Please welcome back bicyclelegs, from the YouTube channel bicyclelegstalksmusic! He is the first guest to make a return visit to 50 Years of Iron Maiden. He got to talk about two of his favourites, Powerslave and now Seventh Son of a Seventh Son.
It’s another historic Iron Maiden album. Not just songs with common themes about topics such as “time”, but this time Iron Maiden completed their first and only full concept album. The topic was quite esoteric: a seventh son of a seventh son. Such people, born from an unbroken line of seventh sons without daughters in between, were rumoured to posses powers of healing or foresight. What if such a character found himself a pawn in a game of power between good and evil? Not every song on this album is a sequential part of the story, but together we try to walk you through the plot and the twist ending.
Musically, Iron Maiden were using keyboards, which caused some controversy. Though Bruce Dickinson was back in the game and contributing songs and lyrics for the first time in four years, it was a time for change. One member of the band found himself unhappy on tour, and the band’s longtime cover artist was also frustrated with his artistic expression. We cover all this tonight on the show.
Not only that, but as usual you can count on us to cover all the B-sides* (and one unique A-side). Physical product will include an original Seventh Son vinyl, a multitude of singles including a shaped picture disc, and of course CD. As per our custom, Harrison will walk us through the setlists for the tour.
Can I Play with Madness? Scream for us, YouTube, and enjoy this comeback episode of 50 Years of Iron Maiden.
*The only B-sides we will not include in this episode are the tracks from “Infinite Dreams”, which were all re-released on Maiden England, a future live episode.
Airing Friday May 9 at 7:00 P.M. E.S.T. / 8:00 P.M. Atlantic. Enjoy on YouTube.
50 Years of IRON MAIDEN episode 11: Somewhere In Time
With special guest Peter Kerr
GRAB A STACK OF ROCK #101
Exit Pharaohs…enter synth!?
Please welcome Peter Kerr from Rock Daydream Nation to this epic episode of 50 Years of Iron Maiden. Now that we are done with the 100th Episode festivities, we can get back to celebrating the 50th anniversary of Iron Maiden. After the lengthy Powerslave tour and resultant live album Live After Death, one member of Iron Maiden was completely burned out. The new album would be the first since The Number of the Beast to lack a Bruce Dickinson writing credit.
Not that this major detail held anything back. Bruce’s singing was still lung-burstingly powerful, and the band were writing amazing songs…this time with guitar and bass synthesizer. It was a controversial decision, but our panel was not phased. Check out what we have to say about all eight tracks, and all four B-sides.
We also take a serious deep dive into the album artwork, without any help from Wikipedia or other sources.
As usual, we close the show with Harrison’s deep dive into the tour (Somewhere On Tour) and setlists.
Scream for us, YouTube, and enjoy this comeback episode of 50 Years of Iron Maiden.
Airing Friday May 2 at 7:00 P.M. E.S.T. / 8:00 P.M. Atlantic. Enjoy on YouTube.
RECORD STORE TALES #1173: I Like Iron Maiden…A Lot
In 1984, I “rebooted” my musical taste and started from ground zero. Out went Styx for almost two decades. Out went Joey Scarbury, and Kenny Rogers. In came KISS, W.A.S.P., and of course, Iron Maiden. I don’t think there was ever a time that Iron Maiden were my #1 favourite band, because Kiss almost always held that spot. It is safe to say that Maiden were always in the top five.
In grade school, I rocked Iron Maiden while being scolded by Catholic school teachers for doing so. It didn’t stop me. Through highschool, I proudly had their posters in my locker. It didn’t matter that Maiden weren’t hip with the cool kids. I was never cool, and never really intended to be. I was happy to be one of the Children of the Damned, not having to fit my personality into any particular shoebox.
There was a time I wavered, which I shall now admit to you. There was one Iron Maiden album that I didn’t intend to own. I reversed my decision within four months, but it was in the fall of 1990 that Iron Maiden may have faltered in my eyes. The album was the “back to basics” No Prayer For the Dying. My favourite member, Adrian Smith was out. I loved Janick Gers’ work with Bruce Dickinson, but I don’t think he quite fit with Maiden immediately. I also didn’t like the growly, un-melodic way that Bruce Dickinson was singing. I thought maybe this time, I would just buy the CD singles, and not worry about the album. I came to my senses. No Prayer wasn’t bad, but it wasn’t the return that we hoped for. I didn’t really want Maiden to get “back to basics” but was willing to go along for the ride.
