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RADIO CHATTER: 'Five star 666 clear to land runway 04, | 0:00:02 | 0:00:05 | |
'surface end 1007 knots.' | 0:00:05 | 0:00:07 | |
'Five star 666.' | 0:00:07 | 0:00:09 | |
'I have a check list.' | 0:00:10 | 0:00:11 | |
It was my idea, basically. | 0:00:43 | 0:00:45 | |
It went back to something I did | 0:00:45 | 0:00:47 | |
for an album called Skunkworks, | 0:00:47 | 0:00:49 | |
one of my solo albums, | 0:00:49 | 0:00:51 | |
when we actually took a very much smaller aeroplane | 0:00:51 | 0:00:54 | |
with little propellers on it, little piston engines on it, | 0:00:54 | 0:00:57 | |
and we went and bashed our way around the US, | 0:00:57 | 0:01:01 | |
and I thought, "Wow, why couldn't you do this on a bigger scale?" | 0:01:01 | 0:01:05 | |
And I think his real purpose in coming up with the idea | 0:01:05 | 0:01:07 | |
is so he got two wages, one to be a singer and one to be a pilot. | 0:01:07 | 0:01:12 | |
We were asked to go to Australia in '08 | 0:01:45 | 0:01:48 | |
and we hadn't been there for a long time. | 0:01:48 | 0:01:50 | |
We also wanted to go to South America. | 0:01:50 | 0:01:52 | |
So if you think about doing Australia | 0:01:52 | 0:01:55 | |
and maybe somewhere on the way, | 0:01:55 | 0:01:56 | |
and then around South America by scheduled airlines nowadays, | 0:01:56 | 0:02:00 | |
with all the security precautions and everything else, | 0:02:00 | 0:02:02 | |
and the way it's very hard to link up the freight | 0:02:02 | 0:02:06 | |
and the flights efficiently, | 0:02:06 | 0:02:09 | |
then it just seemed to be a good idea | 0:02:09 | 0:02:11 | |
to see if there's some way of doing it. | 0:02:11 | 0:02:13 | |
So I offered up this idea of an aeroplane, and I thought, | 0:02:27 | 0:02:30 | |
"Can we get enough gear in the holds to make it viable?" | 0:02:30 | 0:02:34 | |
And it became pretty clear that we couldn't. | 0:02:34 | 0:02:37 | |
I said, "OK, why can't we use the back end of the aeroplane?" | 0:02:37 | 0:02:39 | |
"Take the seats out and put a big cargo net in?" | 0:02:39 | 0:02:43 | |
The idea of the splitted bus in the air just seemed to be ideal | 0:02:43 | 0:02:47 | |
if it could be done, and so we went to quite immense | 0:02:47 | 0:02:50 | |
logistics and bureaucracy to get it done. | 0:02:50 | 0:02:54 | |
The main thing that has completely changed | 0:03:04 | 0:03:06 | |
the dynamic of our regular touring with Iron Maiden is the fact | 0:03:06 | 0:03:10 | |
that we're flying everywhere on Ed Force One. | 0:03:10 | 0:03:12 | |
Working out the logistics of once we get to the country, | 0:03:12 | 0:03:16 | |
how we get into the venues, how we get into the hotels, | 0:03:16 | 0:03:19 | |
and all of that is all planned in advance, as well, | 0:03:19 | 0:03:22 | |
which Steve Gadd does for me. | 0:03:22 | 0:03:23 | |
From the minute we land, you get away from the airport | 0:03:23 | 0:03:27 | |
where there's up to 1,000 people there watching the plane coming in, | 0:03:27 | 0:03:30 | |
and you think you're out of dodge, but you're not, | 0:03:30 | 0:03:33 | |
because you get to the hotel and there's 500 people | 0:03:33 | 0:03:35 | |
camped out for a couple of days. | 0:03:35 | 0:03:36 | |
Iron Maiden! Iron Maiden! | 0:03:36 | 0:03:39 | |
I think the thing that keeps everybody awake at night | 0:03:39 | 0:03:41 | |
is thinking of what you haven't done, | 0:03:41 | 0:03:44 | |
because the band have been around for so long, but also because of | 0:03:44 | 0:03:47 | |
the changes in the industry, there's a phenomenal amount of detail. | 0:03:47 | 0:03:50 | |
We're obviously covering some territories we've never been to, | 0:03:52 | 0:03:55 | |
so there's been interesting challenges in terms of | 0:03:55 | 0:03:58 | |
going to Korea and those Pacific Rim countries | 0:03:58 | 0:04:00 | |
that we've never been to before. | 0:04:00 | 0:04:02 | |
Everything around the plane is complicated. | 0:04:02 | 0:04:05 | |
You don't actually just get a 757 and put your gear on and fly off. | 0:04:05 | 0:04:08 | |
It's all advance work. | 0:04:08 | 0:04:12 | |
The plane dictates what you can take, nothing else dictates it. | 0:04:12 | 0:04:16 | |
Well, here we are on Ed Force One. | 0:04:22 | 0:04:23 | |
In what would normally be 60 passengers | 0:04:23 | 0:04:27 | |
sitting in this compartment space. | 0:04:27 | 0:04:29 | |
The only restriction we have, really, is that everything | 0:04:29 | 0:04:32 | |
has to be able to fit through the main doors. | 0:04:32 | 0:04:35 | |
As long as it'll go through here, it'll go on board the aircraft. | 0:04:35 | 0:04:38 | |
We'll probably get a heads up of maybe a year, nine months, | 0:04:40 | 0:04:45 | |
something like that, as to the tour's happening, | 0:04:45 | 0:04:47 | |
and then we'll go and have a meeting with Rod and he'll give us | 0:04:47 | 0:04:51 | |
maybe an album name or just a gem of an idea which we'll then | 0:04:51 | 0:04:54 | |
go away with and come up with some designs for the set. | 0:04:54 | 0:04:57 | |
Hangman will send us initial drawings of what it's going to look like, | 0:04:57 | 0:05:02 | |
we'll move that on a bit until we're all happy, then they'll do | 0:05:02 | 0:05:05 | |
a model, and then we'll sign it off and we'll start building it. | 0:05:05 | 0:05:09 | |
The rest of it looks great, | 0:05:10 | 0:05:12 | |
but it just needs to really stand out when he does it. He's very flat. | 0:05:12 | 0:05:15 | |
It's very flat lighting... | 0:05:15 | 0:05:16 | |
It's always the same, I don't know why, but no matter how much time | 0:05:16 | 0:05:19 | |
you have on these things, it always seems to end up | 0:05:19 | 0:05:21 | |
that we haven't got any time at the end of it! | 0:05:21 | 0:05:23 | |
MUSIC: "Brave New World" by Iron Maiden | 0:05:23 | 0:05:25 | |
# Wilderness | 0:05:25 | 0:05:27 | |
# House of pain | 0:05:27 | 0:05:29 | |
# Makes no sense of it all. # | 0:05:29 | 0:05:34 | |
We're in Paris, in a rehearsal room, | 0:05:34 | 0:05:36 | |
and we've just finished rehearsal for the day. | 0:05:36 | 0:05:39 | |
We've got one more rehearsal before we head off on the Final Frontier. | 0:05:39 | 0:05:42 | |
We circulate a copy of the set between us | 0:05:46 | 0:05:48 | |
a couple of weeks before we actually get to the rehearsal. | 0:05:48 | 0:05:51 | |
You know you're going to be playing Hallowed Be Thy Name, | 0:05:51 | 0:05:54 | |
you know you're going to be playing Iron Maiden, | 0:05:54 | 0:05:57 | |
so it was just working in a couple of the new songs, really. | 0:05:57 | 0:05:59 | |
Yeah, been rehearsing for | 0:06:03 | 0:06:06 | |
just over a week and a half now, | 0:06:06 | 0:06:08 | |
and we've got one more tomorrow, one more run through, | 0:06:08 | 0:06:12 | |
and the new songs we're doing off the new album sounded really good. | 0:06:12 | 0:06:16 | |
And yeah, we're all excited to be... Off we go, you know. | 0:06:16 | 0:06:20 | |
We're feeling pretty confident, a little tentative on a few little bits here and there, | 0:06:20 | 0:06:24 | |
but, I mean, that's always the way, and I think, really, it'll take | 0:06:24 | 0:06:27 | |
a couple of gigs before we really settle down. | 0:06:27 | 0:06:30 | |
The first one will be nervy, as usual. | 0:06:30 | 0:06:32 | |
We can rehearse till the cows come home, | 0:06:32 | 0:06:34 | |
but it's only when you get on stage, that first night, | 0:06:34 | 0:06:36 | |
and then everything falls into place. | 0:06:36 | 0:06:40 | |
You find once you get out there, it's good fun, and, you know, | 0:06:40 | 0:06:42 | |
you get in front of the audience and connect with the audience again | 0:06:42 | 0:06:45 | |
and you realise why you do it. | 0:06:45 | 0:06:47 | |
But when you're rehearsing in an empty room | 0:06:47 | 0:06:49 | |
you sometimes wonder why you do it! | 0:06:49 | 0:06:51 | |
Because this band just feeds off an audience, | 0:06:52 | 0:06:55 | |
and it's, you know, that's where it comes alive. | 0:06:55 | 0:06:58 | |
Right. | 0:07:26 | 0:07:27 | |
Morning. | 0:07:29 | 0:07:30 | |
Dreadful, isn't it? | 0:07:30 | 0:07:31 | |
Well, here we are, on the Embankment on our way to Stansted. | 0:07:36 | 0:07:41 | |
We're in civvies at the moment. | 0:07:44 | 0:07:46 | |
Uniform's in the back, so I shall be finding a phone booth | 0:07:46 | 0:07:50 | |
and having a convenient change of clothes. | 0:07:50 | 0:07:54 | |
You'll believe a man can fly. | 0:07:54 | 0:07:55 | |
So we'll be on our way to Moscow shortly, | 0:07:57 | 0:08:01 | |
which I expect will be cold. | 0:08:01 | 0:08:04 | |
Normally marked to go in the front hold. | 0:08:07 | 0:08:10 | |
As and when I start packing it. It's a bit of a Tardis. | 0:08:10 | 0:08:13 | |
This is such a unique aircraft | 0:08:13 | 0:08:16 | |
and it's such a unique way of touring around the world. | 0:08:16 | 0:08:19 | |
