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Ancient Mariner
Awesome, thanks!!
GhostofCain
Ancient Mariner
My pleasure. As I said, one of the highlights of my 25+ years of attending gigs (and I got to meet Bruce too).
GhostofCain
Ancient Mariner
The standing ovation was impressive, believe me.
Dangerina
Nomad
Have you seen it live??? You're the luckiest guy on earth
Dangerina
Nomad
GhostofCain
Ancient Mariner
That is what live music is all about.
It does not have to be perfect. You had to be there.Don't get me wrong, I love this version with its imperfections (great singing, a tiny bit of struggling as well) and envy you
You met him after this concert?
I met him at the interval. It was somewhat bizarre to see Bruce walk past where we were sitting to go and have a chat with his wife.
GhostofCain
Ancient Mariner
Can't believe Bruce came in in the wrong spot in Locomotive Breath, obviously they hadn't rehearsed it but still it would be the equivalent of a maiden fanboy coming in in the wrong spot while singing Run to the Hills or BALZE!!!11 singing the trooper
Yeah, Locomotive Breath was completely improvised and many had already left the cathedral by then.
GhostofCain
Ancient Mariner
THESEVENTHMARINER
Ancient Mariner
Quite a shame to hear that he kind of switches off during FOTD and Iron Maiden, not surprising though really. After hearing him say that, maybe it is time to retire Fear.
D
Deleted member 7164
Guest
Is a very good live song. One of the best, genre-wide, but everyone and their mother heard it.
Ruflux
Ancient Mariner
The issue with retiring FotD is twofold, on one hand it's one the band's better known tunes, it's a great live number and people expect it at every show and on the other with Hallowed out for now due to the lawsuit, also removing FotD would leave a massive hole in the set.
bearfan
Ancient Mariner
Bruce on Blaze as his replacement
http://www.blabbermouth.net/news/br...hose-blaze-bayley-as-his-replacement-in-1994/
On his conversations with IRON MAIDEN manager Rod Smallwood about replacing Paul Di'Anno in 1981:
Bruce: "It was a similar thing when they got [Dickinson replacement] Blaze Bayley in [1994]. I really like Blaze. I like him just as a human being. He's a lovely guy. I remember going to the management offices and there was a guy, he doesn't work for management anymore, but he was telling me how great this whole thing was and how brilliant it was going to be. I said, 'Look, he's got this great gig. Of course, he's going to take the job. He's been offered the job. Of course, he's going to take it.' I said, 'Has anybody given any thought to where he's going to go with the old stuff? Has anyone given any thought to how he is going to manage it? Not just singing, but how are you going to deal with the fan reaction?' Because I was surprised it was Blaze. I was delighted for Blaze, but there was a whole bunch of other really good singers out there. [Editor's note: Rumored candidates also included ANGRA's André Matos and HELLOWEEN's Michael Kiske.] I thought 'Wow, they could have picked somebody with a voice that could do what my voice did.' But they picked Blaze. Obviously, they picked somebody different, but that came with its own set of challenges. I just wondered whether anybody in the management was really giving anybody any serious words of truth on how hard this could be.
"But anyway, so in that same vein, that was me when I fronted up Rod about when he asked me to audition. I said, 'Look, don't beat about the bush. I wouldn't be here talking to you now unless you were pretty sure that you wanted to offer me the job. But, the question is: Do you want the whole package that comes with it? Because that's what you're going to get. I don't do zero, one, two, three. I go to zero and I go to ten. [Laughs] That's what you get. You get full-on ten, that's it. If you want a shrinking violet, just let me know now and I'll slink away and you can give it to somebody else.' I was full-on. I'm not sure where that comes from. That's the way I thought. I suppose the same kind of bullheadedness was why I left, because I just said, 'I don't like the way this is going creatively. There's nothing wrong with it. It just doesn't feel right to me. So I better go.'"
http://www.blabbermouth.net/news/br...hose-blaze-bayley-as-his-replacement-in-1994/
On his conversations with IRON MAIDEN manager Rod Smallwood about replacing Paul Di'Anno in 1981:
Bruce: "It was a similar thing when they got [Dickinson replacement] Blaze Bayley in [1994]. I really like Blaze. I like him just as a human being. He's a lovely guy. I remember going to the management offices and there was a guy, he doesn't work for management anymore, but he was telling me how great this whole thing was and how brilliant it was going to be. I said, 'Look, he's got this great gig. Of course, he's going to take the job. He's been offered the job. Of course, he's going to take it.' I said, 'Has anybody given any thought to where he's going to go with the old stuff? Has anyone given any thought to how he is going to manage it? Not just singing, but how are you going to deal with the fan reaction?' Because I was surprised it was Blaze. I was delighted for Blaze, but there was a whole bunch of other really good singers out there. [Editor's note: Rumored candidates also included ANGRA's André Matos and HELLOWEEN's Michael Kiske.] I thought 'Wow, they could have picked somebody with a voice that could do what my voice did.' But they picked Blaze. Obviously, they picked somebody different, but that came with its own set of challenges. I just wondered whether anybody in the management was really giving anybody any serious words of truth on how hard this could be.
"But anyway, so in that same vein, that was me when I fronted up Rod about when he asked me to audition. I said, 'Look, don't beat about the bush. I wouldn't be here talking to you now unless you were pretty sure that you wanted to offer me the job. But, the question is: Do you want the whole package that comes with it? Because that's what you're going to get. I don't do zero, one, two, three. I go to zero and I go to ten. [Laughs] That's what you get. You get full-on ten, that's it. If you want a shrinking violet, just let me know now and I'll slink away and you can give it to somebody else.' I was full-on. I'm not sure where that comes from. That's the way I thought. I suppose the same kind of bullheadedness was why I left, because I just said, 'I don't like the way this is going creatively. There's nothing wrong with it. It just doesn't feel right to me. So I better go.'"