My enthusiasm returned in 1992 with Fear of the Dark, a partial return to form with some solid tracks. It could have been better, but I was happy. Then the roof fell in. Suddenly, Bruce Dickinson was out. Meanwhile, the entire world had been sent into a grunge upheaval. Bands like Iron Maiden were dismissed as irrelevant in this new angry world. Bands who played their instruments with seasoned pride were being replaced by groups with punk aesthetics. Maiden seemingly had no place in this new world, and now the lead singer was gone. Just like Motley Crue, who were suffering a similar fate.
By the year 1999, Bruce was back. And so was Adrian. Maiden have never been bigger. They have continued to issue albums, never being shy to play new material and deep cuts live.
That’s why I’m telling you this story. 2025 marks 50 Years of Iron Maiden, and there will be a lot happening. 2025 will launch the Run For Your Lives tour, and Bruce has promised that they will play some songs they’ve never done before. It will also be the debut of new drummer Simon Dawson, from Steve Harris’ British Lion. Nicko McBrain, on the drum stool since 1983, has finally taken a bow from the live stage. It can’t be easy doing what he does.
BRUCE DICKINSON – “Resurrection Men” (2024 BMG CD single)
The Mandrake Project is a dense album. It takes a lot of time to absorb and understand. The concept goes way over my head, but the songs are heavy and the direction is metal. Bruce Dickinson is nothing if not ambitious, and of course that means taking the new album on the road. His live band this time out includes the always reliable Dave Moreno on drums, and Whitenake bassist Tanya O’Callaghan. Bruce has released two singles from the album with exclusive B-sides, and the second is “Resurrection Men”.
“Resurrection Men” is long for a single, at almost six and a half minutes. It is loaded with drama, and the acoustic intro really sets a mood. Then it goes into something more western, like from a Clint Eastwood film, with interesting percussion. That soon subsides and we go full electric. This song lunges all over the place, from slow grinding verses to quiet bass-driven parts, and a powerhouse chorus. Ultimately it’s not really single material, but that’s one thing that makes this release so interesting. It’s also impressive how Bruce continues to sing with such lung power.
Live from Sao Paolo comes “Afterglow of Ragnarok“, the first single from The Mandrake Project. A song about “what happens after the end of the world,” according to Bruce. It is tight, and does not deviate far from the original cut. The live setting is unforgiving, but even without multitracked vocals, Bruce nails it. The stage energy is palpable, and Moreno kills it on drums.
The most exciting track is the very first live version of “Abduction” from Tyranny of Souls. This one absolutely smokes, with breakneck pace, lightning drum fills, and melodic guitar harmonies. A lot of solo Bruce stuff could almost be considered Iron Maiden made modern, louder and more intense. “Abduction” falls into that category. This live version has some really cool guitar solo work, very different from Roy Z’s on the album.
It is truly wonderful to see artists such as Def Leppard, Deep Purple, and Bruce Dickinson releasing physical singles with actual B-sides in 2024. Keep it up.
In 1992, we gave Iron Maiden’s Fear of the Dark album a generous 3.75/5 star rating. Fear was the second in a row of underwhelming Iron Maiden albums. After losing melodic songwriter Adrian Smith, the band struggled to achieve the heights of Seventh Son of a Seventh Son. New member Janick Gers was also a songwriter, but Maiden struggled to match their previous mojo. Several songs from Fear were never played live: “Fear Is the Key”, “Childhood’s End”, “The Fugitive”, “Chains of Misery”, “The Apparition”, “Judas Be My Guide”, and “Weekend Warrior”. Meanwhile, the title track is a concert staple, played on almost every tour since.
What can we do to improve this album?
1. Tone down the keyboards
As the last Maiden album co-produced by Martin Birch, perhaps the metal maven was getting a little tired. Fear isn’t as punchy as past albums. Since Somewhere in Time, Maiden had become increasingly reliant on synths or keyboards. Even the back-to-basics No Prayer for the Dying had keyboards. Let’s not get rid of all the keyboards, let’s just tone them down. On some tracks, such as “Afraid to Shoot Strangers”, they are little more than sonic wallpaper. Let’s mix them a little lower for this experiment, and bring the drums up in the mix.