Loading it, on average, anywhere between four to five hours. | 0:08:19 | 0:08:23 | |
I have worked with lots of other bands, and A list bands, | 0:08:24 | 0:08:27 | |
and I don't know of another act who would take this risk | 0:08:27 | 0:08:31 | |
and would downsize their equipment to such a level. | 0:08:31 | 0:08:34 | |
It's a high risk strategy in terms of the people, | 0:08:34 | 0:08:36 | |
the aircraft, the crew, you know, | 0:08:36 | 0:08:38 | |
everything has to slot into place, and it's a big wheel. | 0:08:38 | 0:08:42 | |
I'm just one small cog of that. | 0:08:42 | 0:08:44 | |
In terms of flying, the most stressful things about flying | 0:08:47 | 0:08:51 | |
on this particular tour are actually really not to do | 0:08:51 | 0:08:55 | |
with the actual flying bits of it, | 0:08:55 | 0:08:58 | |
they're to do with the administrative bits of it. | 0:08:58 | 0:09:00 | |
Because so much of planning a tour like this | 0:09:00 | 0:09:05 | |
is down to the advent of it. There's no real slack in any of it. | 0:09:05 | 0:09:10 | |
It's not like, "Oh, we can come back tomorrow and get it to work." | 0:09:10 | 0:09:13 | |
It's got to happen exactly on those days, | 0:09:13 | 0:09:15 | |
and it's got to happen like clockwork. | 0:09:15 | 0:09:17 | |
MUSIC: "The Final Frontier" by Iron Maiden | 0:09:17 | 0:09:20 | |
# The Final Frontier | 0:09:20 | 0:09:22 | |
# The Final Frontier | 0:09:22 | 0:09:25 | |
# The Final Frontier | 0:09:26 | 0:09:29 | |
# The Final Frontier | 0:09:29 | 0:09:32 | |
# The Final Frontier | 0:09:32 | 0:09:36 | |
# The Final Frontier | 0:09:36 | 0:09:39 | |
# The Final Frontier | 0:09:39 | 0:09:43 | |
# The Final Frontier. # | 0:09:43 | 0:09:47 | |
AEROPLANE INSTRUMENTS: 50, 40, 30, 20, ten. | 0:10:05 | 0:10:12 | |
We're in Moscow, and it's snowing, and it's cold. | 0:10:18 | 0:10:21 | |
It's snowing and it's getting colder. | 0:10:24 | 0:10:26 | |
Tomorrow will be much colder, unfortunately. | 0:10:26 | 0:10:28 | |
You'll never guess where I am. | 0:10:30 | 0:10:33 | |
Three degrees difference, 15, 18 degrees who cares? | 0:10:33 | 0:10:35 | |
It's bloody freezing! But look at this, what an amazing place. | 0:10:35 | 0:10:39 | |
The first place on the tour. What can I say? | 0:10:39 | 0:10:42 | |
Nastravya! | 0:10:42 | 0:10:43 | |
How far did you come? How many miles? | 0:10:53 | 0:10:56 | |
Oh it's eight, nine hours, especially for this concert, | 0:10:56 | 0:10:59 | |
especially to meet him and special for Iron Maiden, | 0:10:59 | 0:11:02 | |
Iron Maiden are the best. | 0:11:02 | 0:11:03 | |
CHEERING | 0:11:03 | 0:11:07 | |
The fans have been brilliant. They've been waiting outside in the cold, God knows how they do it. | 0:11:08 | 0:11:12 | |
We're standing here since nine o'clock in the morning. | 0:11:12 | 0:11:15 | |
This is it, it's the old Olympic arena, which is a massive building. | 0:11:20 | 0:11:25 | |
Absolutely freezing outside, minus 20 degrees, | 0:11:25 | 0:11:29 | |
so the doors have just opened out there | 0:11:29 | 0:11:32 | |
and some rather cold fans will start coming into here, | 0:11:32 | 0:11:35 | |
but I'm sure we'll warm them up! | 0:11:35 | 0:11:36 | |
It's good to get these tours rolling, you know? | 0:11:36 | 0:11:40 | |
We've been planning it for months and months and months, of course, | 0:11:40 | 0:11:43 | |
and it's great to finally get everyone out on the road. | 0:11:43 | 0:11:45 | |
So, as you just saw, we had a little run through, | 0:11:51 | 0:11:54 | |
a little demo version of the intro, | 0:11:54 | 0:11:55 | |
going through a few ideas with Steve and Bruce | 0:11:55 | 0:11:58 | |
and the rest of the guys there. | 0:11:58 | 0:12:00 | |
I think we've got a little concept. Now we're going to put those ideas | 0:12:00 | 0:12:03 | |
into some kind of comprehensive queue stack, | 0:12:03 | 0:12:05 | |
so I'm not spinning plates tomorrow night. | 0:12:05 | 0:12:08 | |
We've got about 80-odd moving lights, | 0:12:08 | 0:12:11 | |
sort of split evenly between washes and spots. | 0:12:11 | 0:12:14 | |
We've also got some of these great big wash lights with the LED rings. | 0:12:14 | 0:12:18 | |
They're show beams, they're really... | 0:12:18 | 0:12:19 | |
Got two and half K bulb in them, they're pretty punchy. | 0:12:19 | 0:12:22 | |
We've got nice little LED strips around the chevrons that highlight | 0:12:22 | 0:12:25 | |
the shapes of the truss, and we've got a good few hundred PAR cans | 0:12:25 | 0:12:28 | |
thrown in just for good measure, just to beef up the whole thing. | 0:12:28 | 0:12:31 | |
Not to mention all our audience crowd blinders and follow spots. | 0:12:31 | 0:12:35 | |
We don't bring anything, we just bring a lighting desk, that's it. | 0:12:35 | 0:12:38 | |
All I've got is my lighting desk and these truss borders, | 0:12:38 | 0:12:41 | |
Every single nut, bolt, bulb, cable, is all supplied locally. | 0:12:41 | 0:12:44 | |
I have to advance all this stuff, | 0:12:44 | 0:12:46 | |
you know, a series of diagrams and equipment lists and everything, | 0:12:46 | 0:12:50 | |
3D renderings and everything else you can think of, with about 30 individual lighting companies, | 0:12:50 | 0:12:54 | |
who all then kind of give me their interpretation of what I've asked, | 0:12:54 | 0:12:57 | |
and then we have to fine tune it and end up with something resembling this every day. | 0:12:57 | 0:13:01 | |
MUSIC: "Two Minutes To Midnight" by Iron Maiden | 0:13:01 | 0:13:03 | |
# Two minutes to midnight | 0:13:03 | 0:13:06 | |
# To kill the unborn in the womb. # | 0:13:06 | 0:13:08 | |
One of the hardest things is no matter how much effort | 0:13:08 | 0:13:11 | |
we put into all this and all the care and attention we put in, | 0:13:11 | 0:13:13 | |
a big part of the show is a follow spot, and we're putting it | 0:13:13 | 0:13:17 | |
in the hands of people I've never met before | 0:13:17 | 0:13:18 | |
who don't really speak English, | 0:13:18 | 0:13:20 | |
they definitely haven't seen Iron Maiden before. | 0:13:20 | 0:13:22 | |
Upstairs. | 0:13:22 | 0:13:26 | |
I can do it in French, Portuguese, Spanish and German | 0:13:28 | 0:13:31 | |
which has helped a hell of a lot, | 0:13:31 | 0:13:34 | |
but my Russian and South Korean left a little to be..! | 0:13:34 | 0:13:37 | |
This has become a pretty busy part of the show now, right? | 0:13:40 | 0:13:43 | |
Jesus. Getting stressed. | 0:13:43 | 0:13:46 | |
Getting stressed, Nick! | 0:13:46 | 0:13:48 | |
MUSIC: "El Dorado" by Iron Maiden | 0:13:50 | 0:13:52 | |
# El Dorado, come and play | 0:13:52 | 0:13:53 | |
# El Dorado, step this way | 0:13:53 | 0:13:56 | |
# Take a ticket for the ride | 0:13:56 | 0:13:59 | |
# El Dorado, streets of gold | 0:14:00 | 0:14:03 | |
# See the ship, it's oversold | 0:14:03 | 0:14:06 | |
# You've got one last chance To try. # | 0:14:06 | 0:14:10 | |
Get the promoter to come and tell these three security guys | 0:14:15 | 0:14:18 | |
that we've got to open these doors to get our stuff out. | 0:14:18 | 0:14:21 | |
One of the most important things to remember | 0:14:23 | 0:14:25 | |
whenever you're doing a load out, | 0:14:25 | 0:14:27 | |
especially somewhere like Moscow, at one o'clock in the morning | 0:14:27 | 0:14:30 | |
at about minus 18, is to make sure you're wearing some long trousers. | 0:14:30 | 0:14:33 | |
What I do want to do is make sure that the gear, | 0:14:35 | 0:14:38 | |
that everyone's responsible to their gear, | 0:14:38 | 0:14:41 | |
so if each department dedicates one person that, | 0:14:41 | 0:14:44 | |
until that gear's locked up in the back of the truck... | 0:14:44 | 0:14:47 | |
I mean, putting it to the dark | 0:14:47 | 0:14:49 | |
or handing it off to Bill the stage hand isn't good enough. | 0:14:49 | 0:14:51 | |
I want eyes on that gear till it's locked, | 0:14:51 | 0:14:53 | |
because, as you know, like the last tour... | 0:14:53 | 0:14:56 | |
Needs to go down town, boys. | 0:14:56 | 0:14:58 | |
And what else am I worried about? | 0:14:58 | 0:15:01 | |
Jakarta, Jakarta's going to be... | 0:15:01 | 0:15:03 | |
Is probably, as you're all fully aware, | 0:15:03 | 0:15:05 | |
is the show that we're having the most trouble with at the moment, | 0:15:05 | 0:15:08 | |
and that's because at the moment, we don't have a show. | 0:15:08 | 0:15:10 | |
MUSIC: "Mother Russia" by Iron Maiden | 0:15:10 | 0:15:13 | |
# Mother Russia Dance of the tsars | 0:15:13 | 0:15:15 | |
# Hold up your heads Be proud of what you are | 0:15:15 | 0:15:18 | |
# Now it has come Freedom at last | 0:15:18 | 0:15:20 | |
# Turning the tides of history And your past. # | 0:15:20 | 0:15:22 | |
So, here we have show two on the Iron Maiden Around The World Tour. | 0:15:32 | 0:15:36 | |
Last night at nine o'clock, they tore down Eric Clapton | 0:15:36 | 0:15:39 | |
and began to build our show. | 0:15:39 | 0:15:41 | |
And I came down a few months ago and did a site visit, | 0:15:43 | 0:15:45 | |
