The Liver Birds

Okay… I warn you in advance.  This is gonna be one looonggg post!  I have a lot to say – or rather a lot to show.  Look… think of this as a book.  A post that you can dip in and out of.  Like that bird thing that drank the water that Homer used to keep the Nuclear Power Plant running.  Just a tappin’ that key.  Ha ha!

I went to Liverpool.  I saw a lot of things, and I took a lot of pictures.  Some of these pictures will end up as band artwork so I may hold them back.  But I will try to reveal as much of interest as I can.

First things first.  I took the ferry across the Mersey.  Sing the song in your head whilst viewing the photos.  This ferry crossing gave me the first chance to see the Liver Building.  The Liver Building will be talked about in detail a little later.  It also enabled me to see the Port of Liverpool building from the water.  The Liverpool river front is certainly a captivating sight!

(note the huge cathedral in the 5th image… we’ll see more of that later!)

I visited Liverpool on the Centenary of the construction of its most famous building – the Liver Building.  This is one fantastic piece of architecture.  And to celebrate 100 years of its existence it was lit with a dazzling display of head spinning lights.  And I had the best view possible.  ‘Cause I was on the roof of the building opposite (a great Pan-Asian restaurant).  That restaurant was THE place to be in Liverpool that night.  The bouncers on the doors were working their asses off!

The Liver Building is the most amazing sight even without the light show.  Like the top of a sky scraper cut off.  Like you’ve cut the top off a boiled egg with a spoon.  And the building has two birds sitting on top of it.  The Liver birds.  There are many stories regarding how the birds came to be there and what they signify to the city – but safe to say, Liverpool would be in crisis if the birds were to fly away.

I just love this shot.  Reminds me of Ghostbusters!

This celebration also marked the opening of a new Museum dedicated to celebrating all things Liverpool.  I gotta say… I was not impressed with the museum.  I think they are gonna have to find a few things to actually put inside it.  At the moment it is just one HUGE empty staircase!!!

I filmed a short video to give an example of the light show.  It’s not exactly representative of actually being there.  But it gives you a flavour.  I particular liked the syncing of the sound to the light during the sequence played out on the museum building.  I know this kind of technology has been used before on famous buildings around the world.  But this was the first time I’ve seen such a thing… and it blew me away:

Anyway, like I said… superb light show.  And marking 100 years of an important British landmark.  And I was there!  Yippeee!!!!

I also entered the Port of Liverpool building.  Some great examples of extravagant architecture in this building.  Flourishes from a time when Britain ruled the world!

First thing the next morning I made my way to one of the most important buildings I have ever stepped into.  John Lennon’s childhood home:

This is the house John Lennon lived in with his Auntie Mimi throughout his childhood.  It is the house he lived in when he met Paul McCartney.  It is the house he lived in when the Beatles were formed.  It is the house that the young Lennon would sit in at night and listen to the radio – probably the Goons.  If you are a Beatles fan then it’s a pretty important place to be. I say “place to be”, because there really is a feeling of ‘occupying the same space’ if you catch my drift.

The house is ‘by appointment only’ so the general tourists can only stand outside the gate.  At one point this was strange ’cause you have to understand that the house is just an ordinary looking house in an ordinary looking street.  So at one point I’m standing in the porch.  Now this is interesting to me as this was the porch that John and Paul used to hang out in with their guitars (Aunt Mimi wouldn’t let Paul in any further!).  So I’m standing there… basking in the ambience… when I look out the window to see 100 Japanese tourists taking pictures, of the house, of the porch, with my face looking out.  Hmmm… way to be famous!  Ha ha!

Seriously though… fantastic ambience.  You get a free reign of the house (after having your camera locked away!).  I stood in the small room where John would listen to the radio.  I stood in his bedroom.  I kind of felt the presence of a young John being rebellious in the house to the lodgers that Aunt Mimi would invariably accommodate.  For a fan like me… fantastic!

Although the house is ‘just’ a house… it has a certain aura.  It even featured on the cover of a single by Oasis – Live Forever (although they had the sense not to wear a Pac-Man T-shirt!)

So….hmmm… where to go after John Lennon’s childhood home?  Hmmmm… How about Paul McCartney’s?

20 Forthlin Road is similar to Lennon’s house in that you have to book to get in.  It’s a terraced house in a typical street.  A little poorer that Lennon’s area.  Again, I have no photos from inside the house as they lock away all cameras.  The purpose of this is that there are unpublished photos and artefacts inside.  Although the ambience was slightly different to Lennon’s house, in many ways this is actually the more important of the two houses.  This is the house that a lot of the early Beatles songs were written.  I have photos of John and Paul writing songs in this house.  I have grown up with those photos – and finally I was able to stand in that living room and place one foot where I know Paul sat, and one where I knew John sat.  For a moment there I was literally standing in history.  For a Beatles fan like myself this is/was a huge deal.  Standing in Paul McCartney’s bedroom.  Seeing the drain pipe he climbed up to get into his room when the house was locked at night.  Most importantly though… to stand on the original tiles of the kitchen floor.  These tiles had been stood upon by all four Beatles.  Sent a shiver up my spine!!!

McCartney’s mother died a year after he moved into this house so it obviously holds mixed emotions for Paul.  He has never been back since he left.  But nevertheless… it makes an interesting pilgrimage for a Beatles fan!

