At Real Gone, we very much consider ourselves Iron Maiden fans. Their best albums still represent some of the finest trad metal, and their best live shows – particularly those that look back through the past – create brilliant shared experiences for the fans.
Given how well loved their earlier material continues to be, it seems a pity that the band haven’t really revisited the archives very often. A few live shows appeared in the hard to find and expensive Eddie’s Archive box set, but save for a welcome CD reissue of ‘Maiden England’, very little from the past has circulated.
Covers albums can be a hit and miss prospect. For every band willing to take risks, there are three dozen hacking out uninspired versions of other peoples’ songs in the name of a quick buck. As proven by Jorn Lande, metal based covers albums can be an even trickier thing to pull off successfully, since not everything needs – or even suits – being “heavied up” in the name of entertainment. In fact, the experience of hearing Lande wail his way through Don Henley’s ‘New York Minute’ could be enough to put you off metal oriented covers albums for life…
Every so often, a record producer comes along whose mastery of the studio takes on a legendary status. The early years of pop showed off the technical talents of George Martin and Phil Spector; the world of disco gave a platform to Quincy Jones and Geogio Moroder (Quincy’s hand in making Michael Jackson’s ‘Off The Wall’ a global success cannot be understated – it’s a stunning sounding record) and the rock scene gave Martin Birch plenty to apply a distinctive style.
With the decade coming towards its end, 1988 was a genuine mixed bag. Pet Shop Boys released some of their best ever work; Elton John’s ‘Reg Strikes Back’ album marked somewhat of a comeback for the megastar after five years of intermittently enjoyable material and Jane Wiedlin hit the UK singles chart with ‘Rush Hour’, arguably one of the decade’s greatest pop singles.
With debut albums from Crowded House and The Housemartins standing alongside massive hits from Madonna, a-ha and Red Box, 1986 would already have a strong enough grounding to challenge 1984 as one of the decade’s finest years for music. With Huey Lewis’s ‘Fore!’ challenging 1983’s as his masterpiece, a strong AOR debut from Robert Tepper and Jackson Browne’s ‘Lives In The Balance’ channelling a very commercial sound, it was also very much a year for great Transatlantic AOR and sounds that now seem so entrenched within that decade, you can’t help but love them.