had a quick look around the venue, met the sound company, | 0:15:45 | 0:15:48 | |
went through all the monitor rig with them, | 0:15:48 | 0:15:51 | |
because they were offering me something I hadn't used before, | 0:15:51 | 0:15:54 | |
so I wanted to listen to it. | 0:15:54 | 0:15:56 | |
So I came down, had a day out here which is nice, | 0:15:56 | 0:15:58 | |
and had a listen to the gear, which was fine. | 0:15:58 | 0:16:00 | |
Basically, carry Bruce's wedges, and we carry the drum fill, | 0:16:00 | 0:16:04 | |
we carry the desks, and everything that connects the desks together, | 0:16:04 | 0:16:08 | |
and then the local companies supply us the stacks, basically, | 0:16:08 | 0:16:11 | |
amplifiers and speakers, | 0:16:11 | 0:16:14 | |
and we have a list of what we like to use, we send that out, | 0:16:14 | 0:16:17 | |
they send us a list back saying, "We don't have this, | 0:16:17 | 0:16:20 | |
"We have that system, we don't have that system", | 0:16:20 | 0:16:23 | |
and this just goes backwards and forwards and backwards and forwards | 0:16:23 | 0:16:26 | |
till we get to a point where everybody's happy. | 0:16:26 | 0:16:28 | |
Then we turn up on the day and hopefully they turn up | 0:16:28 | 0:16:30 | |
with the same gear they've told us they're going to bring us. | 0:16:30 | 0:16:33 | |
So we're going into a venue every day | 0:16:33 | 0:16:35 | |
using a completely different system, and we've just got to make it work | 0:16:35 | 0:16:38 | |
and make it work so the band are happy on stage. | 0:16:38 | 0:16:41 | |
Well with any luck, if we get all this right, you know, | 0:16:50 | 0:16:53 | |
plugged on a daily basis, turns on and fires up, no problems, | 0:16:53 | 0:16:56 | |
but that's the importance of the prep. | 0:16:56 | 0:16:58 | |
Most of it's all about the prep work. | 0:16:58 | 0:17:00 | |
We supply the sound equipment that Iron Maiden use | 0:17:01 | 0:17:05 | |
when they go on tour. | 0:17:05 | 0:17:06 | |
There are discussions as to what's logistically possible | 0:17:06 | 0:17:10 | |
as far as sound is concerned, moving the systems. | 0:17:10 | 0:17:14 | |
Usually, once we've done all this in the warehouse, it works, | 0:17:14 | 0:17:16 | |
and it's very rare we have to mess with anything. | 0:17:16 | 0:17:19 | |
Obviously, we do get things go down, mics go off, mic cables go down, | 0:17:19 | 0:17:25 | |
channels on the multi-pins pack up, and you just deal with it. | 0:17:25 | 0:17:28 | |
Basically, I look after the whole stage end of the show, | 0:17:28 | 0:17:32 | |
so if anything goes down, it's down to me to be able to fix it. | 0:17:32 | 0:17:35 | |
This is my world and everybody else keeps out of it. | 0:17:35 | 0:17:38 | |
MUSIC: "Fear Of The Dark" by Iron Maiden | 0:17:38 | 0:17:40 | |
# Fear of the dark Fear of the dark | 0:17:40 | 0:17:42 | |
# I have a constant fear | 0:17:42 | 0:17:44 | |
# That something's always near | 0:17:44 | 0:17:46 | |
# Fear of the dark | 0:17:47 | 0:17:49 | |
# Fear of the dark | 0:17:49 | 0:17:51 | |
# I have a phobia | 0:17:53 | 0:17:54 | |
# That someone's always there. # | 0:17:54 | 0:17:57 | |
After today, we're going to fly to Indonesia, Jakarta, | 0:17:58 | 0:18:01 | |
and, in fact, probably the first time | 0:18:01 | 0:18:04 | |
that a production of this size and a band of this size | 0:18:04 | 0:18:07 | |
have actually played there in a long time, | 0:18:07 | 0:18:09 | |
and that has been a challenging show, | 0:18:09 | 0:18:11 | |
and we're going to have to make the show work. | 0:18:11 | 0:18:13 | |
Bali's a small venue. | 0:18:13 | 0:18:15 | |
At the moment, they don't have enough PA on the island | 0:18:15 | 0:18:18 | |
to actually fulfil our requirements. | 0:18:18 | 0:18:21 | |
So at the moment, they're looking for more PA, | 0:18:21 | 0:18:24 | |
and we really won't know how good that PA is | 0:18:24 | 0:18:27 | |
until we actually get there, plug it in | 0:18:27 | 0:18:29 | |
and make some noise through it. | 0:18:29 | 0:18:31 | |
We've had a lot of problems up front. | 0:18:32 | 0:18:34 | |
I didn't actually decide finally | 0:18:34 | 0:18:36 | |
until about two days before we were due to arrive there | 0:18:36 | 0:18:38 | |
that we were going to go. | 0:18:38 | 0:18:39 | |
Dickie had to go out from Moscow early to try to put a crew together. | 0:18:39 | 0:18:43 | |
He had to get a new production manager, almost start from scratch. | 0:18:43 | 0:18:46 | |
I mean, I had a sleepless night about three nights before, | 0:18:46 | 0:18:49 | |
wondering, "Are we going to do this or not?" | 0:18:49 | 0:18:51 | |
Iron Maiden, welcome to Jakarta, yeah! | 0:18:59 | 0:19:02 | |
We're from Indonesia. We love you! Up the Iron! | 0:19:04 | 0:19:08 | |
FANS SHOUT AND CHANT | 0:19:08 | 0:19:14 | |
We're waiting for Iron Maiden to come here almost 20 years! | 0:19:14 | 0:19:18 | |
All my friends in Indonesia, they come from every single city, | 0:19:27 | 0:19:31 | |
from different directions. | 0:19:31 | 0:19:32 | |
They finally found their idol here. | 0:19:32 | 0:19:35 | |
They forget their religion, they forget their skin, | 0:19:37 | 0:19:39 | |
they forget everything, | 0:19:39 | 0:19:40 | |
they just want to hear and sing Iron Maiden songs. | 0:19:40 | 0:19:44 | |
You wouldn't call this our normal stage. | 0:19:44 | 0:19:46 | |
This is the show we've had a lot of trouble getting together. | 0:19:46 | 0:19:50 | |
Really nice people who haven't done many shows here. | 0:19:50 | 0:19:52 | |
This stage is made up of all sorts of different steel, | 0:19:52 | 0:19:57 | |
towers and trusses, and there's, like, loads of it back here, | 0:19:57 | 0:20:01 | |
that's all rusty, it's all a little bit bent. | 0:20:01 | 0:20:03 | |
This stage has got a hell of a slope on it! | 0:20:03 | 0:20:06 | |
We spent two months asking them | 0:20:07 | 0:20:09 | |
if there's any layer scaffolding available, they told me there wasn't. | 0:20:09 | 0:20:13 | |
This is the first thing I found when I walked into the building! | 0:20:13 | 0:20:17 | |
Loads of it. | 0:20:17 | 0:20:18 | |
That's the show power right there, the whole lot. | 0:20:18 | 0:20:20 | |
Don't fall into that, that's all live. | 0:20:26 | 0:20:29 | |
That whole thing is live, you know? | 0:20:29 | 0:20:31 | |
Obviously, what we're used to is a door that's closed, when you open it, | 0:20:31 | 0:20:36 | |
it disconnects everything and makes it safe. | 0:20:36 | 0:20:39 | |
This is completely live. The whole lot. | 0:20:39 | 0:20:42 | |
And if it rains, it's going to be getting wet. | 0:20:42 | 0:20:45 | |
Standard procedure, there's a bomb dog. | 0:20:45 | 0:20:47 | |
We're going to go ahead and check the production office for bombs, | 0:20:47 | 0:20:50 | |
and we're doing it all over the venue. | 0:20:50 | 0:20:52 | |
And it's serious, you know, it's a serious threat. | 0:20:52 | 0:20:55 | |
So there we go, the dressing rooms are safe | 0:21:00 | 0:21:03 | |
and we didn't find any bombs in there. | 0:21:03 | 0:21:05 | |
Which is nice to know! | 0:21:05 | 0:21:06 | |
Some tours go dead easy, some go a little bit awry, | 0:21:06 | 0:21:11 | |
and as you know, in Indonesia, there were a few hiccups there. | 0:21:11 | 0:21:16 | |
What have you got in here? | 0:21:16 | 0:21:18 | |
Oh, my God. | 0:21:18 | 0:21:19 | |
This isn't the same as the photograph that we sent you. | 0:21:19 | 0:21:23 | |
What was very heartening for me was, I talked to Dickie, | 0:21:23 | 0:21:26 | |
and a couple of days before, he's getting all very defensive | 0:21:26 | 0:21:29 | |
about the production crew there, saying | 0:21:29 | 0:21:31 | |
"Well, they're really nice people, | 0:21:31 | 0:21:33 | |
"the most wonderful people, and they're trying really hard." | 0:21:33 | 0:21:37 | |
From, really, this nightmare scenario three days before, | 0:21:40 | 0:21:43 | |
then it ended out to be a pretty cracking show. | 0:21:43 | 0:21:46 | |
Is it safe? | 0:21:46 | 0:21:47 | |
It's nice, Jakarta is. | 0:21:47 | 0:21:49 | |
I haven't been out much, due to the fact someone said | 0:21:49 | 0:21:51 | |
I might get kidnapped! | 0:21:51 | 0:21:53 | |
MUSIC: 2 Minutes To Midnight by Iron Maiden | 0:21:53 | 0:21:55 | |
# But don't you pray for my soul any more. | 0:21:55 | 0:21:58 | |
# Two minutes to midnight | 0:22:00 | 0:22:04 | |
# The hands that threaten doom. # | 0:22:05 | 0:22:10 | |
Playing in Bali was absolutely tremendous, | 0:22:16 | 0:22:19 | |
and the feeling that they generated, | 0:22:19 | 0:22:21 | |
they're a beautiful culture, beautiful nation of people there. | 0:22:21 | 0:22:26 | |
So it really had a, kind of, spiritual feel about that show. | 0:22:26 | 0:22:30 | |
It's definitely unusual here, we don't usually play quarries, | 0:22:30 | 0:22:33 | |
but as you can see, we've got really high walls here, | 0:22:33 | 0:22:35 | |
so it's actually like playing in a cardboard box without | 0:22:35 | 0:22:38 | |
