Black Bart
Ancient Mariner
I'd choose "Tailgunner" instead, though I think it functions much better later in the show (Fear of the Dark tour), or "Different World" for the sheer quality of it (or lack thereof).
Which songs never worked live as good as in the original studio version?
- Thread starter Dick Brucinson
- Start date
JudasMyGuide
The resident reactionary recalcitrant
dickinson1978
Ancient Mariner
No,but i expected a chorus like heaven can wait
Ben Beast
Educated Fool
So chorus like in Brave New World, Blood Brothers, No more lies? Yet people complain if Maiden does repetive chorus
Somewhat I understand this dilemma - songs like Hell on Earth, Stratego, Starblind, Isle of Avalon have superb choruses, but in live setting it's hard for the fans to sing along. I guess that's why Fear works, simple song with simple words but effective.
Somewhat I understand this dilemma - songs like Hell on Earth, Stratego, Starblind, Isle of Avalon have superb choruses, but in live setting it's hard for the fans to sing along. I guess that's why Fear works, simple song with simple words but effective.
PieceofMind89
Educated Fool
I agree. Even songs that are not my favorites like Sign of the Cross and Senjutsu sound great live and surprised me.
But Black Sabbath and Judas Priest will always have a special place in my heart even though their stage shows are not as great as Maiden’s.
Flaming Blimp Crash
Ancient Mariner
Senjutsu I'd argue is actually better live than it is on the record, but it's still a poor song in general. Stratego's amazing on the record, but loses a little bit live without the vocal harmonies and the studio kick pattern.
Christopher Baines
Educated Fool
That is the one thing about Senjutsu songs live. Theres lots of great vocal harmonies that cant be reprodced live. Some of the Senjutsu songs sound better live (dotc, ttm,hoe) others not (dofp, senjutsu) imo
adrian fn rules
Chili-head
I have never liked the way Wasted Years sounds live. Adrian's alternate-picking opening riff doesn't sound anything like the album. I know its because they don't use guitar synths for the song on tour, but the synth is what gives that song its signature sound, and for me it's sorely missed. Same with the solo. I would have been OK with that song not being played live at all. Full disclosure.....its my favorite IM song.
Diesel 11
As you scream into the web of silence...
Crazy to think that a synth is what gives the song its signature sound when in fact it’s the only song on the album that does not use a synth.
JudasMyGuide
The resident reactionary recalcitrant
First of all - as for the source, I know it's written on Wikipedia, with a link to a Guitar World article, but are we really sure about that?
Second of all, usually I don't think it's important whether it's a true guitar synth or if there's some shenanigans going in in post - as someone wrote on another forum almost a quarter of century ago, "The synth was used a lot on Somewhere In Time and Seventh Son, but it's difficult to pick out specific instances as the general guitar sounds are pretty processed anyway (lots of delay and chorus)."
Third of all, there is definitely a shift in sound, but I'm not exactly sure where.
Let's look at the intro, here's the original song
Here's an alleged isolated guitar track
And here's how they do it live
Although there is a difference between the isolated guitar track and the live performance, it is not that huge, mainly it's just slower live.
However, there's definitely some doctoring in the studio involved, because the studio track sounds quite different - so I get where adrian fn rules comes from - but I can't quite put my finger on what exactly is different.
Bringing this back around, I agree that the SIT songs sound a bit off to me live and it might be because the production of the album is so specific and omnipresent.
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JudasMyGuide
The resident reactionary recalcitrant
As for the original question, I thought about it for a while and the first song that comes to mind is SSOASS.
I saw it live twice, heard/saw Maiden England and various bootlegs and it was always a bit underwhelming.
The first part was actually better once they've unearthed it for the 13/14 tour - it seems to me that the particular vocal line Bruce has there suits him more as he got a bit older and the "choirs" in the subdued section aren't as off-putting as on the album (where they were obviously Casio-made and even more obviously out of sync with the rest of the band) - and also, you don't hear them as much.
But what truly elevates this song for me is the ending, the final three minutes, which are among my absolutely favourite Maiden moments ever which I'd rate 12/10 on their own and they were never able to quite replicate it on stage. It's good, but there's something about the studio performance which combines this ferocity with the calculated tightness... and the looser approach live does not fit it, really.
(Also, I like how the ending segues into The Prophecy on the album, there's a nice melodic/harmonic connection, which has obviously never been recreated live, but that's another matter entirely)
I saw it live twice, heard/saw Maiden England and various bootlegs and it was always a bit underwhelming.
The first part was actually better once they've unearthed it for the 13/14 tour - it seems to me that the particular vocal line Bruce has there suits him more as he got a bit older and the "choirs" in the subdued section aren't as off-putting as on the album (where they were obviously Casio-made and even more obviously out of sync with the rest of the band) - and also, you don't hear them as much.
But what truly elevates this song for me is the ending, the final three minutes, which are among my absolutely favourite Maiden moments ever which I'd rate 12/10 on their own and they were never able to quite replicate it on stage. It's good, but there's something about the studio performance which combines this ferocity with the calculated tightness... and the looser approach live does not fit it, really.