Okay… here’s something I wasn’t going to do… but anyway.  Here’s a song I wrote inspired by the visits to those houses.  It is called “Last Night But Three“.  It will be the centrepiece of my next Confession of the Whole School album and this is a sneaky surprise just for my devoted fans (It won’t be available to anyone else until the release of the next album).  Why not press play and then read the rest of the article?

So… Childhood homes… Childhood homes.  Where to go next?  Hmmmm… How about Penny Lane?

Penny Lane is a street that forms a junction not far from Lennon’s house.  At the time of the boys’ youth this would have been a very busy junction as it was next to a bus station.  The area is quite upmarket now and a barber shop is still there.  Other than that, this place probably holds more interest for me than anyone else. For your average person it’s probably just another street.

I hold McCartney and his Beatles-era songs (such as Penny Lane) in high regard.  He is a much maligned Beatle with most people forgetting that it was actually McCartney who was the experimenter.  It was McCartney who wove the tape loops and inspired the most psychedelic songs such as Tomorrow Never Knows.  It is McCartney who did not get murdered and therefore did not become a deity.  And it is McCartney who is our greatest living songwriter.

Anyway…

To take a break from the Beatles for a second I would like to show you a few photos I took at that huge Cathedral that we could see from the Mersey Ferry.

A breathtakingly big cathedral… I think my photos do it justice!

And the views from the top of this monumental building were incredible!!!

And a bomber just happened to fly past!

And … relax… Ha ha!  So… off to the Cavern!  Yay!

So… The Cavern Club… Possibly the most famous club in the world?  Everyone knows the story of how this iconic building was demolished right?  It was an underground club and was filled in as part of some kind of railway work.  A National Disaster if you ask me!!!  Anyway… the Cavern was rebuilt with many of the original bricks and to roughly the original layout in approximately the same place.  So you can now go to the Cavern as a Beatles fan and pretend to let its atmosphere wash over you.  I was genuinely surprised at how much of a “gigging venue” this place actually is.  I want to play there.  Ha ha!  You get that feeling of cramped conditions and sweat dripping off the ceiling.  You can almost imaging the Beatles playing there.  When I walked in I was amazed at how deep down into the ground you feel you’re going.  Some guy was on stage playing Beatles songs to anyone who shouted a song title out.  I was actually pretty impressed with him. Good luck… whoever you are. Here’s a (very) short video:

The original entrance to the Cavern still exists:

As I said at the beginning… I shall hold a bit back for future artwork… but I hope you got a taste of Liverpool.  From my experience, a city that is still very proud of the Beatles.  In fact, if they’re going to have a museum dedicated to the city then they’d better find something other than the Beatles to put in it.  The city seems to exist in the shadow of the Beatles… and what a fantastic shadow that is!  🙂  Thanks to Ioanna and Pete for their amazing knowledge of the city!

Remember, Remember, The 11th Hour is a coming!!!

This is just a reminder to check out the Eleventh Hour Initiative website

The Eleventh Hour Initiative website is the place to be for all things Eleventh Hour related!  The Eleventh Hour Initiative is my ongoing project with American Indie star Bill Ryan.  The debut album is almost complete and the countdown to the official release is close.  Very close!

The album, Escapism, is an important album for me for so many reasons.  Reasons I will no doubt expand upon one day.  But for now… I suggest you head on over to the site and sign up.  You will get a special password which will enable you to see goodies blocked from the general public’s view!!!

www.eleventhhourinitiative.com

Mastering

1723 hours 17th  June 2011 – I sit here in my studio to take on the most difficult task of all.  To MASTER the Eleventh Hour Initiative’s debut album “Escapism”.  Mastering a piece of music basically means making sure it is ready for public consumption.  I am excited at the prospect… yet nervous too.  There are so many decisions to make.  Some are complicated, others are emotional.  I shall try and explain as I progress.  At the moment I am making some observations and notes in my little black book.  Perhaps I’ll share them later too!  I warn you that those of you who have no real interest in HOW music is created should look away now.  THIS POST WILL BORE YOU!  For those of you still here… read on.  There is very little written regarding mastering an album.  The recording and mixing always get the plaudits!

1808 – Frustrating already.  Bloody computers! Ha ha!  The modern studio!  I’m just working on Try and Get Some Sleep.  This is a fantastic little song and still well worthy of the “first track on the album” accolade!

Oh… here are those figures which I may discuss later.  These numbers are extremely important and actually tell a very interesting story!

Reading, Writing and Arithmetic – DR 12, RMS -15.7

Chinese Democracy – DR 10, RMS -12.7

Weekend in the City – DR 5, RMS -7.7

At War with the Mystics – DR 4, RMS -7.3

Death Magnetic – DR 3, RMS – 4.2

Them Crooked Vultures – DR 5, RMS -6.4

The Wild Hunt – DR 8, RMS -11.6

Along Came a Spider – DR 6, RMS -8.8

***  I collated these figures myself by running the CDs through my computer using a special audio capture program. ***

DR stands for Dynamic Range – the range of difference between quiet and loud.  A higher DR means more range of volume.  Get it? The RMS is basically the average volume.  The lower the RMS value the louder the song.  Generally speaking, the louder a song is…. the less dynamics it has.  At its most blatant this becomes a barrage of noise.  Quite befitting for some styles of music, but this is the standard that everyone is adapting to.  The accepted norm.  The accepted way to get your songs heard.  But the sheer volume can be tiring on the ears and can ruin certain forms of music.  Anyway…

1820 – I think I’m pretty happy with Try and Get Some Sleep.  The song has a bounce in its step.  I had a lucky strike on the first go and hit my target with my first shot!  Fingers crossed everything will be as easy.  I have certainly done enough work to this point to make this final step as easy as possible.