a roof on top of it, so what we've tried to do is aim the PA | 0:22:38 | 0:22:42 | |
so that it doesn't bounce off the walls to much, because as | 0:22:42 | 0:22:44 | |
you can see, what's going to happen, the sound hits that wall, | 0:22:44 | 0:22:47 | |
it hits that wall, then it hits that wall, and then comes back at us. | 0:22:47 | 0:22:50 | |
I've mixed the audio for Iron Maiden since December '79, | 0:22:52 | 0:22:56 | |
For the public, I mix the out-front. | 0:22:56 | 0:22:58 | |
They call it the front of house sound. | 0:22:58 | 0:23:00 | |
I mix for what the audience hears. | 0:23:00 | 0:23:02 | |
From here, I can make it sound real good, | 0:23:02 | 0:23:05 | |
but I can't see what's happening up in that corner of the room | 0:23:05 | 0:23:08 | |
or that part of the ballpark or whatever, | 0:23:08 | 0:23:10 | |
so it's Mike's job to make sure that what I'm doing here | 0:23:10 | 0:23:12 | |
gets to all the people. | 0:23:12 | 0:23:14 | |
Expectations for sound these days are a lot higher. | 0:23:14 | 0:23:16 | |
The sound systems are much, much better, | 0:23:16 | 0:23:18 | |
and I think the audience, | 0:23:18 | 0:23:20 | |
they listen to the sound all the time now on CDs. | 0:23:20 | 0:23:23 | |
Ten, 15 years ago it was a different story. | 0:23:23 | 0:23:25 | |
If you were sat at the back of one of these places, | 0:23:25 | 0:23:27 | |
you didn't really expect to hear it quite so well. | 0:23:27 | 0:23:29 | |
So here we have the actual main PA system. | 0:23:29 | 0:23:32 | |
We have two hangs per side for this system, | 0:23:32 | 0:23:34 | |
one covers the main front part of the audience, another hang | 0:23:34 | 0:23:38 | |
exactly the same size covers the outer part of the audience. | 0:23:38 | 0:23:42 | |
So we have four delay speakers. Now, where we're standing here, | 0:23:42 | 0:23:44 | |
we're probably something like 80 to 90 metres from the PA. | 0:23:44 | 0:23:48 | |
If you were seeing the band in a normal big arena, sports arena, | 0:23:48 | 0:23:51 | |
you'd be at the very back at this position. | 0:23:51 | 0:23:54 | |
If you look up to the back, here, | 0:23:54 | 0:23:56 | |
we've probably got another 100 metres of throw to the very back. | 0:23:56 | 0:24:00 | |
So what we do is we put in another set of speakers, | 0:24:00 | 0:24:03 | |
we have two sets here that cover the very back of the arena, | 0:24:03 | 0:24:07 | |
and then we have speakers at the side | 0:24:07 | 0:24:09 | |
that will cover the very top sides of the arena. | 0:24:09 | 0:24:12 | |
MUSIC: "Hallowed Be Thy Name" | 0:24:19 | 0:24:22 | |
Seven shows in Australia, it's like a mini-tour. | 0:24:26 | 0:24:28 | |
We've taken on an Aussie crew, got our own lighting crew, | 0:24:28 | 0:24:31 | |
got our own sound crew, | 0:24:31 | 0:24:33 | |
we've got our own trucks for the next seven shows, which is going to be really nice. | 0:24:33 | 0:24:37 | |
It's going to be more like the regular touring | 0:24:37 | 0:24:40 | |
that we do in the US and Europe. | 0:24:40 | 0:24:42 | |
You know, we'll still be using the plane, | 0:24:42 | 0:24:44 | |
the crew will be travelling on the plane, | 0:24:44 | 0:24:46 | |
but all our equipment will be in the trucks. | 0:24:46 | 0:24:48 | |
I'll tell you the biggest problem I have right now, | 0:24:48 | 0:24:51 | |
is we're not putting equipment in the plane, | 0:24:51 | 0:24:54 | |
so that means we all have to sit in the back of the plane | 0:24:54 | 0:24:57 | |
for take off because there's not enough weight. | 0:24:57 | 0:24:59 | |
That's my biggest logistical problem. | 0:24:59 | 0:25:01 | |
I've got three 48-foot trucks, | 0:25:01 | 0:25:03 | |
we carry our set in one and a half of them, | 0:25:03 | 0:25:06 | |
we carry extra lighting in the other half, | 0:25:06 | 0:25:08 | |
and then we carry our back line of monitors | 0:25:08 | 0:25:10 | |
and front of house in the third one. | 0:25:10 | 0:25:12 | |
It's pretty much a breeze to load in and out. | 0:25:12 | 0:25:15 | |
We flew over our set, our rolling set, | 0:25:23 | 0:25:27 | |
because we need to get out of the way on a festival situation, | 0:25:27 | 0:25:32 | |
so other bands can play in front of us. | 0:25:32 | 0:25:34 | |
As you can see we're having fun with our own stage set, | 0:25:34 | 0:25:36 | |
for when we were back in Norfolk all those months ago, | 0:25:36 | 0:25:39 | |
loading the sea container with the stage set. | 0:25:39 | 0:25:42 | |
Well, this is it in Australia, | 0:25:42 | 0:25:44 | |
and we're using this throughout this leg, | 0:25:44 | 0:25:47 | |
and it saves people building one for us, which is very nice. | 0:25:47 | 0:25:50 | |
It's so much easier. It has wheels, for a start! | 0:25:50 | 0:25:55 | |
And all the back line can live in it, | 0:25:55 | 0:25:58 | |
all the cabs and all the decorations, | 0:25:58 | 0:26:00 | |
everything can all live in there. | 0:26:00 | 0:26:03 | |
Getting in here early so we can get the set here | 0:26:04 | 0:26:09 | |
and work out how it's all going to fit in with everyone else. | 0:26:09 | 0:26:12 | |
We've got Sydney Festival tomorrow, | 0:26:12 | 0:26:14 | |
we don't get there till two o'clock in the afternoon, | 0:26:14 | 0:26:17 | |
the doors are already open, the show's already started, | 0:26:17 | 0:26:20 | |
so we need to build our set behind a black drop, and it's just Bill's job | 0:26:20 | 0:26:24 | |
and the local stage manager, Dougal's, to keep it organised, | 0:26:24 | 0:26:28 | |
because really, really quickly it could turn into a complete cluster. | 0:26:28 | 0:26:33 | |
A festival's a festival at the end of the day, | 0:26:35 | 0:26:37 | |
it's one of those days where you do so much | 0:26:37 | 0:26:40 | |
and you have to wait for all the bands to get off stage | 0:26:40 | 0:26:42 | |
and then you hope that everything's working fine, | 0:26:42 | 0:26:45 | |
because you haven't had that much time during the day | 0:26:45 | 0:26:47 | |
because obviously you haven't had the stage. | 0:26:47 | 0:26:49 | |
Because everybody else will be on there. | 0:26:49 | 0:26:51 | |
You just hope that everything's working. | 0:26:51 | 0:26:53 | |
We're trying to make some noise by six, so I've only got | 0:26:53 | 0:26:55 | |
about an hour and ten minutes to get it all going for Doug. | 0:26:55 | 0:26:57 | |
This whole aspect of the tour's been pretty elastic, | 0:26:57 | 0:27:01 | |
doing, say, festivals, for example, you do a back-to-back festival, | 0:27:01 | 0:27:04 | |
we might not get there until, I don't know, | 0:27:04 | 0:27:06 | |
10:30, 11 in the morning, and the doors are at two. | 0:27:06 | 0:27:08 | |
So it's like, panic, "What comes off the truck first? | 0:27:08 | 0:27:11 | |
"Whatever it is, go ahead and set that up." | 0:27:11 | 0:27:14 | |
It's not just about ourselves, there's a lot of other bands on, | 0:27:14 | 0:27:17 | |
so it's going to be a real tough one, | 0:27:17 | 0:27:19 | |
we could probably be here overnight tonight, | 0:27:19 | 0:27:21 | |
just to get this stuff built, it's what we have to do. | 0:27:21 | 0:27:23 | |
# As the guards march me out to the courtyard... # | 0:27:25 | 0:27:28 | |
Just waiting for these lights to go up and then we'll bring the carts in | 0:27:28 | 0:27:32 | |
and try to get the set built and as much as we can tonight. | 0:27:32 | 0:27:35 | |
And now this is the fun part of festivals | 0:27:35 | 0:27:37 | |
where we have to take certain bits of it apart | 0:27:37 | 0:27:40 | |
and move it for the other bands to get on and off. | 0:27:40 | 0:27:42 | |
Luckily, on this one, we're hoping we can leave the riser | 0:27:44 | 0:27:48 | |
and the two back-line carts. | 0:27:48 | 0:27:49 | |
The next problem is created because of this, | 0:27:51 | 0:27:53 | |
because normally when we would roll these carts on, we'd have room here, | 0:27:53 | 0:27:56 | |
but, obviously, today we haven't because of the structure, | 0:27:56 | 0:27:58 | |
so where the guitar amps would live here, | 0:27:58 | 0:28:00 | |
Sean Brady, as well, looks after Adrian Smith, | 0:28:00 | 0:28:03 | |
that cart would come crashing straight through it. | 0:28:03 | 0:28:06 | |
So we've got to make sure that we let everybody know, because | 0:28:06 | 0:28:08 | |
they're going to build all their kit tomorrow while we're not here. | 0:28:08 | 0:28:11 | |
That's the thing we do in festivals. | 0:28:11 | 0:28:13 | |
Every day we have to change the plot, | 0:28:13 | 0:28:15 | |
every day there's a new problem. | 0:28:15 | 0:28:17 | |
Here we are at Soundwave, the first day, Brisbane, 47,500, | 0:28:18 | 0:28:22 | |
sold out a while ago. | 0:28:22 | 0:28:24 | |
A lot of great bands, we're going to play to a whole load of people | 0:28:24 | 0:28:27 | |
we haven't played to before. | 0:28:27 | 0:28:29 | |
We've only played Brisbane once in the last 20-odd years, | 0:28:29 | 0:28:31 | |
