On 1994’s Master Of The Rings, Helloween got their power metal mojo back big time. With two new members on board, drummer Uli Kutsch and vocalist Andi Deris, the German band sounded fresh and vital. And it’s these new guys that particularly shine on Why? Kutsch excites with his hard-hitting, gear-shifting groove and, not only are his vocals breathtaking (especially on the soaring, emotional chorus) but Deris displayed considerable songwriting chops here too. The lyrics challenge a non-interventional God but Why? is so good I can’t help feeling like the big man had Helloween’s back.
Written and recorded specially for Paradise Lost’s 1994 EP Seals The Sense, Sweetness has become a much-loved gem in the band’s discography. Over time its status has been enhanced by its position as a B-Side underdog, to the extent that the band amused themselves by calling it “the greatest song ever written” in a recent interview. Northern piss-taking aside, it is an excellent track that hits the sweet spot between the heavy doom of Icon and the goth of Draconian Times. The combo of lead guitar and grinding riff in the chorus section is especially killer. Apart from Sweetness, the EP isn’t much to write home about, but the inclusion of “the greatest song ever written” makes it essential.
“His spawn lay in the freezer, the killers that bore his name”
The Breeding House is one of a number of recorded and abandoned tracks that Bruce Dickinson worked on in the years preceding his 1994 album Balls To Picasso: his first solo album since leaving Iron Maiden. The pressure of making his first post-Maiden statement resulted in a number of rethinks and reshuffles and a right mixed bag of music. Ranging from tried-and-trusted Tattooed Millionaire style rock to totally daft experimentation.
The Breeding House was one of the earliest of these unused tracks to get a release when it appeared as a B-Side on the Tears Of The Dragon single. Of his output at the time, this was the closest in style to his previous band: with chord progressions and harmony guitars straight out of the Maiden playbook. Jagged Edge/Skin guitarist Myke Gray zips around the fretboard in style and the Air Raid Siren soars throughout, especially in the thrilling bridge, and contributes a layer of intrigue with some dark and cryptic lyrics.
I had lost interest in Maiden and Bruce in the early 90s but The Breeding House had a sense of freshness and commitment that got me excited to hear what Dickinson had to offer as a solo artist.
Having made a promising studio comeback with 1994’s From Now On… the newly-sober Glenn Hughes then set out to prove his reliability and viability as a live performer. Burning Japan Live, recorded in 1994 over two nights in Kawasaki, captures Hughes and his band (now including three members of Europe) in spectacular form. The album kicks off with a red-hot version of the Deep Purple classic Burn and continues with a revelatory run of non-Purple tracks. There’s a swaggering take on the Hughes/Thrall classic Muscle And Blood and the new solo tracks like From Now On… and The Liar sound magnificent. A cluster of mellow tunes causes a mid-set lull but the versions of Coast To Coast and This Time Around are classy examples of Hughes’ versatility. The chilled interlude also provides a nice breather before the show switches gears for a hard rocking climax that’s loaded with Purple anthems from Glenn’s MkIII and IV days. Burning Japan Live proved Hughes was back at the peak of his powers and also celebrated his long and storied career. It’s a vibrant, dynamic and sophisticated live album that cemented his reputation as the “Voice Of Rock”.
Backed by a band of skilful Swedes (including Mic Michaeli and John Leven of Europe fame) the rehab-ed and rejuvenated “Voice Of Rock” delivered an engaging set of hard and groovy AOR with 1994’s From Now On… The album wasted no time getting Purple fans onboard with the rousing, Hammond-led opener Pickin’ Up The Pieces and the superb blues metal of Lay Your Body Down. But it also pointed the way forward with the moody funk of Walking On The Water, soulful rocker The Liar and the trippy Into The Void. It gets too middle-of-the-road for comfort at points and there’s some dated bloat in the album’s later stages but the closing title-track and a couple of ace Purple covers are worth holding out for. Stronger and more confident from here on in, Glenn would get more adventurous and exciting with subsequent releases. But this album was a strong building block for his comeback and also a great place for new fans to discover his talents.