1833 – hmmm.  Here we go with Pitfall…  gulps. 1843 – still gulping ha ha! I’m just running off a mix now.  We’ll see if I hit the spot first time?!?!  1854 – Missed… but I think I nailed it second time.  So… onto Escape Plan.  This song has the potential to be a pretty big song for the band so I’ve got to get it right!

1907 – So, making a start on Escape Plan.

1933 – Not a lot of progress.  This song is a studio breaker!  A lot of different (temperamental) reverbs going on.  This song is a computer destroyer!  Ha ha!

2008 – I think I’ve got Escape Plan right.  I will obviously need to listen to the finished album through and make any final tweaks… but for now I think I’ve got it kicking.

2018 – Tinkering with the Calm and the Storm now.  This one is a bit of a classic.  And an epic.  Need to get it right.  It’s all about that bit Beatles-esque ending!  🙂  Yep… puts a smile on my face when I get it right.  I’m on my third run through now.  It’s a delicate balancing act.  If I can get the overall feel of the album right then I may have just been the ‘producer’ on the best album of 2011.  😉  2024 – yep… I think that run through has got it!  This is one of the tricky ones in the set.  It has so many very quiet parts.  This is the one that might throw the feel of the album.  When I am wearing my “mastering” hat I have to make sure that the level of this particular song sits right in the context of the album.  This is the song that I may well have to fine tune in the cold light of day upon repeat listens to the album as a whole.

2040 – Working on Life Will Be the Death of Me at the moment.  This is such a great song.  Perhaps my favourite on the album.  It’s got everything I like in a song.  Just got to make sure it sits in the ‘frame’ of the album as beautifully as it does in my head.  I know I’m talking a mixture of poetic bollocks and technical jargon… but, hey… this is a site about music for people who are interested in music!  2043 – Just running through the song for the third time.  Tweaks here and there. I’m only really messing with the overall volume levels here.  The majority of the work was in the mix. And I’ve lived with the mixes long enough to know that they’re right.  This has been the advantage of building the album up song by song over a year.  It has enabled me and Bill to really get to know the album.  In detail.  Now I’m just rounding it off.

2209 – Having a (careful) Jack Daniels and listening to the 5 songs so far.  Sounding good.  I shall call it a day for the moment!

2241 – Typed a message to Bill.  Hey… I haven’t had anything to eat since this morning!  Hmmm… cheese on toast beckons!  Night people.

1600 hours 18th June 2011 – Here I go again.  Just having a listen with fresh ears to the work I did last night.  I can immediately hear that I need to tweak a couple of things in Pitfall.  I also need to bring the volume of Escape Plan down slightly.  Although ‘theoretically’ it’s right (at about -11.6 RMS)… my ears tell me it’s slightly off.  At the end of the day I have to trust my (partially deaf) ears. They got me to where I am today!

Although I noted last night that I thought I’d have to increase the punch of Calm a little… today it sounds just fine.  So I think I’ll leave it be.  Hmmmm.  I seem to have a fair bit of work to do before I can even begin on the next section of the album.  😦  I do a downturned face… but really, this is quite exciting.  The last part of a process which has taken a year already!  So I’ve got to get it right!  Yes… the Calm and the Storm sounds fantastic.  It gives a smack in the mouth while quietly caressing you at the same time!  Ha ha!

1643 Noted that Life will be the Death of Me has a few noises in the chorus which I need to check out.  Were they intentional sounds? Just gotta check that out.  My notebook is full of workings, notes and figures!  Ha ha!  Like a scientist or something!

1707 – so  I’ve made a couple of adjustments to Pitfall.  They may not be enough… but I’ll allow them to settle and see how they sit within the context of the album later.

1720 – a little tweak needed to Escape Plan and it’s STILL crashing my whole studio.  I don’t know what it is about this song?!?  I know it’s a classic, but does it have to be so temperamental??? 🙂

1736 – Hmmm. The ‘noise’ in Life will be the Death was a little glitchy beat.  There on purpose to screw with your ears.  Therefore I have left it alone.  I should have had more faith in myself!  Ha ha! 1737 – Now I can move on to the next set of songs!

1753 – Ready Set… Explode! sounds superb.  Great little song.  Explosive ending!  Haha!

1757 – Here we go with Mean Machines.  I anticipate this being one of the trickiest songs to get right.  It is such a heavy, loud dance orientated song.  It is naturally loud.  It has natural power.  I have to tame it gently!!!

1927 – I’ve reached Chasing Chaos now.  Another explosive song. I think I’m nailing everything so far.  I will still have to have another listen to everything I’ve done later and make sure I’m on track.  Any changes I make during this session will be part of the album FOR EVER!  See… it’s important stuff.  I’m on my 7th coffee!  I feel quite alone here.  Trapped in the studio.  Am I a scientist or a prisoner?  1937 – Never have I been so precise.  I suppose the eyes (or rather ears) of the world will be on this album more than anything I’ve done previously.  Therefore it probably warrants the time and effort!  In fact I feel this album is the culmination of 20 years work. The pinnacle of my musical effort. The music on this album is, if I say so myself, pretty superb.  Listening to it through in this much detail really highlights the intelligence and the catchiness of these songs.  They are more than a collection – this is an album in the true sense of the word.