2. Remix the drums
Something about Nick McBrain’s drums on this album sound a little dead. A tad too much like they’re in the back of a cave. We should try making them a little more lively, and maybe just a tad louder in the mix. Aim for something more like the Piece of Mind era drums sound.
3. Edit the album down, and re-sequence it
Let’s go for a nine track song list. Clearly, the 12 on Fear were too many since they didn’t play the majority live. Fear was a long album. As the CD rose to dominance, albums grew longer. CDs were initially made to be 74 minutes long so you could put long classical pieces on it without breaks. 74 minutes was never intended to be the standard album length, though Fear is shy of that at 58:34. Still too long for a single record. Classic Maiden albums were shorter than this. We’ll go with nine songs. Number of the Beast had eight, and Piece of Mind had nine. Fear already had the perfect openers and closers, so we won’t touch those.
Side one
“Be Quick or Be Dead”
“Chains of Misery”
“From Here to Eternity”
“Judas Be My Guide”
“Wasting Love”
Side two
“Afraid to Shoot Strangers”
“The Fugitive”
“Weekend Warrior”
“Fear of the Dark”
It was a real struggle to include “Weekend Warrior”, as I don’t think this ode to soccer hooliganism is a particularly good song. However, I committed to nine, and I find “Fear is the Key” and “The Apparition” a tad dull. “Childhood’s End” is the other deleted song, and really it could have been one or the other. I went with “Weekend Warrior” because it’s different for Maiden. (Not that “The Apparition” isn’t, but these songs aren’t really that great. That’s why they weren’t played live.)
We maintain the kicking opener, high speed and going for the throat of big business. Then we have anthemic shout-along rock in “Chains of Misery”. “Wasting Love” acts as a side closer as it does on the proper album. Kicking off side two with “Afraid to Shoot Strangers” is a bit of a risk, as it is a bit ballady to start, and coming off a ballad gives you two in a row. However, it would work brilliantly as a side opener. “Fear of the Dark” of course should close. That’s what it’s built for.
This makes the album a perfect 44 minutes and 24 seconds!
4. Get rid of the tree Eddie!
Regular Maiden artist Derek Riggs had a falling out with Maiden’s management over his sketches for this album. Instead, for the first of many times, Maiden went with the legendary sci-fi and fantasty artist Melvyn Grant, who didn’t really understand Eddie yet, or the continuity established on prior album covers. From Number of the Beast to No Prayer for the Dying, there seemed to be an ongoing story with Eddie being manipulated, captured, and killed. He is reborn, borgified, and gives birth, only to be reborn again. Then, suddenly he’s a tree. The lightning from Eddie’s eyes is gone, replaced by evil red peepers. For our improved version of this album, the cover has to go. Cover art is so important to Iron Maiden, and Fear had one of their most disappointing covers to date (with No Prayer by Riggs coming in second).
In Sum
Little can be done to improve some of the actual songs on this album. Fear had filler, and a lot of it. Even at nine songs, tracks like “The Fugitive” and “Weekend Warrior” are dangerously close to filler material. Perhaps our hypothetical remix can liven them up, but shortening the album will do it some wonders. Maiden rarely record original material for B-sides, and don’t put cover songs on their records. There is no extra material we can substitute.
Doing the best with what we have at hand, what would you do to improve Fear of the Dark?
I never say this, but this time it’s true: Our first weekend at the cottage was absolutely perfect. Without a hitch. Exactly as planned, right down to the last detail. And loaded with new music!
The road trip began at 5:15 on Thursday night, April 25. Traffic was heavy, but not as heavy as the music! (We may need to look for another route out of town next time, as it took us almost half an hour just to escape Kitchener.) I had decided early in the week that the first road album of 2024 had to be Invincible Shield by Judas Priest! I had no doubt it would be one of the best road albums of the year. So confident was I, that I packed up my copy for Friday night’s Grab A Stack of Rock – Top 11 Albums to Play with the Windows Down. And I was right. “Crown of Horns” was the singalong track, though there were no duds. The album comes to a natural close on “Giants in the Sky” which has a classic Priest ending, but it’s not over yet! The bonus tracks give you a little extra road play, with a second ending in “The Lodger”. Brilliant album that kept us energized for the drive.