that was last time, we did about 12,000 people, | 0:28:31 | 0:28:34 | |
so there's got to be a big amount of travellers. | 0:28:34 | 0:28:37 | |
30,000 haven't seen us before, | 0:28:37 | 0:28:39 | |
so it's going to be interesting, it's going to be fun. | 0:28:39 | 0:28:41 | |
It's always good to play to a new audience, | 0:28:41 | 0:28:43 | |
because it makes them work hard to get them into the family. I'm expecting a good day. | 0:28:43 | 0:28:47 | |
Always love playing Australia, the Soundwave festivals were fantastic. | 0:28:47 | 0:28:51 | |
Back stage was really nice, | 0:28:51 | 0:28:53 | |
and we had, you know, that guy turn up with the weird animals, | 0:28:53 | 0:28:56 | |
and seeing other bands - its nice to do gigs with other bands, | 0:28:56 | 0:29:00 | |
because we're normally quite isolated, we do our shows, | 0:29:00 | 0:29:03 | |
we get our audience, which is great, but it's nice to get the energy. | 0:29:03 | 0:29:06 | |
There's a different energy at those festivals. | 0:29:06 | 0:29:09 | |
# Happy birthday, dear Adrian... # | 0:29:10 | 0:29:13 | |
Thank you very much. | 0:29:13 | 0:29:14 | |
# Happy birthday to you. # | 0:29:14 | 0:29:17 | |
You're doing this just for the cameras, aren't you?! | 0:29:17 | 0:29:21 | |
# And many more. # | 0:29:21 | 0:29:22 | |
Woo-hoo! | 0:29:22 | 0:29:24 | |
I've still got it mate, I've still got it! | 0:29:24 | 0:29:26 | |
MUSIC: "Hallowed Be Thy Name" | 0:29:26 | 0:29:28 | |
# Whoa | 0:29:28 | 0:29:29 | |
# Whoa | 0:29:29 | 0:29:30 | |
# Whoa | 0:29:30 | 0:29:32 | |
# Whoa | 0:29:35 | 0:29:37 | |
# Whoa. # | 0:29:37 | 0:29:41 | |
We're going to have a late loading, | 0:29:44 | 0:29:46 | |
so it's going to be a rush for us tomorrow, | 0:29:46 | 0:29:48 | |
we just land straight for the gig | 0:29:48 | 0:29:49 | |
and then if the trucks are there, load it in straight away. | 0:29:49 | 0:29:52 | |
We're looking at about one o'clock, I believe. | 0:29:52 | 0:29:56 | |
Come down. | 0:29:56 | 0:29:57 | |
The chain hook has come out the top of the piece, | 0:29:57 | 0:30:00 | |
there's no way of lifting this up, | 0:30:00 | 0:30:01 | |
and we have to lift this up to dismantle it. | 0:30:01 | 0:30:03 | |
Robin, put yourself in there, right? I'm going to send you up a rope. | 0:30:03 | 0:30:09 | |
There's no physical structure down there, | 0:30:09 | 0:30:11 | |
it's just the actual curtain side of the stage, | 0:30:11 | 0:30:13 | |
and obviously working up there in the dark with no safety rails | 0:30:13 | 0:30:15 | |
and stuff they've gotta stay clipped on to at least two points. | 0:30:15 | 0:30:19 | |
If one of them guys falls... No rock and roll show's worth that, | 0:30:19 | 0:30:22 | |
so it literally is that classic story of safety first, you know? | 0:30:22 | 0:30:26 | |
Andy's just putting a rope across it now | 0:30:27 | 0:30:29 | |
just so that we can keep the weight of the tower. | 0:30:29 | 0:30:31 | |
The danger is with the chain that's on | 0:30:31 | 0:30:33 | |
it could swing about 20 foot across the stage, | 0:30:33 | 0:30:35 | |
hit some lights and bring the lights down on everybody, | 0:30:35 | 0:30:37 | |
so it's slowly, slowly, catchy, monkey on this one, I'm afraid. | 0:30:37 | 0:30:41 | |
Nobody got hurt, mate, most important thing, | 0:30:43 | 0:30:45 | |
nothing else really matters today, Andy. | 0:30:45 | 0:30:48 | |
Yeah, a serious pack up, this time. | 0:30:51 | 0:30:53 | |
We have to trim down back to our fighting weight of 12 tons, | 0:30:53 | 0:30:57 | |
so that means our rolling set has to be packed into a sea container | 0:30:57 | 0:31:01 | |
to go forth to England for the summer tour, | 0:31:01 | 0:31:04 | |
and then there's the normal stuff | 0:31:04 | 0:31:06 | |
that goes into the back of Ed Force One, | 0:31:06 | 0:31:09 | |
so it'll be a little bit longer load out and more breaking apart of things | 0:31:09 | 0:31:12 | |
that normally we'd just throw right in the truck, use it the next day. | 0:31:12 | 0:31:16 | |
My boys did an hour and 15 minute load out the last show, | 0:31:16 | 0:31:18 | |
it was really, really good. | 0:31:18 | 0:31:19 | |
Thank you and goodnight, Australia! | 0:31:19 | 0:31:22 | |
February 9th we started this part of the tour, | 0:31:27 | 0:31:30 | |
and today we're in Adelaide, it's the 6th March, | 0:31:30 | 0:31:33 | |
and so far it's 18,000 shots. | 0:31:33 | 0:31:36 | |
I'm averaging about 1,000 pictures per show, | 0:31:36 | 0:31:39 | |
and then you've got all the shots that come outside of that | 0:31:39 | 0:31:43 | |
with the plane, with the loadings and hotels and things like that. | 0:31:43 | 0:31:46 | |
But at the moment it's 18,000. | 0:31:46 | 0:31:48 | |
My job is to edit them down to the cream of the crop | 0:31:48 | 0:31:51 | |
and they're the ones that go out. | 0:31:51 | 0:31:53 | |
We're just about to take some nice portraits of the band | 0:31:53 | 0:31:57 | |
in front of the plane, and you would think | 0:31:57 | 0:32:00 | |
this sort of thing would be simple, but it isn't. | 0:32:00 | 0:32:02 | |
It involves many people clearing runways and taxi ways, | 0:32:02 | 0:32:06 | |
getting special permission to park the plane here | 0:32:06 | 0:32:09 | |
so we haven't got a load of clutter behind it. | 0:32:09 | 0:32:11 | |
And also we're getting the wind moved, | 0:32:12 | 0:32:14 | |
so it's blowing in the other direction, | 0:32:14 | 0:32:16 | |
so it'll be better for the pictures(!) | 0:32:16 | 0:32:18 | |
If only that was true! | 0:32:18 | 0:32:20 | |
We then headed to Japan, which was a really exciting time for us. | 0:32:43 | 0:32:48 | |
We were going to do two shows in Tokyo, | 0:32:48 | 0:32:51 | |
everyone was looking forward to the show so much, | 0:32:51 | 0:32:54 | |
and certainly, from the advance point of view, | 0:32:54 | 0:32:56 | |
everything had gone very smoothly | 0:32:56 | 0:32:58 | |
and everything was in place for the two Tokyo shows. | 0:32:58 | 0:33:02 | |
We were up in the air, about ten minutes away | 0:33:02 | 0:33:09 | |
from landing at Tokyo, when they had a massive earthquake. | 0:33:09 | 0:33:12 | |
BRUCE: 'We haven't any further details on the quake | 0:33:12 | 0:33:16 | |
'at the moment, simply that obviously it's fairly serious, | 0:33:16 | 0:33:19 | |
'the whole of the airports in the region are closed | 0:33:19 | 0:33:23 | |
'and there is no determination | 0:33:23 | 0:33:26 | |
'as to when they will be able to accept aircraft.' | 0:33:26 | 0:33:29 | |
'Air traffic control, as you can imagine, | 0:33:29 | 0:33:31 | |
'is under quite some stress at the moment.' | 0:33:31 | 0:33:34 | |
'We have made a decision early to go to Nagoya, | 0:33:34 | 0:33:40 | |
'where we will get on the ground and find out what the situation is, | 0:33:40 | 0:33:43 | |
'put some more petrol on the aeroplane | 0:33:43 | 0:33:45 | |
'and then see how we can resolve the situation.' | 0:33:45 | 0:33:50 | |
We've landed now in Nagoya, a lot of airplanes are all diverting, | 0:33:50 | 0:33:54 | |
it sounds very serious, there's an 8.8 magnitude quake, | 0:33:54 | 0:33:59 | |
just north of Narita. | 0:33:59 | 0:34:02 | |
We can't get hold of anyone in Tokyo, | 0:34:02 | 0:34:05 | |
all the phone lines are down, all the cell... | 0:34:05 | 0:34:07 | |
I got through to a landline | 0:34:07 | 0:34:08 | |
but there was a recorded message in Japanese | 0:34:08 | 0:34:10 | |
which, of course, I don't understand. | 0:34:10 | 0:34:12 | |
If there's going to be a show, I think the sensible thing | 0:34:12 | 0:34:15 | |
at the moment, for us, would probably be to leave the aeroplane here, | 0:34:15 | 0:34:19 | |
truck the equipment in and out, if there's going to be a show. | 0:34:19 | 0:34:22 | |
By the sounds of it, that's sounding increasingly unlikely. | 0:34:22 | 0:34:26 | |
The show must go on, | 0:34:26 | 0:34:29 | |
but we really don't know what's happening there at the moment. | 0:34:29 | 0:34:32 | |
So it's a question of do we stay here? | 0:34:32 | 0:34:35 | |
The airports are still closed, both airports are closed in Tokyo, | 0:34:35 | 0:34:39 | |
so that means there's something relatively serious, | 0:34:39 | 0:34:41 | |
and we'll figure it out. | 0:34:41 | 0:34:44 | |
There's a rumour that there's a 20-metre tsunami. | 0:34:44 | 0:34:47 | |
Now, how... As we said, we just don't know at the moment. | 0:34:47 | 0:34:50 | |
So here we are, you know, it's the morning after, | 0:34:54 | 0:34:57 | |
we're still having shakes and quakes and stuff going on, aftershocks, | 0:34:57 | 0:35:01 | |
but we're in Nagoya, you know, safe. | 0:35:01 | 0:35:02 | |
We're about to get back on our buses, | 0:35:02 | 0:35:05 | |
we're going to head back to the aeroplane | 0:35:05 | 0:35:06 | |
now that we have a game plan and a decision, | 0:35:06 | 0:35:08 | |
and we're going to fly onto Mexico via Hawaii. | 0:35:08 | 0:35:13 | |
-Griffin? -Hello. -Thank you. | 0:35:13 | 0:35:15 | |