2120 – PULLING MY HAIR OUT!!!  See, now I remember something which I had forgotten!  Where We Go Next crashed my studio.  I remember I managed to get one version off the computer before it died.  That was last year.  And that is the version that has been streamable ever since.  But now I want to produce a new version for the Download/CD whatever.  … (for the album would be more accurate).  This new version needs to fit in with the feel of the other songs.  But I can’t access the song because it is corrupted!  Arrrrgggghhh!!!  So.. I’ve spent the last couple of hours rebuilding the song.  I’ve even re-recorded the drums.  Hmmm.  I’m pretty pissed off right now.  I can only hope that I manage to produce a better version than before.  That is usually what happens when these things are sent to test me! 2131 – I’m trying my best.  If I get this right I think I’ve managed to not only salvage the situation… but I may just have produced a better version than the original!  Woohooo!

2138 – I think I’ve done it.  I will need to listen to it again in the morning….  But I think I’ve nailed the song.  If anything the song now breathes more and yet still packs a gutteral punch towards the end.  Cool.

2152 – I think I’ll call it a day for now.  I’ve had a skim listen and I can still hear a few things that ain’t right.  But on the whole I think I’m nearing a perfect album.

0958 hours 19th June 2011 – Okay… I sit here with a coffee.  Ready to run through what I have so far and take MORE notes! Haha!

1017 – As first run throughs go it wasn’t bad.  But I have to change the levels of most of the songs.  It’s just that new day, morning, fresh ear thing.  Anyone who produces music to any extent will know what I mean!

1130 – Another listen through the album-so-far commencing.  Hmmm… A flick through the songs suggests that I need to put the levels of Pitfall and Mean Machines up even more.  But other than that I think I’m nearing the finishing line!  (Thank God!).

1440 – Yep… Still tweaking this set of songs.  (I’ve painted a wall too – just to give myself a break! Ha ha!).  Can’t wait to move onto the final batch.  Until then though – I’m still trying to get a trio of songs correct.  Pitfall, Mean Machines and Thousand Steps.  If I can get these right then I’ve cracked it!

1515 – Just completed those tweaks.  Just checking some other albums to see what they have by way of dynamic range.  I’ll add them to the list at the start rather than here.  Them Crooked Vultures packs a punch at -6.4 RMS!  Just running Tallest Man on Earth through now.  A very “home recording” sounding album… I expect a lot from it!  Hmmm… -11.6 RMS.  As I expected really.  A Dynamic Range of 8.  I can understand how most rock bands want to have a crushing, in your face sound… and Them Crooked Vultures certainly achieve that. The thing with the Eleventh Hour Initiative album is that there is a lot of darkness and light.  It needs to be treated a little more gently. It’s not about numbers… it’s about ears.  But still… it will be interesting to see if I can pull off a Dynamic Range figure of around 8.  This is pretty much the magic number.  The balance between sounding bouncy and interesting, but still having enough sheer volume to attract the crunch crowd!  Ha ha!

1627 – Just running off a version of Twelve. The twelfth track on the album.  And it’s called Twelve. (see what we did there!). 😉 I need to listen to the last couple of songs in the context of the album.  But I now have a complete set of songs to evaluate.

2045 – HUUUGEEE Chinese for Father’s Day!  Completely bloated. Now back here I sit.  In my cell.  Three more ‘tweaks’ to do before I can have a “headphone listen-through”.

2319 – It has been a LONG few days.  I’m still in my cell.  But I’m listening through the entire album on my high quality headphones and it sounds amazing.  I think I’ve finished.  I SAID I THINK I’VE FINISHED!!!!  Bloody hell.  That was an ordeal.  I’m not saying that the final outcome isn’t fantastic… but that was a long slog. And it’s probably not over yet.  But at least I now have a set of songs to burn to a CD and subject to a week or so in the car.  That is the final test!  Ha ha!

So, how does Escapism compare to those albums I measured myself against along the way.  Well… it weighs in with a Dynamic Range of 9 and an RMS of -11.4 which is not bad at all.  In fact, I was aiming to hit a DR of roughly 8… so I am well chuffed.

Chinese Democracy – DR 10, RMS -12.7

Escapism – DR 9, RMS -11.4

The Wild Hunt – DR 8, RMS -11.6

It slots in between Chinese Democracy and The Wild Hunt in the scheme of things.  And this is bloody marvellous.  An album that cost $10,000,000 and an album that I rate as the best of recent years.  The DR number is the magical number.  I seem to have managed to get more Dynamic Range than the Tallest Man on Earth whilst at the same time being (marginally) louder.  That is not bad at all.  In fact I’d go so far as to say I have done well.  You done good pig.  🙂

This is of course all a load of bollocks if you have no interest in studio related music production.  But for those of you have stuck with me through the 25 cups of coffee you’ll understand that music is a game.  A game where the loudest music wins.  It has been this way for the last 20 years. You see, when the CD was first invented it opened people’s eyes/ears to the possibilities of increased dynamics in recorded music.  Dynamics meaning the extent of the difference between a quiet sound and a loud sound.  Now… to cut to the chase (a book could be written about this!) over the years it was realised that the general public seem to flock towards loud music. Therefore artists would make sure their music was the loudest – so it would win the loudness war on the radio.  Bear in mind that this battle has been raging since the beginning of musical time with similar wars being played out over vinyl jukeboxes.  But the CD changed the terms of engagement.  And producers realised that you could make a CD VERY loud!  So over the course of the 1990s CDs became louder and louder.  The upside to the loudness is obvious.  Volume pricks the consumer’s ears and therefore leads to increased record sales.  The downside is that the dynamic range which I have been bleating on about is squeezed.  It is reduced.  The difference between the lows and the highs becomes non-existent.  Everything is just LOUD!!!