Priest couldn’t take us the whole way. When the Invincible Shield had ended, we moved onto Bruce Dickinson’s Mandrake Project. I haven’t had the time to absorb it yet, but Jen really enjoyed the album as we pulled down our little dirt road and into the driveway.
Everything was exactly as I left it back in October.
Taking my speakers out of storage, and making myself comfortable on the cool front deck, I chose the first porch album of the season. I didn’t want something as heavy rocking. Nor did I want something mellow and acoustic. This calls for the Arkells!
“We got gas in the tank to go all night,” sang Max Kerman from my porch. I danced away to this perfect evening. Rally Cry is the album I connected with the least last summer, being more political and less personal. This time it hit all the right spots, scratched all the itches, and began the season on the right note.
Jen noticed that I was joking around and more giddy than usual.
“Because I’m happy,” I said. “I feel alive again. This is what I had been waiting for.”
Friday was forecast as a summery, sunny day. We started early by picking up the first steaks of the season at the Beefway. We chose one porterhouse and one ribeye. This is our place to buy meat. There’s nobody better around. We stocked up on fish, pies, bacon and cooking oil. I had duck for lunch, and hot dogs and hamburgers in the evening.
For now, it was time for the main event: the first Grab A Stack of Rock from the cottage! It was a 3 PM afternoon show, and Jex was on board with his Top 11 Road Songs, in contrast to my album picks. Once again, everything went really well! Though Jex was late with work (the only unscripted thing about it), it will go down as one of my favourite shows ever. The roaring fire in the background was something new. I love playing with my visual setting, on Grab A Stack of Rock, at the cottage. Thank you Jex for an amazing start to the year. I hope we can do more, but even if we can’t, I got to do the fireside show that I had hoped for. Scratch that off the list.
The rain began Saturday, but it only got warmer. Another day on the front porch was in order, but first we went into town to see what was new.
We hit up a thrift store. I keep seeing all these guys on Facebook buying everything they can at thrift stores. I don’t know what they do with the CDs afterwards. Do their play their new Trisha Yearwood albums? Do they try and flip them? I found nothing in the gospel and country that they had, except for one signed CD by an unknown artist. The Facebook people would have bought them all; I chose none. I don’t buy for investment and I don’t really need a lot of music “on spec” when I barely have time to enjoy what I own.
Saturday was a weird day. It’s hard to explain exactly what happened, but as the day went on the feeling got more intense. I was having Deja Vu feelings every few minutes. It wasn’t specific memories, just…overall feelings. They were usually centered around people from my childhood, but I don’t know why. I would be cooking steaks in the back yard, and having Deja Vu feelings from grade school, but I was unable to nail down any specific memories. It was just a weird feeling like, “I have done this before,” but unable to identify a specific memory. I just felt like it was childhood. It intensified at dinner time. Perhaps the aromas of the cooking brought me back to Saturday dinners at the table, with steak and corn. Our steaks were perfect.
I mentioned earlier that everything went down without a hitch. That is not entirely true….
The Toronto Maple Leafs shit the bed. We shall not discuss this. It is not a good subject.
Otherwise, everything went perfect. I was starting to feel sad on Sunday morning, as I did the dishes and packed my bags up. Deciding what to bring back home and what to leave behind, I felt sad.
“Not this time,” I said, and I fought it back.
We played Kiss on the way home. Unmasked, Rock and Roll Over, and Asylum. These albums of childhood happiness drove the sadness away, and I woke up Monday morning feeling good.
This year’s first weekend at the cottage was a diametric contrast to 2023, which ended prematurely when I decided to go home early.
2023’s first weekend began with anxiety, as my former co-host was focused only on her solo show, and did not seem to care at all what I was doing. That weekend was not just supposed to be my return to the lake, but also hers. This is where we met (online) and bonded. I could not wait to return and do it again. She couldn’t seem more disinterested. She began stripping online that weekend, and I knew the friendship was all but over. I knew that was a road I could not follow, and I knew she wanted me to, even though she refused to come right out and say it. The writing was on the wall, that cold and rainy weekend. Within seven days, the friendship had ended, as I knew it would. She would never join me at the cottage again, even though we had spent six months planning it.
