomplished here. Look deep enough, look beneath the surface and you will realize it's a mastery of music.


      Musically, the band explores new and novel themes which leads to a metamorphosis in their sound. The riffs are creative and fresh but like with any of their other albums feel very distinctly Maiden. The thing that is most impressive about this album are the instrumental passages and bridges in virtually every song. They just echo sheer fucking brilliance. Extensively progressive, the passages are something they've expanded in on from A Matter of Life and Death. And then there are the solos, those gorgeous, emotive solos that soar high above the clouds, and heavy as hell drumming that bludgeons every thing in its path. Dickinson, who doesn't seem to have aged in the slightest still manages to pull off those mind-numbing, inhuman banshee wails that none of his peers or even those a fraction of age can manage to, extremely bloody well. The faultless vocals are one among the many highlights of the album. And yes, Harris, good ol' Steve, brings back his not only his ruthless gallop but all those unbelievably melodic bass lines for us all to awe and gape at. Uh huh, Iron Maiden just fucking rock don't they. 


      Now on to the lyrical aspects of this album. As is usual with Maiden song themes that vary as widely as is possible. The whole album is a scathing commentary on war, adventure, death and all that has transpired between the last album and this one. It also draws heavily from mythology and sci-fi, favorites of the chief storytellers -  Harris and Dickinson.


     The first track, which goes without saying is as good a way as any of kicking off the album and does so brilliantly. Satellite 15... The Final Frontier sounds every bit as eerie, futuristic and space-like as is expected. And with this one, Iron Maiden finally have a great music video to go along with such great songs, a good thirty years after their very first release. Though the video and lyrics indicate that it's a story set somewhere in space, the song could also be about to the band's career - their 15th album, Satellite 15.. and other such references and allusions to the band throughout the lyrics. Beginning with a surreal, gravity-defying base riff, it opens with Nicko's tribal beats and goes on to have the three axe-men rev up their guitars sending shivers down your spine. The spectral, ghostly vocals only manage to darken the mood. And then, out of nowhere the track suddenly changes gears, leaving you dumbfounded, switching to a completely different, more straightforward style. And before you know it, two transfixing solos seemingly resurrected straight from the eighties are thrown at you. And with that great chorus section you know this one is going to be absolutely killer live.  


      Up next is the first single of the album, El Dorado. Right from that familiar gallop to the raw muscular riffs this one is a textbook Maiden song in a new avatar. Reminiscent of The Trooper, for the distinct gallop, wraith-like vocals, high energy solos and abrasive riffage, El Dorado should've been a runaway hit but is one of tracks the fans are divided about. The song according to Dickinson, is about how the recent recession was staring in the face before it actually happened. The song gets it's title from the story of El Dorado, and it's the obvious connection to the economic downturn ("..streets paved with gold..." to quote Bruce). It's fairly obvious that this was specifically built to send the massive concert crowd into a crazed frenzy, more so than any other track on this album.


       Beginning with a deceptively slow and long intro, Mother of Mercy blasts forward into a muscularly constructed, menacing riff that has Maiden written all over it and by that I don't mean it's boring or foreseeable but that its simply exceptional. The heaviest track on the album, this one seems to have shades of A Matter of Life and Death strewn in. Harris opts to go in for a slower yet no less intimidating gallop that suits the song. Nicko McBrain is like a fucking octopus, pounding anything and everything he finds to pulp. Murray stuns with another classic, speedy solo. The song talks of wars in a time before gunpowder and like any of their other war-songs is an instant classic. Dickinson bobbing between harsh baritones and nut-wrenching screams adds another dimension to the song. You just can not help but headbang when you listen to groove infested Mother of Mercy.   


      What follows is the epic ballad, Coming Home. One of the more sentimental tracks of the album, this one is about returning home after a long leave of absence, back to where your heart belongs, and in their case, the song has allegories of the band's fast paced lifestyle and tales of life on the road - with reference to the massive Somewhere Back in Time Tour. The song also has references to one of Dickinson's many passions - flying. Beautiful lyrics and songwriting come together to make Coming... another heady track. Dickinson imbues an enormous amount of emotion into this song without making it sound cheesy. Smith's classy solo only manages to makes the song more poignant.