With music the excitement is often from the quiet LOUD quiet LOUD aspect.  Think Nirvana, Pixies, Jeff Buckley you name it.  When you squeeze every drop of ‘loudness’ from a CD you lose this thrill.  It can become a chore to listen to.  And yet everyone does of course want their music to be loud.  In a way you can’t win.  It’s about compromise.

The mp3 digital download hasn’t changed anything.  I chose to put streamable versions of the Eleventh Hour songs on the internet over the course of the year.  This was primarily to enable Bill and I to get a feel for what songs worked, and ideas for a track listing.  I chose to join the loudness war to a certain extent.  There are far better purveyors of the battle out there though.  You only have to listen to Soundcloud to hear songs that are amazingly LOUD.  To the point where I don’t quite know how they did it. (well, that’s not entirely true.  It is far easier to make electronic music frighteningly loud and most of Soundcloud is electronic).  But I didn’t want our songs to be unfairly dismissed so I made sure they were able to at least stick their heads above the parapet.

I like the story about the mastering of Chinese Democracy.  Now, bear with me, you don’t have to like Chinese Democracy to read this story.  Axl Rose worked on his Guns N’ Roses album, “Chinese Democracy”, for a decade.  He spent a ton of money on it.  Went through musicians and producers like a knife through chocolate mousse. So when it came time to mastering the album you can imagine that he was probably pretty intense about it!  Ha ha! Mastering an album means getting the levels right and giving the songs the syrup that glues them together into an ‘album’ rather than a ‘collection of songs’.  So Axl must have been excited but scared too.

The producer gave Axl three versions of the final album to choose from.  A squashed, loud, commercial version, a middle ground version, and an album with the dynamics intact.  Now… bearing in mind the pressure Axl would have been under to recoup the money invested in the album you could be forgiven for thinking he went for the obvious choice.  The producer certainly thought he would.  He gave the three albums to Axl and told him that the dynamic album was his own personal choice.  Ha was surprised when Axl picked the dynamic version over the LOUD version.  This decision went against all “common sense” of the time.  It was brave.  And I think that even if you don’t like him or his music it does at least paint one aspect of his character in a positive light!

Okay… I have rambled here.  And this will probably be the longest post I ever write.  But I am describing choices.  Choices musicians have to make.  I am part of the loudness war as is every musician on the planet and I have learned from it.  I have picked up on certain production techniques.  Certain processes which are often used to make a track louder can also be used in an artistic manner.  These flourishes can be heard all over Escapism.  But Escapism is no longer a LOUD album. It is still a loud album.  But it is not a LOUD album. Do you get my drift?  I want this album to kick like Pump by Aerosmith, or Back in Black by AC/DC.  It is my choice.  I want the music to bounce.  And as I sit here listening to it, it certainly does bounce.  It all sounds bloody brilliant.  But it is still a loud album.  This is alternative rock not jazz.  An RMS of -14 (which is considered by audiophiles to be a good ball park figure) would not be right for this album at this time.  You have seen the numbers which I set out at the beginning.  Those albums were picked pretty much at random (they happened to be next to the computer… well… okay … I may have run downstairs to fetch Death Magnetic!) and yet they are the kind of albums that Escapism will have to stand along side.  And as I listen I can hear that this album will stand proud.

I think I shall stop typing now.  It is late and I have rambled.  But I’ve been able to set my thoughts out along the way.  I’ve documented the journey.  That was what I created this site for in the first place.  I thank you.  Good night!

Album Review: Iron Maiden – ‘Powerslave’

Here’s a new thing I’m gonna do.  I’ve always been a fan of album reviews.  As a student I lapped up NME and Melody Maker.  My problem with most reviews is that they’re written so close to the event.  So soon after an album release.  Therefore likely with very few listens.  You only have to read the reviews of Be Here Now by Oasis to realise how badly wrong things can go!!! This has always foxed me.  You see, I am one of those people who sticks a CD in the car (yes… still a CD!), and then listens to that CD until destruction.  Often months at a time.  And after the monumental number of ‘listens’ I rack up I truly know the album inside out.  I know the good and the bad.   In my head I then imagine I’m reviewing the album.  And the review is always easy because I know every single note of the album inside out.  If reviewers had to live with an album for 6 months you would get a whole different appraisal!  Probably a very honest one!  But of course… that’s impossible.  You need the review before or on the day of release!  So… anyway… I’ve decided to stick up the occasional review on this site.  The reviews will give a window into my world.  The albums I choose to review will not necessarily be representative of anything in particular… but they will be a snapshot of my life!