That morning, the first show was cancelled. | 0:35:15 | 0:35:18 | |
It seemed fairly obvious as the news unfolded | 0:35:18 | 0:35:20 | |
that the second show would be cancelled. | 0:35:20 | 0:35:22 | |
In light of everything else, that's all pretty secondary. | 0:35:23 | 0:35:27 | |
We just send our love and best wishes | 0:35:27 | 0:35:29 | |
to all Japanese fans and Japanese people. | 0:35:29 | 0:35:32 | |
CROWD: Maiden, Maiden, Maiden! | 0:35:33 | 0:35:36 | |
Right, so here I am, just collecting the washing | 0:35:40 | 0:35:44 | |
that I don't want to put in the dryer, just stuff that's air dried. | 0:35:44 | 0:35:48 | |
This is my wardrobe room today, it's a bit dark and a bit messy. | 0:35:48 | 0:35:53 | |
I just basically look after the band, as in stage clothes-wise, | 0:35:53 | 0:35:58 | |
but if they ever need anything, | 0:35:58 | 0:36:00 | |
I'm usually the one to run and fetch things if they need it. | 0:36:00 | 0:36:03 | |
I'd describe this job as balancing six plates. | 0:36:03 | 0:36:07 | |
So this is the lounge area. | 0:36:07 | 0:36:09 | |
They've done a pretty good job today, | 0:36:09 | 0:36:12 | |
it's always different every show. | 0:36:12 | 0:36:15 | |
These are the drum heads, so I have a stash | 0:36:15 | 0:36:18 | |
and put out three every show for Nicko to sign | 0:36:18 | 0:36:20 | |
so that he can throw them at the end of the show. | 0:36:20 | 0:36:22 | |
MUSIC: "Fear Of The Dark" | 0:36:28 | 0:36:30 | |
# Sometimes when you're scared to take a look | 0:36:30 | 0:36:33 | |
# At the corner of the room | 0:36:33 | 0:36:34 | |
# You've sensed that something's watching you | 0:36:34 | 0:36:38 | |
# Fear of the dark | 0:36:38 | 0:36:40 | |
# Fear of the dark | 0:36:40 | 0:36:42 | |
# I have constant fear that something's always near | 0:36:42 | 0:36:46 | |
# Fear of the dark | 0:36:48 | 0:36:50 | |
# Fear of the dark... # | 0:36:50 | 0:36:52 | |
It's a digital desk, it's got the capabilities of 120 inputs, | 0:36:52 | 0:36:57 | |
30 outputs. We actually use 22 of those. | 0:36:57 | 0:37:01 | |
There's actually 20 mixes, | 0:37:01 | 0:37:04 | |
everything's different, totally, totally different. | 0:37:04 | 0:37:08 | |
If the band want to hear certain things, if they can't hear | 0:37:08 | 0:37:11 | |
a certain thing on the side of the stage, | 0:37:11 | 0:37:13 | |
if they want to listen to that. | 0:37:13 | 0:37:15 | |
We actually go around and make sure that everything's | 0:37:15 | 0:37:18 | |
working properly so it's all blending, hopefully, together. | 0:37:18 | 0:37:22 | |
Then we get the guys to actually make some noise. | 0:37:22 | 0:37:25 | |
HE PLAYS A HEAVY TUNE | 0:37:25 | 0:37:27 | |
We can't bring a lot of our cases, trunks and things, | 0:37:28 | 0:37:32 | |
so all the guitars, keyboards, have to travel separately. | 0:37:32 | 0:37:35 | |
I had to clear out about a third of my workbox | 0:37:35 | 0:37:38 | |
to make space for other people and to get the weight down. | 0:37:38 | 0:37:40 | |
I think the best way to talk about things with Steve | 0:37:41 | 0:37:45 | |
is there is very little to say, | 0:37:45 | 0:37:46 | |
which is how he prefers it, and I've been with him a long time | 0:37:46 | 0:37:49 | |
and pretty much anticipate what he might be wanting. | 0:37:49 | 0:37:52 | |
He knows more about my gear than I do and I'm lost without him. | 0:37:52 | 0:37:55 | |
He also plays keyboards, as people know. | 0:37:55 | 0:37:57 | |
I don't actually consider myself to be a keyboard player as such, | 0:37:57 | 0:38:00 | |
but I can do the stuff that Maiden requires, | 0:38:00 | 0:38:03 | |
and some of it's not simple. | 0:38:03 | 0:38:06 | |
Here's the rig. | 0:38:19 | 0:38:20 | |
We've got all sorts of things in there, you've got wireless, | 0:38:20 | 0:38:23 | |
he uses wireless on a couple of songs, | 0:38:23 | 0:38:25 | |
songs like Iron Maiden, where they like to do | 0:38:25 | 0:38:27 | |
a swinging guitar around his head. | 0:38:27 | 0:38:29 | |
This is a Pete Cornish unit, it's got pedals built into it, | 0:38:29 | 0:38:32 | |
and I control the pedals from here. | 0:38:32 | 0:38:34 | |
Justin Garrick, the man who looks after all my gear, | 0:38:34 | 0:38:38 | |
does a fantastic job. | 0:38:38 | 0:38:40 | |
He presses all the buttons for me, | 0:38:40 | 0:38:42 | |
gets everything together that I need, fixes the guitars, | 0:38:42 | 0:38:44 | |
fixes the amps, and there's a lot of fixing to be done. | 0:38:44 | 0:38:47 | |
So on tour we have to bring spares for everything, | 0:38:47 | 0:38:49 | |
I mean, even on this tour I have changed a pick up on this tour, | 0:38:49 | 0:38:54 | |
volume pots, things like this go when, you know, | 0:38:54 | 0:38:56 | |
you spin them around or throw them, sweat gets in them, | 0:38:56 | 0:38:59 | |
so all these things get changed out so we have spares. | 0:38:59 | 0:39:01 | |
It's not a daily thing, | 0:39:01 | 0:39:03 | |
but it's things that may happen once on a tour. | 0:39:03 | 0:39:06 | |
And he's a very, very competent guy, and not only that, | 0:39:06 | 0:39:08 | |
he's worked with Ronnie Wood, he's worked with Razorlight. | 0:39:08 | 0:39:12 | |
He's a tremendous asset to Iron Maiden | 0:39:12 | 0:39:14 | |
and I'm really thankful that we've found him. | 0:39:14 | 0:39:17 | |
Well, my world, my name is Sean Brady, | 0:39:19 | 0:39:22 | |
and I'm Adrian Smith's butler. | 0:39:22 | 0:39:23 | |
I rely on Sean a lot, because my set-up is not very high-tech, | 0:39:23 | 0:39:28 | |
so, you know, if I'm taking a solo, for example, | 0:39:28 | 0:39:30 | |
Sean usually punches my effects in. | 0:39:30 | 0:39:33 | |
It's also a question of, you know, | 0:39:33 | 0:39:36 | |
the less wiring you have on stage, the better the sound. | 0:39:36 | 0:39:39 | |
It's a 100-watt amplifier, of course, not a 50 and not even 101, | 0:39:39 | 0:39:44 | |
because we don't go to 11 here. As you can see, we only go to ten. | 0:39:44 | 0:39:49 | |
We've looked into 11 | 0:39:49 | 0:39:50 | |
but it has been patented by a certain other English rock act. | 0:39:50 | 0:39:54 | |
Yeah, Sean puts up with my moods now and again, you know, | 0:39:54 | 0:39:58 | |
when things aren't going well, and calms me down a bit, | 0:39:58 | 0:40:01 | |
and we have a good rapport, you know? | 0:40:01 | 0:40:05 | |
Usually I have masses of gear, you never know what you're going | 0:40:10 | 0:40:12 | |
to need, but you know, we work it out down to pretty much | 0:40:12 | 0:40:15 | |
the nearest amount of strings we're going to need. | 0:40:15 | 0:40:20 | |
Colin, my guitar tech, has been absolutely tremendous, | 0:40:21 | 0:40:24 | |
he's been with me now for a few years | 0:40:24 | 0:40:27 | |
and there's a great working relationship. | 0:40:27 | 0:40:29 | |
He always kind of knows what sound I'm looking for. | 0:40:29 | 0:40:31 | |
Everybody keeps coming along and making notes of all these dials | 0:40:31 | 0:40:35 | |
to get that perfect Davey tone, | 0:40:35 | 0:40:37 | |
and I just keep doing that, because none of them work! | 0:40:37 | 0:40:39 | |
We're out there to do a job and to play, | 0:40:39 | 0:40:43 | |
but then at the same time, you know, we have a laugh. | 0:40:43 | 0:40:45 | |
The difference is I have six flight cases when we do a normal tour | 0:40:47 | 0:40:50 | |
with trucks in Europe and America. | 0:40:50 | 0:40:53 | |
On this, I've got... I think it's 26 pieces. | 0:40:53 | 0:40:56 | |
Charlie's been with me now for, I can't remember, eight years, | 0:40:56 | 0:41:00 | |
something like that, maybe nine. | 0:41:00 | 0:41:02 | |
He's a fantastic drum tech, he's the only drum tech I've ever had | 0:41:02 | 0:41:05 | |
that I allow to tune my drums for me. I'd showed him | 0:41:05 | 0:41:08 | |
how I tuned them and tone wise, the difference between each drum. | 0:41:08 | 0:41:12 | |
The tuning's got to be bang on, and when you've got nine toms, | 0:41:12 | 0:41:17 | |
it's quite difficult. | 0:41:17 | 0:41:19 | |
And the cymbals. Everything, just the angles of everything, | 0:41:19 | 0:41:22 | |
he notices everything and he'll sit there sometimes | 0:41:22 | 0:41:25 | |
and just close his eyes and just do this with the stick. | 0:41:25 | 0:41:27 | |
And he'll straight away, and you're talking a couple of millimetres. | 0:41:27 | 0:41:31 | |
But it really is very essential, | 0:41:31 | 0:41:33 | |
because it's like a precision instrument, my drum kit, | 0:41:33 | 0:41:35 | |
if one part of it's out, the whole thing's completely... | 0:41:35 | 0:41:39 | |
I'll sit there and if one thing is out on this side of the drums, | 0:41:39 | 0:41:43 | |
by the time you get up here it's way out of position. | 0:41:43 | 0:41:45 | |
But Charlie is very, very good. | 0:41:45 | 0:41:47 | |
MUSIC: "2 Minutes To Midnight" | 0:41:47 | 0:41:50 | |
# Midnight | 0:41:53 | 0:41:56 | |
# All night. # | 0:41:56 | 0:41:58 | |
CHEERING | 0:41:58 | 0:42:01 | |