(Also, I like how the ending segues into The Prophecy on the album, there's a nice melodic/harmonic connection, which has obviously never been recreated live, but that's another matter entirely)
flat iron
Prowler
One more thing on Wasted Years: For all the guitarists among us, anyone who's ever tried playing this riff will have noticed that it's actually difficult to get the right amount of attack out of the high E string, especially with the 9s that Adrian would play. So I bet the riff part was heavily compressed, or they might have even used a heavier gauge string like an 11 or a 12 for it.
Diesel 11
As you scream into the web of silence...
The production is definitely what makes the song in the studio, and it definitely has a different vibe (I’m also not mad about it live, although it is a cool concert closer). But it does kinda stick out on SiT as an emptier track sonically, so I’m pretty sure that Wikipedia is correct. And yeah, in the studio that riff is electrifying but live it’s a bit of a different animal. I think it’s just a mix between H altering it so that it’s easier to play night after night and the studio being able to use more reverb and shit.
karljant
Ancient Mariner
There: I fixed it for you.
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Dick Brucinson
Dave Sustaine
Yeah interesting review. Do you have a link to your entire review on the Powerslave album? Would like to read it but wouldn't wanna search and haven't got the time to dig deep.
Vaenyr
Ancient Mariner
Sure! I'll get ready to be crucified lol
Time to review one of Maiden's most inconsistent albums. Starting with Aces High we have a song with some amazing individual sections, but somehow the whole product is far lesser than its components. I'll make the rather controversial claim that Aces High has only ever sounded good on the studio album. The vocals are incredibly demanding, requiring a ferocity and speed as well as a high register and a lot of indurence. Because of this there isn't a single live version of this song that actually works in my opinion. I know it's heresy and blasphemy, but I hate the way the verses (especially the ones in A minor) sound, they're simply awful.
The guitar melodies are great, the chorus is anthemic, the solos are stellar and I love the backing vocals in the chorus. The Flight 666 version adds a neat little harmony guitar to the outro which I really enjoy. Unfortunately it simply doesn't work as a whole track. All in all it's one of the most overrated songs in the catalogue and as the years have passed I liked it less and less. A 5.
(Side note: I know that Churchill' Speech is iconic and I chanted it word for word each time it appeared on a Maiden concert, but I can't really take it seriously with the way he sounds. I know that it was a historic speech and all that, but the dude sounds so insanely bored that the whole thing just sounds goofy to me.)
The guitar melodies are great, the chorus is anthemic, the solos are stellar and I love the backing vocals in the chorus. The Flight 666 version adds a neat little harmony guitar to the outro which I really enjoy. Unfortunately it simply doesn't work as a whole track. All in all it's one of the most overrated songs in the catalogue and as the years have passed I liked it less and less. A 5.
(Side note: I know that Churchill' Speech is iconic and I chanted it word for word each time it appeared on a Maiden concert, but I can't really take it seriously with the way he sounds. I know that it was a historic speech and all that, but the dude sounds so insanely bored that the whole thing just sounds goofy to me.)
After the disappointing Aces High we move on to a true classic. This song has it all: Great performances, stellar lyrics, amazing melodies, a mesmerizing middle section, interesting pacing with the slower pre-choruses before launching into the legendary chorus (with the lovely vocal harmonies). Especially love the live version of this song where the post solo section really comes alive.
I remember as a kid rewinding the Live After Death casette back to this song to listen to it over and over again. 9.
I remember as a kid rewinding the Live After Death casette back to this song to listen to it over and over again. 9.
Unfortunately the last of the instrumental tracks. I'm not the biggest fan of Powerslave as an album. It's not bad, but it has some low lows.
Even then though, the saving grace, and what really elevates the album in my opinion, is the amazing guitar work. Even the weaker tracks are filled with creative riffs and melodies. Losfer Words is one of the stronger tracks for me and really plays to the strenghts of the album. Interesting rhythms, riffs and melodies coupled with the best production for a Maiden album up to that point. The only thing I don't enjoy are the final seconds. That outro lick simply sounds weird to me. An 8.
Even then though, the saving grace, and what really elevates the album in my opinion, is the amazing guitar work. Even the weaker tracks are filled with creative riffs and melodies. Losfer Words is one of the stronger tracks for me and really plays to the strenghts of the album. Interesting rhythms, riffs and melodies coupled with the best production for a Maiden album up to that point. The only thing I don't enjoy are the final seconds. That outro lick simply sounds weird to me. An 8.
After a couple of great tracks we come across one of the weaker ones again. The introis brutal and makes you think that this is going to be another fantastic song. Unfortunately we get rather unremarkable verses and by the time the obnoxious chorus comes around it's clear that I'll never be a fan of this song. The vocal harmonies in the chorus (usually a huge fan of harmonies) ruin the whole thing for me. Gives me a bit of Sun And Steel vibes and I'm simply not a fan of Bruce's highest register. Just because he can hit some of those notes, doesn't mean he should.