So… recently I’ve decided to listen to a cassette in the tape player of my van.  I’ve got a CD player in the car and a tape player in the van.  Now.. having moved house a couple of times I found it extremely difficult to actually find a cassette to put in the van!  I’ve only got CDs, and even then most of them have now been stuck onto the computer as MP3s.  You definitely get a sense that “physical media” is dead and buried!  Anyway… I managed to find one, solitary tape.  Powerslave by Iron Maiden.  An album I never owned on anything other than cassette.  So… a couple of months ago into the van it went.  And 100 listens later:

Okay.  Powerslave.  Hmmm.  First of all, you have to bear something in mind when you listen to my thoughts on this album.  Iron Maiden were pretty much my first love.  The most accessible of ‘metal’ bands, and for me, one of the most important.  At the time I bought this cassette, probably the late ’80s, I was much more into CDs and therefore this particular album was one of my least played of Maiden‘s career.  However, that is not to say I didn’t know the songs.  Many of these songs were played on the associated tour and were captured on the concert CD “Live After Death”.  In any case, when I say this album was one of the lesser played of my Maiden albums, I’m probably still talking 10,000 listens!  Ha ha!

Anyway, having listened to it in the van over the last couple of months I can say that the first thing that strikes you is the production.  The whole album has a warm, punchy, analogue sound.  In fact I’d go so far as to say that this is the archetypal “Iron Maiden sound”.  A lot of this probably has to do with the fact that I have only ever listened to this album on tape.  Tape has that effect on a sound. Any sound.  But it seriously suited Iron Maiden.  And so I listened to my old, worn, warped tape.

The era of Powerslave was arguably Maiden at their peak.  It was released in 1984 and features the “classic” line-up of Bruce Dickinson, Adrian Smith, Dave Murray, Nick McBrain and Steve Harris.  This is THE Maiden line-up.  And funnily enough, through thick and thin this line-up is still in existence today.  There have been a lot of ups and downs along the way – and in fact Maiden lost me as a fan for a good few years – but the nostalgic line-up is back together (with an added Geordie for extra measure).

So, Powerslave.  This album has the weight of a thousand sweaty teenage boys’ dreams on its shoulders.

Marty:  Let's talk about your music today...uh...one thing that puzzles me
        ...um...is the make up of your audience seems to be ...uh...
        predominately young boys.
David:  Well it's a sexual thing, really isn't it.  Aside from the
        identifying the boys do with us there's also a re-reaction to the
        female.....of the female to our music.  How did you put it?
Nigel:  Really they're quite fearful - that's my theory.  They see us on
        stage with tight trousers we've got, you know, armadillos in our
        trousers, I mean it's really quite frightening...
David:  Yeah.
Nigel:  ...the size...and and they, they run screaming.

Powerslave opens with Aces High.  A great opening song.  One of the greatest opening songs!  An interesting fact about Maiden (and perhaps a lot of heavier music generally) is that very few of the songs are about ‘love’.  There are no standard ‘love songs’.  Maiden take this a little further in that most of their songs are completely impersonal.  They tend to be songs about war, songs based on books, TV or poetry.  Aces High is a war song.  It’s the song they opened their gigs with at the time.  They spliced a Churchill quote onto the front of the song and it went down a storm.  A real kick of a song.  A song that Dickinson tended to struggle with live at the time.  As a singer he earned the nickname “the air-raid siren”.  And this album features much of his absurdly high pitched singing.  And he expanded on his “rasp”.  A voice used to greater effect in the ’90s, you can hear it evidenced on this album.

Two Minutes to Midnight then slices in with its great opening guitar riff.  This was Adrian Smith’s song and you can tell.  It has a different fire to the other songs.  Steve Harris tends to be the main songwriter for Iron Maiden.  In fact… to be honest that is a huge understatement.  Steve pretty much IS Iron Maiden.  But Two Minutes to Midnight certainly showcased what the other members could achieve if they were allowed to!  Dickinson is at his vicious best.  I used to have the poster for this song on my wall as a kid.  Eddie (the band mascot) sitting in the foreground with a nuclear explosion mushroom cloud serving as the backdrop.  Awesome artwork. Awesome song.

In fact… now that I’ve mentioned artwork I think I might just mention Derek Riggs.  Derek was the artist for all of Maiden‘s ‘golden-era’ work.  He came across as a strange little man on the only footage I’ve seen of him.  But at his best (during the ’80s) he came up with some inspirational album cover art.  Perhaps some of the best.  Although I personally favour some of the other album covers, I have to admit that Powerslave is a classic.  Yes… a classic ‘metal’ album cover.  A classic album needs a classic cover.  Hmmm… do you think I’m gonna end up concluding that this is a classic album by any chance?!?  😉

The next track on the album is a strange one.  Losfer Words (Big ‘Orra).  Now, I was never a fan of the name of this instrumental.  Not then and certainly not now.  Poor.  Very poor.  But I have to look beyond the title and into the meat and two veg of the song.  And actually… it’s a pretty damn fine instrumental.  Certainly not up to the standard of something like “The Crusade” by Trivium (that IS an instrumental to end all instrumentals!), but it is a real tour de force for Steve Harris and Nicko McBrain.  Steve is the bass player and Nicko is the drummer.  And this song, and in fact this whole album is about the bass and the drums.  I think Steve and Nicko as a team were at the top of their game on this album.  Losfer Words is a mental showdown for the pair.  Nicko is one of the most distinctive drummers of all time.  He tends to have a motto: “Why hit one drum when you could hit a hundred?”.  He owns Losfer Words.  He owns the album.  His drumming is killer throughout.  I bet a lot of boys took up drumming after listening to Nicko.  (because you can’t ‘watch’ him – he’s always hidden behind a wall of drums!).  In fact Dickinson probably rebelled against this when he went solo in the ’90s.  He went into a shop and asked for the “biggest drum kit they had”.  The guy behind the counter said “Well… we could probably make a kit up of as many drums as you want.”  Dickinson replied “No… I only want three drums… I just want those three drums to be the biggest you can get!”.