Not this time.
2024 is off to the right start. Even if Jex can’t do as many summer shows with me this year, we accomplished what we set out to do. An amazing weekend was had. The music we road tested passed the gauntlet, and we are ready to get on with the summer.
Contest winners Keith Kramer and Les Eckert were the names of the two chaps who got to sit in and interview Iron Maiden’s Bruce Dickinson, while out supporting his first solo album, Tattooed Millionaire. Dan Gallagher was hosting the Pepsi Power Hour, and his sense of humour is apparent here. Dan always made interviews fun.
Bruce was pretty wiped out after a long night! The guests picked the videos and asked the questions, but it is clear throughout that all three had a wild one the night before, seeing a band called Kings of the Sun. Les was, to paraphrase Bruce, flammable.
BRUCE DICKINSON – An Evening With Bruce Dickinson, 03/30/22, Kitchener, Centre In the Square
By Dr. Kathryn Ladano
On the evening of Wednesday March 30th, I headed over to the Centre in the Square with my good friend Dave to check out “An Evening with Bruce Dickinson”. Dave bought two tickets to the show as soon as they went on sale months ago and asked if I’d like to come. While I’m admittedly not an Iron Maiden expert, I did grow up listening to the band via my brother (Mike LeBrain) and was aware of all of their albums and singles throughout the 80’s. I spent a lot of time watching Iron Maiden videos on Much Music and I recall when I was in grade 3 or 4 being asked what my favourite song was and answering “Aces High”. No one had any clue what I was talking about. I have a lot of nostalgia for that time and when I was a kid I knew all of the members of Iron Maiden by name and instrument, and of course I was very much in awe of Bruce Dickinson. So when I had the opportunity to learn more about him and hear some of his stories, I was keen to take advantage of that.
When Dave and I arrived at the theatre, we were in row X on the orchestra level – the last row on the floor. The audience size wasn’t as big as I was expecting and shortly after we arrived an usher came by and asked us if we’d like to move up to row L – we said yes! I don’t think the theatre was even half full, but I liked that – especially in COVID times when about 75% of the audience was unmasked and I’m admittedly wary of getting sick. It also obviously gave us a much better view. The show started exactly at 7:30 PM. I had the impression through the whole show that Bruce Dickinson had meticulously timed everything. The show didn’t even start a minute late. The intermission was exactly at 9:05 PM. The length of the intermission was exactly 25 minutes – that sort of thing.
The show was in two sets. The first set was Bruce telling stories from throughout his life and the second set was strictly for audience questions. From start to finish, the show was a full 3 hours in length. It all started with Bruce coming on stage with the backdrop of a (very) old picture of him alongside a picture of his great uncle Frank. He started the evening by telling us about his uncle Frank, a WWII pilot and a huge influence on his life and interests. He also proceeded to tell us that in the image of him, he’d put blue crayon on his upper lip to make him look older. Right from the start you could tell that Bruce was extremely energetic and was going to give us everything he had. He was frequently bouncing around the stage – this wasn’t the kind of show where he sat on a stool and just talked the whole time (there was a stool there for him, and he never used it). He also came out with a beer – I suspect it was a “Trooper” beer – and enjoyed sipping that throughout his show.
While I was expecting him to speak primarily about Iron Maiden, he actually didn’t do a whole lot of this. He started out talking about his early days and how his parents sent him to “public school” – which we learned is essentially the equivalent of “private school” in North America. It was here that he started to get into music – originally wanting to be a drummer. His first band’s singer didn’t exactly work (a choir singer with an operatic approach), so Bruce switched over to vocals after a short time. I found his discussions about singing and the use of his voice to be the most interesting. Apparently when he started with Iron Maiden he was strongly encouraged to push his voice farther – to extend his range and use his falsetto voice and to really establish his own unique vocal timbre. He claimed that he really didn’t like the sound of his voice at first when he did this but gradually adapted to it. As a musician and teacher myself, I’m constantly trying to encourage my students to push outside of their comfort zone in this way, so I found his experience with this quite interesting. One other thing about his voice that was interesting to hear is that his voice, like everyone’s, has changed with age. He describes his as being deeper and rougher now, and he actually likes the sound of his voice better now than he did when he was younger. He feels the vocal changes that have come with age have allowed him to do things with his voice now that he couldn’t do before. This was really refreshing to hear because so many other singers have essentially lost their singing voices with age. Bruce Dickinson’s is just getting better.