The instrumental section is one of those I mentioned in the previous review, where I said that Powerslave has some amazing guitar work. If you'd strip this song of all vocal passages it would be an easy 8. As it stands currently the verses and especially the chorus drag it down to a generous 5.
The instrumental section is one of those I mentioned in the previous review, where I said that Powerslave has some amazing guitar work. If you'd strip this song of all vocal passages it would be an easy 8. As it stands currently the verses and especially the chorus drag it down to a generous 5.
Continuing with my reviews for Powerslave, we get another song that would've been a strong 9 as an instrumental. It has fantastic riffs, stellar melodies, and a constant driving 12/8 time signature. The instrumental section is amazing and leads to a somewhat better score than some of the other songs on the album.
That said, I hate the chorus. I hate the way the gang "oooh"s sound. I hate the register in which Bruce is howling. It's a shame, because the verses remind me of Where Eagles Dare, but in a much better composition this time around. If the instrumental work weren't as good the score would've been even lower, but now I'll have to settle for a 6.
That said, I hate the chorus. I hate the way the gang "oooh"s sound. I hate the register in which Bruce is howling. It's a shame, because the verses remind me of Where Eagles Dare, but in a much better composition this time around. If the instrumental work weren't as good the score would've been even lower, but now I'll have to settle for a 6.
Flash Of The Blade's bizarre twin, where a lot of my issues with the former are present in this one as well. Starts out with a blistering guitar riff, which is arguably one of the hardest in their entire catalogue. The verses are great, the instrumental section (just like all of them on the rest of the album) fantastic.
Then comes the chorus though. It's not as bad as FOTB, but it's still not as good as it should've been considering the rest of the song. The bridge towards the end is annoying. Little details all over the song that drag it down. A 6.
Then comes the chorus though. It's not as bad as FOTB, but it's still not as good as it should've been considering the rest of the song. The bridge towards the end is annoying. Little details all over the song that drag it down. A 6.
Finally a song on this album that I can genuinely say that it's a masterpiece and that I love it.
Don't love that whenever I listen to the verses my girlfriend starts singing Macarena to the galopping guitars
Bruce sings the song in a suitable register. The backing vocals in the chorus are fun. The verses and chorus are energetic. If this were all, the song would still be a 9, but of course the highlight is the instrumental section and the solos. Pure magic and up to this point chronologically easily the best song Maiden recorded. 10.
Don't love that whenever I listen to the verses my girlfriend starts singing Macarena to the galopping guitars
Bruce sings the song in a suitable register. The backing vocals in the chorus are fun. The verses and chorus are energetic. If this were all, the song would still be a 9, but of course the highlight is the instrumental section and the solos. Pure magic and up to this point chronologically easily the best song Maiden recorded. 10.
Contrary to how it may seem due to my consistent voting against it in the survivors I don't hate Rime. I don't even dislike it. I just believe it is incredibly overrated for what it brings to the table. Similar to Aces High, it consists of multiple moments of brilliance, that don't quite work as a whole piece.
The positives: Bruce delivers some of his best vocals up to this point of his career. I love the multiple uses of harmonized vocals. Many of the riffs are legendary and I especially appreciate the bass lines during the 12/8 parts.
The negatives: My biggest complaint is the quiet section. I love contrasts in songs and I'm all for songs having extended softer sections to build up the tension. Unfortunately I never got into Rime's quiet section. I get what Steve was going for, but it simply doesn't sound good or interesting to me. And this leads to the next complaint: I tend to love longer songs, but Rime doesn't make me want to listen to it and deal with its 13 minutes. Every section is a bit too long, causing the song to lose focus and, with that, my attention.
I'd rather listen to most of the other epics if I have a choice and because of that ROTAM is one of my least favorite epics. It still manages to get a 7, due to the things it does right, but I simply never got why specifically this song is so beloved by the fandom, when there are other songs much more deserving in my opinion. We'll get to those in due time.
The positives: Bruce delivers some of his best vocals up to this point of his career. I love the multiple uses of harmonized vocals. Many of the riffs are legendary and I especially appreciate the bass lines during the 12/8 parts.
The negatives: My biggest complaint is the quiet section. I love contrasts in songs and I'm all for songs having extended softer sections to build up the tension. Unfortunately I never got into Rime's quiet section. I get what Steve was going for, but it simply doesn't sound good or interesting to me. And this leads to the next complaint: I tend to love longer songs, but Rime doesn't make me want to listen to it and deal with its 13 minutes. Every section is a bit too long, causing the song to lose focus and, with that, my attention.
I'd rather listen to most of the other epics if I have a choice and because of that ROTAM is one of my least favorite epics. It still manages to get a 7, due to the things it does right, but I simply never got why specifically this song is so beloved by the fandom, when there are other songs much more deserving in my opinion. We'll get to those in due time.
Dick Brucinson
Dave Sustaine
Interesting, and in parts I'm with you. Though I guess that doesn't mean too much since my rating of some Maiden albums would probably be taken as odd by many Maiden fans. I myself e.g. don't like Piece Of Mind (the guitar sound in particular) too much while No Prayer For The Dying is my favourite Maiden album.
I especially agree with what you write about Bruno's higher note register.