For all its technical difficulty and complex drum and bass work, the honest truth is that a song like Losfer Words could only have been helped by having Bruce sing something on it.  What’s the point of having the greatest metal singer of all time and leaving him to sip Soda Stream in the studio storeroom?  Come on guys… what the hell was this all about?!? And change the name of the song!!!

The next song, Flash of the Blade, is credited to Dickinson.  It has aspects to it which are quite pleasing.  The chorus for example has a nice enough melody and it is perfectly well sung.  The playing all round on the album by everyone is spectacular.  But.. you can’t help but feel that Flash of the Blade is album filler.  Quite good album filler… but album filler nonetheless.

As the Duellists emanates from the van’s speakers I can’t help but notice that my cassette is incredibly warped on this song.  Dickinson is singing like an X-Factor hopeful.  Anyway… terrible song.  Needs no more said about it.

A turn of the tape (remember having to do that?!?) reveals the next song.  Back in the Village is likely a song referencing one of my favourite TV shows of all time – the Prisoner.  And Back in the Village kicks ass!  Serious ass!  I see now that this song is also credited to Adrian Smith. That makes sense.  This song hits you in the face similarly to Two Minutes to Midnight.  Back in the Village has always been an underrated song.  I have never heard Maiden play it live.  I have never heard them mention it.  It’s like it doesn’t actually exist.  Fits with the theme of the Prisoner actually!  Ha ha!  When I was a kid I never gave Back in the Village the time of day.  Pure album filler.  However, re-evaluating it after 100 more listens I can confirm that this song is the dark horse of the album.  A killer guitar riff (perhaps one of the reasons they never played it live – it’s killer to the point of being impossible! ha ha!), a great snarling vocal by Dickinson and pure powerhouse playing all round.  A friend of mine (actually a top music reviewer) recently said that this was the second best song on the album.  I have to admit that I look forward to turning the tape to hear this song.  Perhaps the most underrated, undervalued Maiden song ever?

The title track is the pop song of the album.  It starts with an intro that reminds you of Michael Jackson‘s Thriller.  Then the Maiden stomp enters like a full force lovin’ machine.   Bass and Drums.  Killer.  And I’m pretty sure I hear guitar synthesisers on this song too.  A little two-faced after boasting on earlier albums how there were “no synthesisers used in the making of this album”. Ha ha!  Oh well. I’ve backtracked on my own decisions enough times in my life to know that a statement is only ever as good as the second it’s made.  Ten seconds later… u-turn!  Ha ha!  Anyway, Powerslave is another kick-ass song.  Dickinson’s vocals are excellent and there are a few different tones on display with the instrumentation.  The song mellows the feel of the rest of the album.  You could probably say it was the most rounded song on the album, the perfect showcase for the band… if it wasn’t for the closing track!

Yes… the final track of the album. A song that for me is far and away the greatest of the ‘long songs’ Iron Maiden have written.  It is another song based on literature, and for me it is also the best example.  Rime of the Ancient Mariner is everything an epic song should be.  It clocks in at over 13 minutes and never gets dull.  It features amazing instrumentation and cinematic atmosphere.  Just listen to that middle section.  Just the bass and guitars, with the sounds of the ship creaking!  Magnificent!  The weaving of the classic poem into a rock song is done with perfection.  Steve Harris has dropped the ball with these ‘epic’ songs on so many occasions, yet here he gets it all absolutely right!  The way the song comes out of the soft middle section with a monumental gallop always brings a smile to my face.  Bruce is again on top form.  This song is what music is all about.  It must have seemed such a risk at the time.  But now it still holds its own.  A truly epic work of art. The perfect end to a classic album.

So… I think I’ll give my album reviews a mark out of 10.  One thing you must always bear in mind with me is that I use the full scale!!!  1 is dire.  5 is average.  10 is perfect.  Weighing up the pros and cons of Powerslave I have to give it the only fitting mark.  It is not a bad mark.  It is a good mark!  Thank you for reading.  I shall be back with the next review soon…  for the album I currently have in my car!

Iron Maiden – Powerslave: 6/10

The other side

So… Eurovision is on the TV.  Signals another year over.  An eventful year all round really.  For me personally, musically it has been a ball.

I need to make an announcement.  You should all by now be aware of my Eleventh Hour project with Bill Ryan.  Well, we are nearing completion of the album, and therefore a release date is fast approaching.  I have therefore made the decision to separate Eleventh Hour related information to a dedicated website.

The website is www.eleventhhourinitiative.com .  I hope you will all take the time to check out both sites.  The Eleventh Hour site takes an interesting twist as I am now able to publish the thoughts of Bill Ryan too.  We decided that having Eleventh Hour material on this site complicated things and made it unclear as to what Confession of the Whole School and the Eleventh Hour actually are.