Oh, yeah! | 0:42:01 | 0:42:03 | |
-BLEEP -great audience, phenomenal! | 0:42:04 | 0:42:07 | |
This is for the people in Japan tonight. | 0:42:08 | 0:42:10 | |
MUSIC: "The Talisman" | 0:42:10 | 0:42:13 | |
# When I stand and look About the port | 0:42:18 | 0:42:22 | |
# And contemplate my life... # | 0:42:22 | 0:42:24 | |
We're in Monterrey, Mexico, | 0:42:26 | 0:42:27 | |
it's really early o'clock in the morning, | 0:42:27 | 0:42:29 | |
we basically got out of bed at four o'clock, three thirty, | 0:42:29 | 0:42:32 | |
after a great show last night, and by the time we'd loaded | 0:42:32 | 0:42:36 | |
and got to bed, it was one o'clock in the morning. So you do the math. | 0:42:36 | 0:42:40 | |
that's about three hours sleep for some, if we're lucky. | 0:42:40 | 0:42:44 | |
You know, it's tough because you're doing lots of flights, | 0:42:44 | 0:42:47 | |
the crew sleep less than probably we do, but you know, | 0:42:47 | 0:42:50 | |
they're just trying to cram in a bit of sleep here and there. | 0:42:50 | 0:42:53 | |
You find odd guys lying across flight cases and things like that, | 0:42:53 | 0:42:56 | |
just trying to grab a couple of hours' sleep, | 0:42:56 | 0:42:58 | |
because it's tough on them. | 0:42:58 | 0:42:59 | |
So we arrived here yesterday, | 0:43:10 | 0:43:12 | |
we arrived late last night from Lima, Peru on Ed Force One. | 0:43:12 | 0:43:15 | |
Came in early this morning, we've got gear coming from all over, | 0:43:15 | 0:43:20 | |
we've got the Big Eddie's coming on the sea container from the UK, | 0:43:20 | 0:43:22 | |
we have towers that we flew airfreight over from Australia, | 0:43:22 | 0:43:26 | |
we have the goat that's back out, and we have other bits and pieces, | 0:43:26 | 0:43:29 | |
so it's a full-production Maiden show, hence the extra day. | 0:43:29 | 0:43:34 | |
We also have our moving motors which is... | 0:43:34 | 0:43:37 | |
We have parts of the lighting rig move and give it a spaceship effect. | 0:43:37 | 0:43:41 | |
You know, we don't have the luxury of using that everywhere we go, | 0:43:41 | 0:43:44 | |
basically because the technology that you need to use it | 0:43:44 | 0:43:47 | |
is not available everywhere, you just can't get it, | 0:43:47 | 0:43:49 | |
and it's quite costly to fly it around. | 0:43:49 | 0:43:51 | |
But we do have it for these big shows. | 0:43:51 | 0:43:53 | |
We've been going through this tour with basic set and six drapes, | 0:43:53 | 0:43:57 | |
but there's four shows here - | 0:43:57 | 0:44:00 | |
Sao Paulo, Rio, Chile and Argentina - which we'll put a full show in, | 0:44:00 | 0:44:05 | |
which includes two other drapes. | 0:44:05 | 0:44:07 | |
We've got the devil goat and, of course, the Big Eddie at the back. | 0:44:07 | 0:44:12 | |
Big Eddie is in those two carts. | 0:44:12 | 0:44:14 | |
Big Eddie, he's a one off, bespoke. | 0:44:15 | 0:44:18 | |
He's a great big fibreglass and metal structure. | 0:44:18 | 0:44:21 | |
It comes together in the two biggest boxes you've ever seen in your life. | 0:44:21 | 0:44:24 | |
We're going to places that on a normal, routine tour | 0:44:46 | 0:44:50 | |
you would never, ever go to, you'd fly over, | 0:44:50 | 0:44:52 | |
and so we find ourselves in places like Belem in North Brazil, | 0:44:52 | 0:44:56 | |
just on the edge of the rainforest, and my goodness, did it rain! | 0:44:56 | 0:45:00 | |
They don't call it the rainforest for nothing, I suppose. | 0:45:03 | 0:45:05 | |
This is the second day of torrential rain we've had, | 0:45:05 | 0:45:08 | |
pretty typical for this area. | 0:45:08 | 0:45:10 | |
Well, a little stronger than normal, we've been told. | 0:45:11 | 0:45:13 | |
You know, it builds up, all the heat comes out the jungle, | 0:45:13 | 0:45:16 | |
moisture comes into the air, and then about 2:30 in the afternoon | 0:45:16 | 0:45:20 | |
it all falls out again, and today it's falling on top of us. | 0:45:20 | 0:45:23 | |
So anyway, loads of plastic, loads of sweeping, | 0:45:23 | 0:45:27 | |
trying to keep the equipment dry, | 0:45:27 | 0:45:28 | |
lots of mosquitoes, dengue fever, torrential rains, | 0:45:28 | 0:45:33 | |
but, yeah, definitely beats a nine to five job, I can tell you that much! | 0:45:33 | 0:45:37 | |
CROWD: Maiden, Maiden! | 0:45:40 | 0:45:41 | |
It's our Amazonian angel, Eddie. | 0:45:48 | 0:45:51 | |
Maiden! | 0:45:53 | 0:45:54 | |
We're about three and a half hours away from doors, | 0:45:54 | 0:45:58 | |
and there's some more thunder, and it'll be another great show tonight, | 0:45:58 | 0:46:02 | |
you know, it's going to be packed out, really excited Brazilian fans, | 0:46:02 | 0:46:05 | |
have not seen Maiden yet in this area. | 0:46:05 | 0:46:08 | |
In fact, very few bands have actually been up this way, | 0:46:08 | 0:46:10 | |
so that adds some extra excitement for some life-long Maiden fans | 0:46:10 | 0:46:14 | |
that are going to get to see them for the first time | 0:46:14 | 0:46:17 | |
up here in the Amazon Basin, in the jungles of Brazil. | 0:46:17 | 0:46:20 | |
MUSIC: "When The Wild Wind Blows" | 0:46:20 | 0:46:22 | |
# Hey | 0:46:22 | 0:46:23 | |
# Hey, hey | 0:46:23 | 0:46:25 | |
# Hey... # | 0:46:25 | 0:46:27 | |
-AUDIENCE CHANT: -Hey! Hey! Hey! | 0:46:27 | 0:46:31 | |
# He sees the picture on the wall | 0:46:41 | 0:46:44 | |
# It's falling down | 0:46:44 | 0:46:46 | |
# Upside down... # | 0:46:46 | 0:46:48 | |
Somebody, who will remain nameless, | 0:46:49 | 0:46:51 | |
decided to film a new DVD in Santiago and Buenos Aires | 0:46:51 | 0:46:57 | |
due to the fact of the good crowd reactions and such. | 0:46:57 | 0:47:01 | |
All the logistics were put together, months and months, | 0:47:01 | 0:47:04 | |
sea containing out the Big Eddie. | 0:47:04 | 0:47:06 | |
Air freighting in the towers, extra drapes. | 0:47:06 | 0:47:10 | |
We did rock in Rio, but it just seemed the turn to go further south. | 0:47:10 | 0:47:14 | |
Six o'clock in the morning we got up, | 0:47:21 | 0:47:24 | |
and as you can see, it's still dark, | 0:47:24 | 0:47:26 | |
it looks more like the end of a load out than a load in. | 0:47:26 | 0:47:29 | |
Yeah, early start today, big, big show, | 0:47:29 | 0:47:31 | |
the crew's been at it all night, moved down here yesterday. | 0:47:31 | 0:47:34 | |
Yeah, this is Chile's national stadium. | 0:47:34 | 0:47:36 | |
They were going to pull it down | 0:47:36 | 0:47:39 | |
but then they decided to keep it as a monument. | 0:47:39 | 0:47:41 | |
A monument to all the people that were killed in here by Pinochet, | 0:47:41 | 0:47:45 | |
this is one of the places where he executed thousands of people - | 0:47:45 | 0:47:48 | |
they reckon up to 100,000 people were killed during his dictatorship, | 0:47:48 | 0:47:54 | |
that's not that long ago, 1973. | 0:47:54 | 0:47:57 | |
But we're here for something a bit more lively. | 0:47:57 | 0:48:00 | |
It can be quite distracting when you've got... | 0:48:10 | 0:48:12 | |
I think there was 20 or 30 cameras, | 0:48:12 | 0:48:14 | |
every note, every move you make's being recorded | 0:48:14 | 0:48:17 | |
but you've just got to try and forget about that. | 0:48:17 | 0:48:20 | |
Because there is limited space on the plane, | 0:48:20 | 0:48:23 | |
we have quite a small and compact and sophisticated recording system | 0:48:23 | 0:48:26 | |
which takes feeds from the front desk, | 0:48:26 | 0:48:30 | |
and we record everything digitally, and then we have a few other, | 0:48:30 | 0:48:33 | |
seven or 11 different microphones around to capture the audience. | 0:48:33 | 0:48:37 | |
The audience is an integral part of the Maiden experience, | 0:48:37 | 0:48:40 | |
I mean, the audience is something else, they sing every song, | 0:48:40 | 0:48:43 | |
every lyric, it's something to see. | 0:48:43 | 0:48:46 | |
The Santiago crowd was particularly animated. | 0:48:46 | 0:48:49 | |
60,000 people, | 0:48:49 | 0:48:51 | |
and I don't think there was anyone that wasn't singing along with them. | 0:48:51 | 0:48:54 | |
MUSIC: "Blood Brothers" | 0:48:54 | 0:48:55 | |
# We're blood brothers... # Chile! | 0:48:55 | 0:48:58 | |
# We're blood brothers | 0:48:58 | 0:49:01 | |
# We're blood brothers... # What are we?! | 0:49:01 | 0:49:05 | |
# We're blood brothers... # | 0:49:05 | 0:49:08 | |
Here we are, we're about to launch off from a murky Chile | 0:49:11 | 0:49:14 | |
towards Puerto Rico. | 0:49:14 | 0:49:16 | |
Out of here, obviously, it's seven hours and 16 minutes flight plan | 0:49:16 | 0:49:20 | |
going to Chile, going over the Andes pretty much straight away. | 0:49:20 | 0:49:25 | |
MUSIC: "Flight of Icarus" | 0:49:25 | 0:49:26 | |
# Fly on your way | 0:49:26 | 0:49:29 | |
# Like an eagle | 0:49:29 | 0:49:31 | |
# Fly as high as the sun | 0:49:31 | 0:49:34 | |
# On your wings like an eagle... # | 0:49:34 | 0:49:39 | |
The speed of a beast. | 0:49:39 | 0:49:40 | |