     Coming in at the fifth position, The Alchemist is a more progressive take on the style from their first two albums with the rough, speedy, bass-driven riffs and thrashy rhythm sections. McBrain is the saving grace of the song, thundering all around his drum kit. Though its has nothing special to speak of per say, and is probably a disappointment going by the standards the previous songs have set so far, it's not all that a bad track. With the standard theme of fantasy and adventure it really is just another Maiden song.


      Nothing will prepare for what comes next. The Isle of Avalon will astonish you which ever way you look at it. The sheer number of emotions and feelings it evokes throughout its duration is simply disorienting. The lengthy, dark and yet delicate intro laden with unconventional melody, ghostly whispers and eerie bass unfurls into unquestionable majesty. The leads are strong and solid and at the same spew forth amazing amounts of melody. The unconventional time signatures take the passages to a whole new level. Dickinson's passionate vocals are almost ethereal and mystical. Janick Gers manages to conjure astral solos that touch the sky. The way in which all these elements are intricately laced together is indicative of band's telepathy. The poetic lyrics, which are rooted in Arthurian mythology, are delivered with unequaled zeal. Every second of the song is a moment of excellence. Isle of Avalon is no longer just a song and with Maiden trying yet again to elevate the scale of things beyond the usual, it becomes an almost surreal experience that will leave you begging for more. The grandeur and impressive manner in which they pull off the song is why they still reign in the world of heavy metal. Unequivocal Iron Maiden. Celestial, unearthly Heavy Metal. Period.


    On the same grand scale as the previous track is Starblind, one of the other great's of The Final Frontier. With possibly the best instrumental passages in the album, this track simply won't cease to amaze through it's entirety. The intense, textured, intricate feel that this song has is unmatched. A fierce, steadfast vocal attack do the amazing lyrics justice. The cohesion between the bass line and free flowing lead guitars is flawless. The breakdowns and bridges are executed with exceptional skill. The back and forth between the mellow riffs and the aggressive ones and bluesy leads just keep piling on reasons as to why this is such a splendid track. In direct competition with Isle of Avalon as the best track of the album, this song is among the best songs Maiden have put forth since Brave New World.


    The Talisman is another highly progressive, well composed track that for sure will turn some heads. The pulverizing drumming, alluring riffs and Dickinson in his characteristic story telling mode are stitched into the fabric of this song quite exquisitely. Again, with a misleading, slow intro this one blisters forth uncompromisingly. Though it may seem repetitive, it's all done to maintain the feel and flow of the song. The innovativeness, both in the drumming and instrumental passages of this song surely has to the highlight in this track. Unrelenting and epic. State of the art heavy metal if there were such a thing.


   The larger than life The Man Who Would be King like it's predecessors has a sluggish beginning which speeds up with unreasoned urgency in a surprisingly melodic way. The gloomy, harmonious riffs on occasion have a psychedelic tinge, something rather unusual in metal. The vocals are standard run of the mill stuff for Dickinson who thoroughly enjoys himself on this track. The breakdown leads to an oriental passage which has got to be the work of Dave Murray. The solos soar together before clashing into other reaching their crescendo. The bass drives almost all the passages and bridges, but does so subtly. On the whole the song has a disconcerting feel to it but somehow ends up being catchy.


    The grand finale to the over and hour long epic that has been The Final Frontier is with Where the Wild Wind Blows. The longest song of the album also is one of the most complexly structured ones. Harris shines in this track, be it as the songwriter or with the melodious bass. The grim, unsettling lyrics are matched with equally befitting music. Dense, thick riffs break out all of sudden and Dickinson narrates the heart rending story of a couple who kill themselves in what they think is a nuclear explosion. The story is based on Raymond Brigg's novel (When the Wind Blows). And again, all of the sudden the tempo deceptively slows down when suddenly magnificent multitude of solos erupt with each of the three guitarists playing a solo apiece. And then the song breaks in a military tempo akin Alexander The Great and sways back and forth till the solos are completed. Dickinson gets more and more operatic by the passing second. And finally the song marches back into its familiar, original riff. The song ends stunningly in the same chilling way it began. And with that ends one of the band's best efforts to date.


