u/Pitiful-Definition71

What are your expectations for Simon Dawson going into the second leg of the tour? Do you think he’ll stick with the same overall approach and playing style, or could we see some changes (improvements)? I’m also curious whether his setup might evolve a bit, different cymbal choices, extra toms, more classic Maiden-inspired elements, or maybe something even more tailored to his own style. I think it’ll be really interesting to see how his confidence and chemistry with the band develops as the tour continues, especially with potential song changes. Expectations are definitely high, especially considering the live album recording in Paris later this summer, which could really push things to another level in terms of performance, precision, and overall energy.

What are you hoping for, or expecting?

I know they added Running Free in 1996, and played Fortunes of War for just a few shows in 1998.

In February 1996, Tim “Ripper” Owens got the job as singer for Judas Priest after a legendary audition where he only had to sing a few lines of “Victim of Changes” before the band knew he was the right guy for the job, and afterward they celebrated at a Thai restaurant.

Honestly, it feels strange that Tony Martin isn’t doing any live performances right now. With the recent renewed interest in the Black Sabbath albums from his era, there’s clearly an audience out there that would love to hear those songs live again.
Tony was the voice of Black Sabbath for a huge part of the band’s history and, importantly, he is the last long-term Black Sabbath vocalist still alive. That alone makes his legacy incredibly important. Albums like Eternal Idol, Headless Cross, Tyr, and Cross Purposes have gained a lot more appreciation over the years, especially after the recent reissues and rediscovery by fans. There’s definitely demand for Tony Martin shows, whether it’s solo concerts, festival appearances, or even a special Sabbath-era tour focused on his material. A lot of fans never got the chance to hear those songs live, and now would honestly be the perfect time.

I recently came across a quote from Blaze Bayley in an interview with Classic Rock Magazine / Louder Sound where he discussed his favourite Iron Maiden songs. One of the songs he spoke about most passionately was Wasted Years. Blaze explained how deeply personal the song feels to him, especially because he understood the emotions behind it from years of touring and life on the road. He also shared a memorable story about a girl in Monterrey, Mexico, softly singing the song to him in a hotel because she hoped it would be included in the setlist that night.

This was Blaze’s exact quote:

“Wasted Years. Truth is here. A girl in Monterey, Mexico sang this softly to me in the hotel hoping it would be in the set list because it was her favourite Iron Maiden song. It wasn’t. I never had the chance to perform this giant song live while I was the band. When you find a truth — a deep universal truth — something that everyone has felt, and put that into a lyric, then find the melody to bring that lyric to life, then find the music that tells people these emotions are real. That’s when you have the elements to create immortality in music. This song could never win a Grammy award because it is simply too real and too beautiful. All other Grammy Winners would be shown up to be egotistical self-important fakes or just very ordinary compared to a band that survived the World Slavery tour. Loneliness and regrets and missing home and feeling helpless and always moving somewhere, but never moving in the direction of home, and when you’re with them at home, the ones you miss now so much, you were waiting for something else, you weren’t really there at all, and know you cant be there. You understand but it is too late. So understand, and realise you are living in the golden years. I often have this song in my acoustic set. It feels big, raw, emotional and true.”

Honestly, this perfectly explains why Wasted Years continues to resonate with so many people decades later. It’s not just one of Iron Maiden’s greatest songs musically, it captures something universal about time, regret, loneliness and appreciating life before it slips away. The older I get, the more this song means to me.

I’ve always thought the original/alternate cover for Carnival of Souls: The Final Sessions looked far more interesting than the official one we ended up getting. The burning mask image perfectly matches the dark, heavy and gloomy atmosphere of the album. It has this industrial/grunge vibe that really captures where KISS were creatively during the mid-90s. The official cover is fine, but this concept feels much more unique and unsettling in a good way.

What makes it even cooler is how different it is from classic KISS imagery. You can really see the band trying to evolve with the times without completely losing their identity. It almost looks like an alternative metal or industrial rock album cover rather than a traditional hard rock release. I also think it fits the music better. Carnival Of Souls is easily one of KISS’ darkest and heaviest albums, and the original artwork reflects that immediately.

What do you guys think, better than the official cover or not?

I actually started thinking about this after buying a Tim “Ripper” Owens shirt from his website. And honestly, Jugulator is still one of the most underrated Judas Priest albums ever. Yeah, it’s mechanical, overproduced and heavily influenced by the groove/industrial metal wave of the late 90s. But underneath all that chrome-plated aggression is still classic Priest songwriting. The title track is vicious. Bullet Train is criminally overlooked. Hell Is Home deserves way more love. But the real masterpiece here is Cathedral Spires. That song alone proves this album is far more than some “non-Halford experiment.” It’s dark, ambitious, atmospheric and features one of the best vocal performances of Ripper Owens’ career. Sure, some lyrics are cheesy as hell, and Priest briefly sounded like they wanted to be Fear Factory. But that’s also what makes Jugulator so fascinating. It’s the odd one out in their discography, heavier, uglier and far more daring. And somehow, it works brilliantly.

Anyone else a fan of this album?

Blaze battling depression and even suffering a heart attack, Nicko with the stroke and retirement. Truly beyond exciting to see them with the band. Hope the recent exposure leads to a big increase in attendance at Blaze and Nicko solo shows!