Bruce spent a good chunk of time talking about the early days before Iron Maiden. He had pictures and stories from one of these bands, “Samson”. He told humorous stories of going to a gun shop in the UK and seeing a plastic Canada Goose statue which he had to purchase. He then proceeded to tape it to the roof of their car as they toured north to Scotland, and as he explained it, with pot smoke streaming out of the windows. No one ever stopped them! During this time he explained that he was already friends with the guys in Iron Maiden. When they needed a new singer they asked him and the rest is history. He told some funny stories about how at the start, he loved being in the centre of the stage, but Iron Maiden’s bassist, Steve Harris, also liked taking that spot at certain times during the show – so there were some battles in the early years for the prime spot on stage (apparently their original singer would set himself up off to the side and not right in the centre of the stage, so this wasn’t a problem for the band previously).
We heard about Bruce Dickinson’s battle with cancer – which he won. Apparently he never lost any hair on his head, but he lost all of his beard hair – and almost all at the same time. We heard stories of him being at a restaurant and his plate filling up with beard hair. We also heard stories about when he met the Queen and Prince Phillip. They both asked him “and what do you do?”. The Queen seemed to have no idea who he was or what heavy metal music was. Bruce spent a good deal of time talking about flying planes and we learned that he was not the first member of Iron Maiden to learn to fly – that was actually Nicko McBrain.
I also really enjoyed his talk about beer. Apparently Bruce Dickinson is the biggest beer fan in Iron Maiden. The band was asked by a winery if they would like to create an Iron Maiden wine and the band said no, because well, that seems like an odd fit. It was this, however, that gave Bruce the idea to create an Iron Maiden beer instead. If you can believe it, every single brewery that he approached with the idea turned it down except for Robinson’s brewery. Bruce was primarily involved in the process of creating the legendary “Trooper” beer, which they had for sale at the show. We learned a lot about the process of creating that beer and also that there are Trooper breweries in several different countries – and each country has its own unique Trooper flavour that isn’t available anywhere else. I’m hoping that a Canadian Trooper brewery crops up at some point.
When the intermission arrived, the video for Iron Maiden’s song, “Writing on the Wall” was shown. At this point I had to temporarily leave the theatre because as someone with post-concussion syndrome, my head started to feel like it was going to explode as soon as the music started. For anyone else though, I’m sure the experience of this song being played through the Centre in the Square sound system, along with the video on the huge screen would have been something pretty special.
There are far too many stories to try to summarize in one review, but I found the evening to be really enjoyable. Bruce Dickinson is a great showman – he displays such passion for his life and career and I feel that we more than got our money’s worth. Kitchener was the final stop on this tour. He did inform us that he was travelling to LA at 8 AM the following day to start working on a new solo album and this summer Iron Maiden will start their “Legacy of the Beast Tour”. Unfortunately there are no stops in Kitchener. Overall, a great show!
Out of the wild blue yonder, Iron Maiden have returned with a new album to allow us to temporarily escape from our pandemic woes. Once again, it is a 2 CD monster, boasting 82 minutes of music. With only 10 songs, you can do the math and figure out that most are long-bombers. The tunes recall all sorts of flavours of Iron Maiden, from Seventh Son to Virtual XI and the Dickinson reunion era. New influences emerge as well, on this beefy but steadfast Maiden album. Maiden turned a corner on The X Factor, incorporating quieter atmospheric sections with the riffing, and Senjustu utilizes this technique on many of the tunes. Senjutsu might be the most Blaze-era-like of the Dickinson albums.
This time Maiden have gone for a Samurai motif with the album artwork, and this is reflected in the opening title track “Senjutsu” (Smith/Harris). Only the second time, after The Final Frontier, that Maiden have opened with a title track. It actually has a similar vibe at first to that opener, with stomping drums (which tie into the lyrics). Nicko McBrain is a superstar on this album. Then Bruce Dickinson heralds his own return with an exotic melody and still powerful lungs. Range be damned, he goes for it on every song. “Senjutsu” is a varied track that relies mostly on a pounding rhythm and is a little different from typical Maiden.