Overview :
What more can one say about the mighty Iron Maiden that already hasn't been said in one form or the other. And even though they've scaled through many peaks all over their career and have reached the zenith of heavy metal, the iconic Iron Maiden see the need to constantly reinvent not only themselves but in the process the entire genre, not something not many bands can or will achieve. A intense, complex experience , The Final Frontier redefines what can be done with heavy metal by the wizards of the art themselves. How the band is going to outdo themselves the next time around is to be seen. State of the art stuff from one of the greatest bands of our time. If indeed, this is their final album, their swansong so to speak, then it's a great way to sign off.


Genre : Heavy Metal


Track Listing : 

Title	Write(s)	Length
1."Satellite 15… The Final Frontier "	Harris, Smith	8:40
2."El Dorado "	Dickinson, Smith, Harris	6:49
3."Mother of Mercy "	Smith, Harris	5:20
4."Coming Home "	Dickinson, Harris, Smith	5:52
5."The Alchemist "	Gers, Harris, Dickinson	4:29
6."Isle of Avalon"	Harris, Smith	9:06
7."Starblind "	Dickinson, Harris, Smith	7:48
8.”The Talisman”	Gers, Harris	9:03
9."The Man Who Would Be King "	Murray, Smith	8:28
10."Where the Wild Wind Blows "	Steve Harris	10:59

Total Album Time : 76:34

Personnel/Contributors :

• Bruce Dickinson – Lead Vocals, Rhythm Guitar
• Dave Murray – Guitar
• Adrian Smith – Guitar, Backing vocals
• Janick Gers - Guitar
• Steve Harris – Bass, Backing Vocals
• Nicko McBrain – Drums, Percussion
• Kevin Shirley – Producer, Engineer
• Melvyn Grant – Illustration

Release Date : 16 August 2010

Recorded : Compass Point Studios, Nassau, 2010

Supporting Tour : The Final Frontier World Tour

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Piece of Mind (1983)

Coming of the heels of the mighty Number of the Beast, Iron Maiden’s most recognized album, Piece of Mind has a lot to follow up to. And Piece, the second in a line of Maiden’s three most powerful albums, consolidates Beast’s success. Classic, epic, heart-pounding heavy metal through and through.

The legendary Iron Maiden usually make two types of albums - the good, mind-blowing, stellar ones and then the groundbreaking, near-immortal classics. And very obviously Piece of Mind belongs to the latter. The album marks the birth of what was to be the band’s most definitive line-up with the arrival of Nicko McBrain. Dickinson stamps his characteristic operatic style in wake of Paul DiAnno’s departure and has really meshed in with the band at this point. Murray and Smith, purveyors of the dual-axe attack, tone down their aggression and get their interplay more integrated which results in more complex riffing and harmonized solos. As always the flow and feel of the entire album is anchored along the mighty bass lines of Steve Harris. McBrain’s ability to follow the complex guitar and bass patterns gives album a consistent, smooth, well rounded sound. On the whole, there’s a dark, moody, heavy tone that most of the songs take. The aural acrobatics, muscular rhythm sections and immaculate leads make sure that even the weakest track has a lot to offer. Every riff, every solo, every composition broke new ground and only reinforces the point this album absolutely could not have been written by any other band.

            Both Dickinson and Harris’ fascination with Sci-Fi and mythology ensures that the lyrics draw inspiration from sources as varied as ever. Which together with Harris’ epic storytelling got them the tag of being the thinking-man’s metal band. In fact, most of the songs are either based upon either movies or literature, which, now with Piece get their own heavy metal incarnations.

If Where Eagles Dare sends us on a mission to infiltrate Hitler’s lair then the intricate dirge Revelations narrates a tale of Biblical intrigue. Flight Of Icarus retells the classic Greek myth of one who tempts fate with man-made wings. Die With Your Boots On gave us the dire warnings of the seer Nostradamus. The Trooper, with its frenetic bass lines, put us right in the middle of a fierce battlefield during the Crimean war that Tennyson envisioned in his Charge of the Light Brigade. Still Life thrills us with gleams of fantasy and horror. Quest For Fire took us back to a prehistoric time that never really was. Sun And Steel, another song about a warrior, lunges into the mind of the samurai and celebrated Japanese swordsman, Miyamoto Musashi, and finally To Tame A Land thrusts us far beyond our universe and not to mention, our imagination, into Frank Herbert's desert planet Arrakis. Never before or since will any album take you to so many fantastic realms in such a manner.