# Fly, touch the sun | 0:49:40 | 0:49:44 | |
# Yeah. # | 0:49:44 | 0:49:45 | |
Because of the size of the Iron Maiden shows, | 0:49:52 | 0:49:54 | |
screens are a really important part of the production. | 0:49:54 | 0:49:58 | |
We use a total of eight cameras, four main cameras | 0:49:58 | 0:50:02 | |
looking at all the band members which you have to direct and cue. | 0:50:02 | 0:50:06 | |
..finishing on four. | 0:50:07 | 0:50:09 | |
We carry three mini cameras of our own which go on Nicko. | 0:50:09 | 0:50:13 | |
There is one other camera, which, of course, Eddie has, | 0:50:13 | 0:50:17 | |
which gives us a good show to the screens. | 0:50:17 | 0:50:20 | |
We're here in Puerto Rico, three shows from the end. | 0:50:20 | 0:50:24 | |
We've had some interesting challenges along the way | 0:50:24 | 0:50:27 | |
with language barriers. | 0:50:27 | 0:50:28 | |
With a lot of these countries, you get what you're given, | 0:50:28 | 0:50:32 | |
and some of the kit I've seen has been hysterical, | 0:50:32 | 0:50:35 | |
I mean, it's like early '80's, | 0:50:35 | 0:50:37 | |
so you do have to take the rough with the smooth. | 0:50:37 | 0:50:39 | |
This has been slightly easier here in Puerto Rico. | 0:50:39 | 0:50:43 | |
It's been a very good meeting. | 0:50:43 | 0:50:45 | |
We have had pretty interesting runs in South America, | 0:50:45 | 0:50:49 | |
but this is a good one | 0:50:49 | 0:50:50 | |
and I've got a good feeling about the show tonight. | 0:50:50 | 0:50:53 | |
LYRICS: "Iron Maiden" | 0:50:53 | 0:50:54 | |
# Oh well, wherever, wherever you are | 0:50:54 | 0:50:57 | |
# Iron Maiden's going to get you, No matter how far | 0:50:57 | 0:51:01 | |
# See the blood flow watching it shed Up above my head | 0:51:01 | 0:51:06 | |
# Iron Maiden wants you for dead. # | 0:51:06 | 0:51:10 | |
CHEERING | 0:51:10 | 0:51:12 | |
PLANE ENGINES ROAR | 0:51:12 | 0:51:14 | |
So we do two shows in Florida, it was great, | 0:51:18 | 0:51:20 | |
and to finish up in Tampa, we hadn't been for 20 years or so, | 0:51:20 | 0:51:24 | |
it capped off the tour well. | 0:51:24 | 0:51:26 | |
I think, at the end, everyone was pretty well about time to go home. | 0:51:26 | 0:51:29 | |
And we're back in America now. | 0:51:29 | 0:51:31 | |
We've been through Chile again, which was a fantastic gig. | 0:51:31 | 0:51:35 | |
We've done Puerto Rico, and now we're in Florida | 0:51:35 | 0:51:37 | |
doing the last two gigs, and it's been an absolutely fantastic tour. | 0:51:37 | 0:51:41 | |
It's not doing the longest tour by any means, | 0:51:41 | 0:51:44 | |
but for some strange reason | 0:51:44 | 0:51:46 | |
having it on Ed Force One magnifies everything. | 0:51:46 | 0:51:48 | |
We really are living in a fish bowl. | 0:51:48 | 0:51:49 | |
You've spent time with everybody every day for months on end | 0:51:49 | 0:51:52 | |
when you're on tour, time zone to time zone, different languages, | 0:51:52 | 0:51:56 | |
different cultures, every day the equipment's different, | 0:51:56 | 0:51:59 | |
and we're all trying to make the show look and sound the same. | 0:51:59 | 0:52:02 | |
It's been great, it's been really good, the spirits have been high. | 0:52:02 | 0:52:06 | |
I think the band's enjoying it as well. | 0:52:06 | 0:52:09 | |
All in all, I've had a blast. | 0:52:09 | 0:52:10 | |
We're still standing, you know, | 0:52:10 | 0:52:12 | |
we might have aged a little bit, maybe a few chinks in the armour, | 0:52:12 | 0:52:15 | |
every night has been absolutely tremendous, you know, | 0:52:15 | 0:52:18 | |
and it's hard to determine one night as better than another | 0:52:18 | 0:52:21 | |
because they're all great. | 0:52:21 | 0:52:23 | |
With all the pre-work, the money, the agreements, | 0:52:23 | 0:52:26 | |
the hotels being provided, which hotels, | 0:52:26 | 0:52:29 | |
when can we land and when can't, | 0:52:29 | 0:52:32 | |
with all that pre-work, to actually make the tour work, | 0:52:32 | 0:52:34 | |
it's the crew who make it work. | 0:52:34 | 0:52:36 | |
We've got a really fantastic crew, and they all know what's needed, | 0:52:36 | 0:52:40 | |
they're all trying their hardest to get the show looking the best | 0:52:40 | 0:52:43 | |
it can be, and that's all you can ask of anybody, really. | 0:52:43 | 0:52:46 | |
Yeah, we're all mates, | 0:52:46 | 0:52:47 | |
we all watch each other's backs in difficult situations. | 0:52:47 | 0:52:50 | |
It's part of what it takes to be in a killer crew. I'm sure it's what makes us the best. | 0:52:50 | 0:52:54 | |
We're all very loyal to Maiden because they are to us, | 0:52:54 | 0:52:57 | |
it really is like one big family. | 0:52:57 | 0:52:59 | |
I wouldn't say one big happy family all the time! | 0:52:59 | 0:53:02 | |
There we go, this'll learn you! | 0:53:02 | 0:53:04 | |
To put that amount of people together | 0:53:04 | 0:53:07 | |
is quite a contrived scenario, but when you think about it | 0:53:07 | 0:53:11 | |
it's like any other regular family, but we're not related. | 0:53:11 | 0:53:15 | |
We're related through rock and roll! | 0:53:16 | 0:53:18 | |
MUSIC: "Coming Home" | 0:53:18 | 0:53:20 | |
# When I stand before you shining | 0:53:20 | 0:53:22 | |
# In the early morning sun | 0:53:22 | 0:53:25 | |
# When I feel the engines roar | 0:53:25 | 0:53:28 | |
# And I think of what we've done... # | 0:53:28 | 0:53:31 | |
It's been a great tour, we've done a lot of miles, | 0:53:31 | 0:53:33 | |
time for a break, recharge the batteries and get home | 0:53:33 | 0:53:36 | |
and put a few shelves up, bit of painting and decorating! | 0:53:36 | 0:53:40 | |
Well, it's the longest we've ever done, actually. | 0:53:40 | 0:53:42 | |
It felt like a really, really long time to be away. | 0:53:42 | 0:53:45 | |
Considering the first one was not much more than six weeks, | 0:53:45 | 0:53:48 | |
the extra three weeks, you know. | 0:53:48 | 0:53:50 | |
It's equivalent to 50,000 miles, | 0:53:50 | 0:53:53 | |
we've been around the planet twice in a couple of months, | 0:53:53 | 0:53:55 | |
you know, obviously we've spent a lot of it in South America, | 0:53:55 | 0:53:59 | |
When you go back, although we've been to a lot of places before, | 0:53:59 | 0:54:02 | |
it always feels new, and especially the audiences, as well, | 0:54:02 | 0:54:06 | |
they seem to be getting younger. | 0:54:06 | 0:54:08 | |
Nothing's perfect in this world | 0:54:08 | 0:54:10 | |
and we try to be the best you can be, | 0:54:10 | 0:54:12 | |
but at the end of the day, I think we've gone out there | 0:54:12 | 0:54:14 | |
and we've done the best we can in the given circumstances, | 0:54:14 | 0:54:17 | |
with quite a lot against us on this tour. | 0:54:17 | 0:54:19 | |
Yeah, we're on a private plane, but the distances are like, | 0:54:19 | 0:54:22 | |
you know, ten hours' flight or whatever, | 0:54:22 | 0:54:24 | |
I mean we actually went through the dateline from Japan to Hawaii | 0:54:24 | 0:54:27 | |
and then Mexico, and we got there before we left, | 0:54:27 | 0:54:29 | |
I mean, work that one out! | 0:54:29 | 0:54:31 | |
I actually had two days' birthdays, and who wants that at my age? | 0:54:31 | 0:54:34 | |
# Show me the way to go home | 0:54:39 | 0:54:41 | |
# I'm tired and I want to go to bed. # | 0:54:41 | 0:54:43 | |
Yee-ha, we're heading home! | 0:54:43 | 0:54:45 | |
See all them names on that side of the plane there? | 0:54:45 | 0:54:48 | |
It doesn't say England on the bottom, | 0:54:48 | 0:54:50 | |
but that's where we're going, | 0:54:50 | 0:54:51 | |
and that's where I'm looking forward to being. | 0:54:51 | 0:54:54 | |
We're coming home! | 0:54:54 | 0:54:56 | |
Is this the bus home, Mark? | 0:54:56 | 0:54:58 | |
OK, the flying bus home. | 0:54:58 | 0:55:00 | |
Yes, baby, yeah. | 0:55:00 | 0:55:02 | |
Success, triumph. Again. | 0:55:03 | 0:55:06 | |
It's been an emotional rollercoaster ride. | 0:55:06 | 0:55:09 | |
Good to be going home. | 0:55:09 | 0:55:11 | |
# I'm going home, I've done my time. # | 0:55:11 | 0:55:13 | |
I don't want to go. Not finished yet. | 0:55:15 | 0:55:17 | |
That's it, it's all over. | 0:55:18 | 0:55:20 | |
# When I see the runway lights | 0:55:20 | 0:55:23 | |
# In the misty dawn, the night is fading fast | 0:55:23 | 0:55:29 | |
# Coming home, far away | 0:55:29 | 0:55:31 | |
# As the vapour trails align | 0:55:31 | 0:55:34 | |
# Where I've been tonight | 0:55:34 | 0:55:37 | |
# You know I will not stay | 0:55:37 | 0:55:41 | |
# Coming home, far away | 0:55:41 | 0:55:43 | |
# When I see the runway lights | 0:55:43 | 0:55:46 | |
# In the misty dawn, the night is fading fast | 0:55:46 | 0:55:52 | |
# Coming home, far away | 0:55:52 | 0:55:55 | |
# As the vapour trails align | 0:55:55 | 0:55:58 | |
# Where I've been tonight | 0:55:58 | 0:56:00 | |
# You know I will not stay. # | 0:56:00 | 0:56:06 | |
Subtitles by Red Bee Media Ltd | 0:56:31 | 0:56:34 |