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20 illinoisentertainer.com january 2019
IRON MAIDEN
The Studio Collection –
Remastered
(BMG)
BMG has released its first batch of
remastered Iron Maiden CDs, including
four key titles from the heavy metal icons’
celebrated early run of U.K. releases. The
discs, stamped with the 2015 “Mastered
for iTunes” indicia, earned top marks from
both the band and fans for audio quality.
The music hits hard and heavy, and the
new releases benefit from the full-band-
width audio allowed by CDs compared to
the digital-only campaign. This wave fea-
tures the band’s first four groundbreaking
releases: 1980’s Iron Maiden, 1981’s Killers,
1982’s The Number of the Beast, and 1983’s
Piece of Mind. Since the albums follow the
original British track listings, the debut
album
omits
non-album
single
“Sanctuary” that appeared on the first
North American pressing. Songs from
***Iron Maiden including the wild-child
anthem “Running Free” and signature
song “Iron Maiden” feature vocalist Paul
Di’Anno, who continued with the band to
make Killers. Although the band them-
selves have criticized the production of
Iron Maiden, this remastered edition makes
the most of the band’s early ferocity, draw-
ing out the graceful speed of bassist Steve
Harris on songs like “Phantom of the
Opera” alongside guitarist Dave Murray’s
snarling bite and Dennis Stratton’s bluesy
soloing. Killers tracks including early
Harris composition “Wrathchild” and the
Edgar Allen Poe-themed “Murders in the
Rue Morgue” were the first to feature gui-
tarist Adrian Smith. North American
inclusion “Twilight Zone” is omitted. The
Number of the Beast was the first Maiden
album to feature the siren vocals of Bruce
Dickinson, tearing a hole in the sky with
the anthemic “Run to the Hills.” Harris’
lyric surveys the violence of colonial
expansion into native America territory.
Other tracks, including the furiously-riff-
ing title track (with Dickinson’s blood-cur-
dling
scream)
and
album-closer
“Hallowed Be Thy Name,” found the band
maturing into their full power as genre-
defining songwriters and players. Piece of
Mind blends the band’s classic lineup with
the addition of drummer Nicko McBrain.
The frenetic gallop of “The Trooper” has
endured among the band’s most recogniz-
able songs, featuring the harmonized gui-
tar leads of Smith and Murray and Harris’
first-person tale of an ill-fated soldier in
1854 during the Charge of the Light
ROLLING STONES
Beggars Banquet
50th Anniversary
2LP+7.
Edition
(ABKCO)
The Stones’ 1968 release Beggars
Banquet is a rarely-disputed classic and the
final complete album from the quintet's
original lineup including Brian Jones. The
album finds the band refocused following
the psychedelic wandering of 1967’s Their
Satanic Majesties Request, and on LP fea-
tures two sides led by the group’s sharpest
forays into social protest. “Sympathy for
the Devil” launches side one with Mick
Jagger’s feral vocal and sly characteriza-
tion as the unholy source of the world’s
unrest, conflict, and hardship. Keith
Richards’ brash acoustic guitar (recorded
on portable cassette) propels the restless
“Street Fighting Man” at the top of side
two. The song is elevated by session man
Nicky Hopkins’ sparkling piano and is
given period-appropriate decoration by
Jones’ sitar and tamboura. The Glimmer
Twins duet on the cheeky country waltz
“Dear Doctor,” collectively posing as a jilt-
ed but ultimately relieved lover aban-
doned on his wedding day. Bill Wyman’s
loping bass spars with Jones’ acoustic and
Richards’ slide guitar on the Dylanesque
“Jig-Saw Puzzle.” Charlie Watts’ simple
but urgent backbeat focuses the Delta
blues homage “Prodigal Son” and drives
the unnervingly lurid rocker “Stray Cat
Blues.” Following the Appalachian folk-
styled “Factory Girl,”Beggars Banquet clos-
es with “Salt of the Earth.” The latter song
is a tip of the hat to working-class fans fea
Continued on page 24