As usual Maiden open the album with a sturdy, solid opener in Where Eagles Dare. Although it’s supposed to be based on a film and novel by Alister Maclean, it could also refer to one of Hitler’s homes - The Kehlsteinhaus (quite literally the eagles nest). Featuring one of Nicko’s most energetic and insanely unbelievable performances, the spitfire drumming that moulds the riffs will duly hold your attention through the entire length of the song. Which along with a amazing instrumental passage, inhuman vocals and typical Maiden solos is an extremely great way to kick-off the album.

And what follows is one of the band’s best power ballads, Revelations, which somehow balances the fine line between being dark and yet beautiful. The transitions between the tranquil, more melodic riffs and faster, aggressive ones (both of which are surprisingly simple and yet extremely likeable) and the enormous range displayed in the vocals make this track an unforgettable one. The song’s lyrics draw from both the Good Book, as well as one written by Aleister Crowley, an extremely odd pairing up. As expected, there are great solos thrown in as well. The song ends rather serenely given how fast it goes at times.

Next up is the first single of the album - Flight of Icarus. Great underlying bass lines, an amazing, sing-along chorus, taught riffs and lovely solos with brilliant drumming are what this song is composed of. This lyrics are great, and Dickinson pulls them off in his inimitable style with the occasional hint of inspiration from Ronnie James Dio. Thoroughly impressive, fast-paced solos from Smith and Murray makes the song THAT much more awesome.

Though beginning with a killer intro riff, the rest of Die With Your Boots On fails to work the kind of magic on the listener that the previous three did. The overall feel of the song is great, with Harris’ gallop and Smith’s soloing saving the song. Yet another good chorus, great drumming from the new guy and decent enough riffs allows the song to flow into the category of Maiden’s above average, straightforward tracks. Thematically the song deconstructs omens and nonsenses prophetic propaganda bullshit that fuels non-secularism. But just because it isn’t as great some of the others on this album it doesn’t mean it isn’t a good song. On the whole, a nice song but one that just doesn’t fulfill our expectations of Iron Maiden.

More than making up for it on the next track, Iron Maiden unleash one of the most potent, powerful and iconic tracks from their stable - The Trooper, ready to stuff leather and metal straight up your arse! Right from that nasty call-to-arms riffs to the vicious, trademark gallop, it explodes right in your face. The only modest way to describe this one would be to call it absolutely fucking badass. The song basically revolves around a nameless British soldier fighting in the Crimean War. The lyrics and music work hand in hand to put shivers right down your spine, taking you and throwing you bang in the middle of bloodied battlefield. The twin lead guitar attack that violently thrashes about, the galloping-almost-equestrian, kinetic bassline that throbs and pounds all along the way, two recklessly wild and furious solos, a thunderous, blitzkrieg drumming performance and finally one of metal’s best pipes putting in all he has, screaming his lungs out is why this one is such an indispensable masterpiece in the world of Heavy Fuckin’ Metal. And yes, it indeed is as great as they say it is live. The fact that it is absolutely impossible not to sing along to is proof enough as to why this song is such a great anthem, such a beloved classic. What more can you possibly ask for. All hail Steve Harris and the divine metal he puts forth here. ‘Nuff said.

The second half of the album has a noticeable dip in the feel and mood, though is no less impressive albeit, this is the half that has three songs which are debatable in terms of the quality. Still Life surprises with an ample amount of melodies and dynamics and dazzling solos. Somewhere in the middle of the song the title track is uttered occasionally, which sort of makes it the unofficial title track. The backwards intro by McBrain is intended as a slap on the face, a funny one at that, to anyone who thought of Maiden as satanists. Lovely song, though it could’ve been better.