Simply put… Confession of the Whole School remains my sole project.  My sole means of expression and a doorway into my life.  Confession of the Whole School is increasingly providing me with an outlet to air my views and push forward the boundaries of music.  I make these bold statements a lot, and I concede that I may come across as arrogant and/or pretentious.  This is not the case.  I am just confident in my ability and certain that I can give the music world something truly different.  If you have not yet heard my debut album then consider giving it a listen.  In any case, the past is gone.  I am now working on new things.  I don’t want to spill too many beans… but I’m working on an idea at the moment that will be so different it will probably split opinion in a devastating fashion.  It may be my Dark Side of the Moon… or it may be my Rudebox.  Too early to know right now.  But I am excited and that is perhaps the most important thing.  I am fed up of music for music’s sake.  And that is what I hear more than anything these days.  My next Confession of the Whole School work will blow away the cobwebs.  It is a project SO personal that it will be a difficult listen.  But I hope that it will also be so fresh that it will make an impact.  For you see… although I am proud of what I achieved with the collection of songs that became All Monsters and Dust, at the end of the day a collection of songs is all it was.  There were consistent themes in the newer songs – songs such as Perhaps I’ll Kill You and The Last Gasp.  But on the whole it was the summing up of an era of my life.  This next project (which I shall keep under wraps for now) is a set of songs written in the here and now.  A number of songs that are thematically consistent and tell a story.  Most importantly they are the most straight from the soul lyrics I have written.

Don’t get me wrong – I have certainly written songs that are from my heart before.  In fact I have only ever written from the heart – I’m not really a story song writer.  But those songs have been traditional.  Songs like Salt Cellars and Out of the Low Times… in fact all the Alexi in Winter material, were intensely personal.  The thing is… they were definitely what you would call standard songs.  They didn’t break many rules.  They conformed and in some ways they were all the better for it.  Those songs still make me cry.  They remind of a time when things seemed broken.  I still hear it in those lyrics.  But they are poetic.  I made an effort to make the lyrics conform to the flowered up norm.  The effort to hide the emotion behind layers of rhyme.

I’ve been there and done that.  My next Confession of the Whole School project discards the traditional.  It abandons the norm.  Think Perhaps I’ll Kill You upped a thousand times.  Action Hero is probably going to be part of the next project.  If you are in any doubt about how different I’m intending to be then just give that song another listen.  … and imagine a whole collection of songs in that vein.  See?  Interesting isn’t it?

The Eleventh Hour Initiative on the other hand has become much more than a side project.  Where Confession lets me spill my soul, the Eleventh Hour allows me to concentrate on the art of music.  On the craft.  On the togetherness.  On the solid spirit of the concept of the album.  Most importantly it lets me work with a singer who has a great take on the classic lyric.  In many ways he embodies the opposite idea of lyric writing than I do with my current Confession material.  I think Bill still has that classic poetry along with an intelligence that catapults the words to new heights.  While the Eleventh Hour is me… it is so different from Confession of the Whole School that it HAS to have a separate website.

Anyway… I kind of got waylaid there.  I think I drifted into other subjects and lost sight of what I was supposed to be saying.  But that’s not important.  I just like talking to you all.  Goodnight.

All Monsters and Dust is released!!!

Click this link to buy!   http://confessionofthewholeschool.bandcamp.com/

Okay fellow Confessioners… the day has finally come.  The day I have banged on about for a long, long time.  I have released All Monsters and Dust.  You can click on the music link at the top of the screen and buy it.  Go on, you know you want to.  Wouldn’t the sound of ten years of effort go down well on your Ipod?  The answer, in case you’re struggling, is yes.  Ha ha!

I know I’m like a broken record when it comes to this ‘record’ but it is the end of an era of my life.  When I started recording All Monsters and Dust I was in a completely different studio.  Many of the earlier songs such as The Comedy is Over and Double Click … Delete document a totally different time of my life.  I was a different person back then.   I had just disbanded Alexi in Winter and I was starting a journey as a solo artist.  Now, although many of my projects up to that point had in reality been solo works, I was still surrounded by talented musicians and producers to help me realise my imagination.  With Confession of the Whole School I chose to take on the all-encompassing role.  To write, play and produce all my own music.  Not only that but also to create the artwork and all marketing material.

As the recording of the album progressed I then changed studio environment as I moved into a flat.  ’50s Teen Flick is the main product of that time.  I like the sound I achieved on that song and the lyrics are very much a diary entry of that ‘middle period’ of the album.  I was quite disillusioned and although I still believed that music was my outlet I also felt that no-one would ever want to listen.  For that reason ’50s Teen Flick will always have a place in my heart.

The final period of the recording of the album took place in my current studio.  My dad and I built this studio.  You can see pictures of it on this very site on the top menu somewhere.  The latter era songs, for me, are summed up by the song which I actually decided to make the opener of the album.  The Last Gasp.  It is an important song for it allows me to escape the baggage of ten years.  I came to the realisation that a lot of the things that once made me angry are no longer of any concern to me.  I am a free spirit and no one has held me back.  No one has stopped me accomplishing anything.  For you see everything is still out there for the taking.  The lyrics of The Last Gasp reflect this.  In fact, the Last Gasp and Perhaps I’ll Kill You are a neat little double act as they represent both a ruled line under the past and an indication of what I can achieve in the future.  Both songs map out a plan of action for forthcoming material.  They point a direction.  Yes… they point a direction.  A direction I have since expanded upon with Action Hero… but All Monsters and Dust laid the foundations.  A move from strict indie pop to ‘no boundaries’ flight of fancy.  Listen to the album as a whole and you will hopefully get an appreciation for the decade it took to make.

Oh… and I promise the next album won’t take 10 years!!!  🙂