Onto a short 5:00 firecracker, “Stratego” (Gers/Harris) is like a Brave New World song. To the point, steady gallop, heavy on melody. Heavy keyboard backing, which is consistent on Senjutsu. An album highlight if only because there are so few short songs, but strong regardless.
First single “The Writing On the Wall” (Smith/Dickinson) opens with a western motif, a new side to Iron Maiden. It’s a little drawn out for a single, and takes a few listens to digest. You could almost say it’s closer to Led Maiden. In the latter half, Adrian Smith rips out one of those solos that is almost a song unto itself.
Long bomber “Lost In A Lost World” (Harris) unfortunately recalls Spinal Tap’s “Clam Caravan” at the outset. At the 2:00 mark it drops the Tap and gets to the riff, which is a kicker. The song meanders a bit, perhaps a little too much, recalling some the Blaze-era’s musical excesses.
“Days of Future Past” (Smith/Dickinson) sounds like reunion-era Maiden, hooky and wailing. It’s the shortest tune at only four minutes and wastes no time getting to the point. The effective Smith riff forms the bones of the song, in the tradition of something like “Wicker Man”.
The closer on disc one is called “The Time Machine” (Gers/Harris) and is not based on the movie, nor is it typical Iron Maiden, at least until the gallop returns. The vocal melody is quite different and keyboards are prominent. This track could work really well live for those times they want to get the crowd bouncing.
The sound of seagulls and crashing ocean set the stage for “Darkest Hour” (Smith/Dickinson). Dark, understated, and brilliantly performed by Bruce. Summoning all the panache he can muster. The chorus goes full power, and Smith’s solo is something else, a mini composition. Then Dave Murray comes in with a complementary one, as good as any the duo did in the 80s.
Senjutsu might be defined by its closing trio of songs, all in excess of 10 minutes and all written by Steve Harris. Indeosyncratic Harris songs, and if you know Iron Maiden then you know what to expect. Bass intros, soft keyboards, gentle guitar and bashing riffs!
“Death of the Celts” sounds like a sequel to “The Clansman” from Virtual XI (both songs written by Harris). It lacks the unforgettable cry of “freedom!” but instead has a glorious long instrumental section, and some incredible guitar solo work from Janick Gers, Dave Murray and Adrian Smith in a single row.
A different kind of dark bass intro brings us “The Parchment”, then WHAM! A riff blasts you in the face. It’s a little exotic and a lot Iron Maiden. Think “To Tame a Land” without the Kwisatz Haderach. Of the Steve epics on this album, “The Parchment” might be the most perfect. It is definitely the longest. A big part of its being is a series of great Janick guitar solos, but also a sense of tension.
Finally, “Hell On Earth” is a remarkable closer, as the music goes on and on for a while before Bruce starts singing. But that music is awesome — textured, powerful, and memorable. Then Bruce delivers a melody a little left of center, and the song becomes another Maiden classic to be enjoyed years from now, every single time. So much packed into 11 minutes. The Maiden March, some wicked Murray soloing, riffs and more. The total package. It fades out, and that’s the album.
Janick Gers really shines on this album, as his solos repeatedly jump out of the speakers on tracks like “Stratego”, “The Parchment” and “Death of the Celts”. Sadly there are no Dave Murray co-writes this time. Dickinson continues to impress, as he staves off the ravages of time better than many of his contemporaries. Nicko is a relentless machine, and Adrian and Steve turn in performances as good as the ones they are famous for.
Senjustu, the surprise album that we didn’t see coming, is Iron Maiden doing what they do. There are a few twists and turns, but this is the album we would have expected from them if we knew they were making one! There are fans who miss the old days and wish Maiden would put out an old fashioned heavy metal album one more time. They tried that once with No Prayer for the Dying and it didn’t work. Maiden have been a metal band with a foot in progressive rock for a long time now, and they show no interest in abandoning this direction. Long songs with Maidenesque writing and structure is what you will get. And most of us will just be grateful for it.