The next track, Quest For Fire, is a forgettable one which is not all that great either lyrically or musically. Average riffage and unecessary operatic vocals do the song more harm than good. Though as with any track on this particular album, none of the solos cease to amaze. For once Maiden have gotten it wrong with the lyrics, which are both inaccurate and at times annoying. Though not a bad track for an album filler.

A much better improvement in the form of Sun and Steel positions itself at number eight. A tribute to the famed Japanese samurai Musashi, this one is aptly named Sun and Steel. The edgy fast paced riffs do wonders for the song. There isn’t much room for Dickinson to shine but he manages to carry it off well. The rhythm section is again something to look out for with both Harris and McBrain following the guitar patterns ever so well, whether in the solos or the riff itself. Maiden manage to redeem themselves at this point thankfully.

Maiden cap off the album with what would probably the best song in the latter half - To Tame a Land. Brilliant bass driven riffs that have a complex, oriental edge, trademark Murray, gives it an eerie feeling. The lyrics, based on the novel Dune by Frank Herbert only amplify the spooky feel the song has. Some powerful stuff from both Harris and McBrain like in the previous track takes things up a notch. Smith magically pulls out another beauty seemingly out of nowhere. Great track, great effort and a nice finale to one of their best albums.

Overview : Probably, and rather unfortunately the most under-appreciated of Maiden’s classics, Piece of Mind proves itself song after song. This album also marks the beginning what we all love and know as that classic Maiden sound. Each of the band members are at the top of their game vying to outdo one and other. What it all results in is a classic heavy metal album churned out by legends of the genre. Piece of Mind shows us why metal ruled the world back in the eighties and why Iron Maiden were as mighty as they were back then and why they’re as highly regarded now. Maiden seamlessly manage to pull of another classic from under the hat that stood out from all the other metal albums of the time. In the end Piece of Mind is an album that has that a great timeless quality and is one of the most definitive pieces of heavy metal you will find. 

Genre : Heavy Metal

Track Listing :

Title	Writer(s)	Length
1."Where Eagles Dare"	Steve Harris	6:10
2."Revelations"	Bruce Dickinson	6:48
3."Flight of Icarus"	Dickinson, Adrian Smith	3:51
4."Die With Your Boots On"	Dickinson, Harris, Smith	5:28
5."The Trooper"	Steve Harris	4:15
6."Still Life"	Dave Murray, Harris	4:53
7."Quest for Fire"	Steve Harris	3:41
8."Sun and Steel"	Dickinson, Smith	3:26
9."To Tame a Land"	Steve Harris	7:27

Total Album Time : 45:50

Personnel/Contributors :

• Bruce Dickinson – Lead Vocals, Rhythm Guitar
• Dave Murray – Guitar
• Adrian Smith – Guitar, Backing vocals
• Steve Harris – Bass, Backing Vocals
• Nicko McBrain – Drums, Percussion
• Martin Birch – Producer, Engineer
• Rod Smallwood – Manager
• Derek Riggs – Illustration

Release Date : 16 May 1983

Recorded : at Compass Point Studios, Nassau, From January to march 1983

Supporting Tour : World Piece Tour

Trivia :

This is the first album not to be named after a song featured in it.

The initial name for the album was Food for Thought but was changed to Piece of Mind to suit the album artwork.

"To Tame a Land" is based on Frank Herbert's novel Dune. The name of the track was meant to be "Dune," but Frank Herbert, who disliked heavy rock bands, denied permission to use his book's name and thus a new name had to be chosen.

At the beginning of Still Life, the band included a hidden message which could only be understood by playing the album backwards. This was a joke and an intended swing back at the critics who had accused Maiden of being satanic. The backwards-message features Nicko McBrain mimicking John Bird mimicking Idi Amin uttering the following phrase "What ho said the t'ing with the three "bonce", do not meddle with things you don't understand...", followed by a belch. The phrase itself is taken from the satirical album The Colleckerted Broadcasts of Idi Amin by Bird and Alan Coren.

"Still Life" is inspired by fantasy/horror writer Clark Ashton Smith's pre-World War II short story Genius Loci. 
"The Trooper" is inspired by Tennyson's Charge of the Light Brigade. 

"Where Eagles Dare" was insiperd by a film, and a novel by Alistair MacLean.

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