”Former Judas Priest frontman Tim ‘Ripper’ Owens returns to Europe with a high-voltage tour, backed by some of the continent’s top touring musicians: Emiliano Tessitore (guitar), Martin Bílek (guitar), Francesco Caporaletti (bass), and Alessio Palizzi (drums). Throughout May and June, Owens will bring his explosive live show to cities across Poland, Hungary, Serbia, Italy, Denmark, Slovenia, Austria, Germany, Belgium, the Netherlands, Croatia, the Czech Republic, Slovakia, and France—along with a special stop in the United Arab Emirates.

In 2022, Owens returned with new material on his latest solo EP, Return to Death Row, further building his catalog. The EP follows a solo career that began with his 2009 debut, Play My Game, an album rooted in traditional heavy metal and hard rock, featuring multiple guest musicians and highlighting his vocal range. Return to Death Row was Owens first solo release in 13 years. Co-produced by Jamey Jasta and Nick Bellmore, the EP moves in a heavier and more aggressive direction, with prominent guitar work and a driving rhythm section. ”

Seeing two Italian shows, very excited! Hoping for some Iced Earth songs in the set! Anyone else going?

I guess it depends on where in the world you are, but I just streamed it in the UK and it sounds great!
Operation: Mindcrime III is produced by Disturbed bassist John Moyer, who’s been working with Geoff Tate for over a decade now, going back to The Key (2015). This is actually the fourth album they’ve done together. It also marks the first studio album with guitarist Kieran Robertson, who moved from Glasgow to the US nearly ten years ago to join Tate’s band.

Robertson plays a bigger role this time around and co-wrote a lot of the material with Tate. In another interview, he mentioned it was basically a dream come true to work on a new Mindcrime chapter, since he first heard the original 1988 album when he was just 12, blasting from his dad’s car stereo.
For anyone who doesn’t know, Geoff Tate is returning to the dystopian world introduced in the original Operation: Mindcrime. That album is still considered one of the most influential concept albums in metal, mixing progressive elements with a cinematic story about politics, revolution, and identity.

With Operation: Mindcrime III, he revisits that universe and explores what happens after the revolution — the consequences of power, control, and rebellion. It keeps that same storytelling vibe, with strong vocals and a pretty cinematic feel throughout, while also expanding the story for a more modern context.

Tracklist:
The Scene of the Crime
You Know My Fu@king Name
The Answer
Vulnerable
I’ll Eat Your Heart Out
Do You Still Believe?
The Devil’s Breath
Ascension
Set You Free
Descension
Power
You Can’t Walk Away Now
A Monster Like Me

Any first impressions yet?

Here’s an old article I posted on Maidenfans.con a few years back:

On May 1st 1976, Iron Maiden played their very first show at St Nicks in Poplar, London..
I met Terry Rance and Dave Sullivan in London in 2013. I’m sure parts of the story may have been slightly embellished over time, but it remains a great piece of early Maiden history. Keep in mind that this was all told over a few beers at Millers Bar near King’s Cross (if you ever visit, check out the 1976-era Iron Maiden photos behind the bar). I tried to be careful when asking about dates and the setlist. My impression is that they may have played more original material than what was recalled, but Terry preferred not to go into too much detail.

The venue – St Nicks, Poplar
The show took place at St Nicks (St Nicholas Church) in Poplar, East London. The building had originally been constructed in 1955 but was closed in 1969 and later repurposed for community use. By the mid-1970s, parts of it—including the vicarage—were used for rehearsals and small events, making it an unusual but fitting birthplace for a band like Iron Maiden.

How it started
Dave Lights had previously met Steve Harris when he played a Battle of the Bands with Gypsy’s Kiss at St Nicks around 1974/1975. Lorraine—Steve’s girlfriend at the time (later his wife)—knew Dave through a mutual friend. Steve liked the space, and Lorraine asked if his new band could rehearse there.
Dave Sullivan described the rehearsal room:
“It was a very surreal place for a band like ours to rehearse in. There were huge paintings everywhere. I remember one in particular—it was from the original Lord of the Rings. Strange things seemed to happen around us.”
Terry Rance added one of the more bizarre stories:
“One night our friend Jeff Daniels—who later became a roadie—went to the toilet and saw a woman standing on a loft above the entrance. She didn’t seem to notice him, just stared into the toilets. When he moved toward the stairs, she disappeared straight through the door. We even asked the nuns, but they had no idea who she was. We were the only band rehearsing there.”

The first lineup
By early 1976, the band’s lineup was:
Steve Harris – bass
Paul Mario Day – vocals
Terry Rance – guitar
Dave Sullivan – guitar
Ron Matthews – drums

Paul Mario Day was Iron Maiden’s first frontman from late 1975 to October 1976. He later went on to front More and Sweet, recording the live album Live at the Marquee with the latter. Steve Harris formed Iron Maiden after leaving his previous band, Smiler, and quickly became the driving force behind its sound and direction. Dave Sullivan and Terry Rance were the original guitarists, creating the band’s first twin-guitar setup. Ron Matthews was the original drummer and, apart from Harris, the longest-serving member of the initial lineup, remaining with the band until 1977.

The first show – May 1st, 1976
Since some band members were still under 18 and unable to play in pubs, it was decided that their debut would take place at the vicarage itself.
On May 1st, 1976, the band performed their first-ever show outdoors in the garden area. The audience consisted of roughly 20 people—friends, family, and, famously, nuns. It was a sunny day, and the band played on the grass while the audience sat scattered around them. According to Terry Rance, the setlist included early originals such as “Iron Maiden,” “Transylvania,” “Purgatory,” “Wrathchild,” and “Strange World,” along with covers of Thin Lizzy and Wishbone Ash. Terry summed it up best:
“The biggest scandal in Iron Maiden history must be that half the audience at the first show were nuns!”